OPENING: Chicago Premiere of YEN at Raven Theatre March 21 – May 5, 2019

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Chicago Premiere!

Raven Theatre Presents

YEN

By Anna Jordan

Directed by Elly Green

March 21 – May 5, 2019

PHOTO CREDIT: Artwork by Jake Fruend.

I'll be out for the press opening March 25th so check back soon for my full review. 

Raven Theatre is pleased to continue its 2018-19 season with the Chicago premiere of Anna Jordan’s drama YEN directed by Elly Green. This savage, unrelenting play about growing up, opening the windows and letting in the light will play March 21 – May 5, 2019 on Raven’s intimate 55-seat West Stage, 6157 N. Clark St. (at Granville) in Chicago. Tickets are currently available at www.raventheatre.com or by calling (773) 338-2177. 

YEN will feature Jesse Aaronson, Tiffany Bedwell, Reed Lancaster and Netta Walker.

London, right now. Two practically feral teenage brothers live alone in their filthy flat with a dog named Taliban, perpetually bathed in the blue glow of their screens: playing video games, watching porn, waiting for the occasional visit from their detached mother, and surviving. But when a strange neighbor girl barges through the door, the boys’ little blue world begins to change color.

Comments Artistic Director Cody Estle, “Anna Jordan’s YEN has had successful productions in both London and New York. It is an intense drama of a dysfunctional family which explores the consequences of two teenage boys being forced to grow up on their own in a childhood essentially without boundaries. I’m looking forward to introducing Jordan’s writing to our audience and the overall Chicago theatre community. I think this will be a memorable production in our 2018-2019 season.”

The production team for YEN includes: Joe Schermoly (scenic design), Alexis Chaney (costume design), Claire Chrzan (lighting design), Aaron Stephenson (sound design), Leah Hummel (props design) Sam Hubbard (fight choreographer), Eva Breneman (dialect coach), Giulianna Marchese (dramaturg), Lynn Baber (casting director), A.J. Roy (assistant director), Cole von Glahn (production manager), Jeremiah Barr (technical director), Jessie Howe (scenic artist), Alex Beal (master electrician), Alex Meyer (stage manager) andAlyssa Maldonado (assistant stage manager).

Cast (in alphabetical order): Jesse Aaronson (Bobbie), Tiffany Bedwell (Maggie), Reed Lancaster (Hench) and Netta Walker (Jennifer).

Understudies: Lizzie Bourne, Nate Elfant, Anastacia Narrajos and Brandon Nelson.

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

Dates: Previews: Thursday, March 21 at 8 pm, Friday, March 22 at 8 pm, Saturday, March 23 at 8 pm and Sunday, March 24 at 3:30 pm
Press performances: Monday, March 25 and Tuesday, March 26, 2019 at 7:30 pm

Regular run: Friday, March 29 – Sunday, May 5, 2019
Curtain Times: Thursdays, Fridays and Saturdays at 8 pm; Sundays at 3:30 pm.

Tickets: Previews $32 ($29 if purchased online). Regular run $46 ($43 if purchased online). Seniors/teachers $41 ($38 if purchased online). Students/active military and veterans $15. Every Thursday is “Under 30 Thursday,” when patrons under age 30 can purchase tickets for $15. Single tickets and subscriptions for the 2018-19 Season are currently available at www.raventheatre.com or by calling (773) 338-2177.

Touch Tour/Open Captioned performance: Sunday, April 21 at 3:30 pm. Touch tour begins at 2:15 pm.

Group tickets: Groups of 10 or more are $30 per person for Thursday and Friday performances and $35 per person for Saturday and Sunday performances. Student groups are $15 per person.

Plan Your Visit:

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

About the Artists:

Anna Jordan (Playwright) is a London-based playwright, director and acting coach. Awards include the Bruntwood Prize for Playwriting 2013 for YEN, Shortlist of Susan Smith Blackburn Prize for YEN, Best Fringe Production for Chicken Shop at Park Theatre (West End Frame Awards) and Overall Winner / Audience Choice Award for Closer To God (Off Cut Festival). Writing credits include: We Anchor In Hope (Royal Court Theatre – Beyond the Court), A Serious Case of the Fuckits (Royal Central School of Speech and Drama), YEN (Royal Exchange / Royal Court), Chicken Shop (Park Theatre London), Freak (Assembly Studios / Theatre503), Stay Happy Keep Smiling (Soho Theatre), Bender (Old Red Lion) and Fragments (Riverside Studios). Her plays have also been performed internationally. Anna is Artistic Director of Without a Paddle Theatre. As a director she has worked at the National Theatre on NT Connections play Tomorrow I’ll Be Happy, as well as directing numerous productions at new writing powerhouse Theatre503. She also directed Crystal Springs at Eureka Theatre in San Francisco. She works frequently at London drama schools including RADA, LAMDA, Central, Arts Ed and Italia Conti. Anna is currently working with Headlong, The Royal Exchange, The Royal Court and Frantic Assembly.

Elly Green’s (Director) is a Chicago-based director, originally from the UK. She recently directed In the Canyon by Calamity West for Jackalope Theatre and You for Me for You by Mia Chung for Sideshow Theatre. Other credits include: The Woyzeck Experiment (Goodman Playwrights Unit), Pillars of the Community, The Night Season, After Miss Julie (Strawdog), The Woman in Black (Wildclaw), No More Sad Things (Sideshow), The Distance (Haven), The Woman Before (Trap Door), Happy (Redtwist) and Rabbit (Stage Left), Unwilling and Hostile Instruments (Theatre Seven) and The Tomkat Project (Playground & NY Fringe). Her Assistant Director credits include: Henry V (Chicago Shakespeare Theatre), Proof (Court Theatre), Oedipus, Mrs Affleck, Her Naked Skin (Royal National Theatre, London). She is an ensemble member with Sideshow Theatre and Strawdog Theatre, and an Associate Artist with Stage Left Theatre. Elly trained in the UK at Birkbeck College, LAMDA and the National Theatre Studio. More info at www.ellygreendirector.com

About Raven Theatre

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

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

Handel’s Masterpiece ARIODANTE Now Playing at Lyric Opera of Chicago Select Dates Through March 17, 2019

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ARIODANTE 

Now Playing at Lyric Opera of Chicago

Six performances March 2 - 17

by George Frideric Handel

Sung in Italian with projected English translations

**This production includes mature themes**

Provocative Baroque drama about abuse and complicity

in a bold, updated staging 

New coproduction and Lyric premiere of Handel’s masterpiece

The Lyric Opera of Chicago premiere of George Frideric Handel’s Baroque masterpiece Ariodante opens Saturday, March 2 at 7:30pm in a provocative new coproduction. There are six performances March 2 through March 17 at the Lyric Opera House, 20 N. Wacker Dr., Chicago. Tickets start at $39, and are available now at lyricopera.org/Ariodante or at 312-827-5600. 

VILLAINOUS POLINESSO LUSTS AFTER GINEVRA, BUT SHE LOVES NOBLE ARIODANTE, WHO LOVES HER IN RETURN.

Sometimes opera takes you to completely unexpected, dramatically powerful places.

That’s certainly the case with the Lyric premiere of Handel’s Ariodante, on multiple levels. Some of its thrilling arias might be familiar from concerts or recordings, but the full Baroque masterpiece is terra incognita for many (even though it was wildly popular when Handel, the German expat living in London, was composing multiple Italian operas). Still, there is inviting familiarity in the bouncing beat and virtuoso vocal writing in this new-to-Lyric opera.

The original plot of Ariodante is full of Shakespearean twists, disguises, mistaken identities, wrenching misunderstandings, and eventual reconciliation (not unlike Much Ado About Nothing). Ginevra and Ariodante love each other and are about to be wed with the blessing of her father, the King of Scotland. Polinesso covets Ginevra and uses her lady-in-waiting, Dalinda (who loves Polinesso), to trick Ariodante into believing Ginevra is unfaithful and provoke his apparent suicide. Ariodante’s brother Lurcanio, meanwhile, loves and is shunned by Dalinda, and blames Ginevra for his sibling’s seeming demise. Eventually Ariodante turns up alive, Polinesso is vanquished, and the “right” couples are united. 



Richard Jones’s production moves the story from medieval times to an isolated, religiously fundamentalist Scottish island in the 1970s. Polinesso is an outsider from the mainland who penetrates this closed community in preacher’s clothes, wreaking terrible havoc on several relationships and the fabric of the village itself through acts of abuse and manipulation. Rather than ending with the reconciliation and redemption traditional in 18th-century opera, this production of Ariodante takes an intriguing detour that will resonate with contemporary audiences.

Puppets representing Ginevra and Ariodante pantomime scenes that reflect the community’s expectations and misperceptions of the central couple in this production, replacing ballet sequences used to close each act in the original opera.

Baroque opera “is radical theater,” says Anthony Freud. “Ariodante deals with abuse and complicity.” Lyric’s general director calls this production of Ariodante “a clear, immediate, powerful telling of the story that will defy preconceptions about Handel’s Baroque formality. Our production reflects many contemporary issues. Handel’s masterpiece may be over 280 years old, but is startling in its topicality and intensity.”

The creative team drew inspiration for this production of Ariodante from the dark indie film Breaking the Waves, and also the plays of Strindberg and Ibsen. There are similarities to Carlisle Floyd’s Susannah, in which an innocent young woman in Appalachia is seduced by an itinerant preacher. There are also traces of Benjamin Britten’s Peter Grimes in the community turning against one of its own. 

Lyric’s splendid cast inhabits the complex characters while singing the daunting score to great effect. Mezzo-soprano Alice Coote takes on the title role, with soprano Brenda Rae (Lyric debut) as Ariodante’s betrothed, Ginevra. Soprano Heidi Stober portrays the vulnerable Dalinda, manipulated by the evil Polinesso, played by countertenor Iestyn Davies. Bass-baritone Kyle Ketelsen is the King of Scotland. Tenor Eric Ferring portrays Lurcanio.  and tenor Josh Lovell portrays Odoardo (the latter two are Ryan Opera Center artists). 

Acclaimed Baroque specialist Harry Bicket conducts, and Benjamin Davis (Lyric debut) is revival director. The production is designed by ULTZ (Lyric debut), with lighting by Mimi Jordan Sherin. Michael Black is chorus master, Lucy Burge is choreographer, Finn Caldwell is puppetry director and designer, and Nick Barnes is puppetry designer (the latter three are Lyric debuts).  

Don't miss your chance to experience this critically-acclaimed premiere — view the trailer here and find out for yourself why critics are praising its "tight, compelling story and rich, well-developed characters" (Chicago Sun-Times).

ARIODANTE IS "QUITE MOVING" (CHICAGO TRIBUNE)

In a small town rife with rumors, who can you trust? The highly anticipated U.S. premiere co-production of Handel's Ariodante opened Saturday night and critics are raving. With only five more performances, Ariodante must close March 17. See what people are saying about this Lyric premiere:

"Vocally, visually and dramatically arresting"

"Clarity and rhythmic verve from the Lyric Opera Orchestra and Chorus"

"An opera penned nearly three centuries ago can resonate profoundly with modern times, when staged as tellingly as this"

"★ ★ ★ ★" (out of four) 

–Chicago Tribune

"Unexpected and intriguing"

"The casting for this production could hardly have been better"

"Many vocal high points"

"★ ★ ★ ½" (out of four)

–Chicago Sun-Times

"Dazzling vocal pyrotechnics"

"A daunting tour de force"

–Stage and Cinema

What happens when someone your town trusts is actually the villain? For Ginevra and her beloved Ariodante, things may never be the same. Lyric is proud to produce the company premiere of this important Baroque masterpiece from the composer of Messiah which marries stunning vocalism and riveting drama. 

Making its U.S. debut, this critically-acclaimed Lyric coproduction from Director Richard Jones updates the story to 1970s Scotland, where a close-knit, fundamentalist community provides the thought-provoking backdrop. The Toronto Globe and Mail says, "The decisions Jones has made to update and deepen the resonances of the opera work beautifully both to preserve the integrity of the original and add to it touches and textures that only a modern audience can appreciate…If you needed one example to demonstrate why modern staging and perfectly realized music from the past need each other, this was it." 

Don't miss this highly anticipated Lyric premiere that critics are calling "dramatically complex... deliciously interesting" – (The Toronto Star). 

5 REASONS YOU CAN'T MISS ARIODANTE
Handel’s Baroque masterpiece is currently playing Lyric, and there are so many reasons you can’t miss it. Here are just a few: 

1. It’s a Lyric premiere. Believe it or not, this rare gem by the composer of the beloved Messiah has never been performed on Lyric’s stage.

2. The cast is truly world-class. Our dream team of opera superstars have voices ideally suited to bring Ariodante to life.

3. It's the U.S. premiere of a production that earned rave reviews. TheToronto Star called it "deliciously interesting" and the National Post praised its "inspired and meticulous staging."

4. Handel’s music is exhilarating. You will fall in love with a score that exudes both passion and elegance.

5. It's not just great music, it's great theater. This story of true love plagued by obstacles in a small town is just as universal today as it was when the opera first premiered.

Save your seats today for Ariodante, on stage March 2-17, and experience this delightful and innovative production for yourself.

VANS PARTNERS WITH RECORD STORE DAY TO RELEASE WAX TRAX! DOCUMENTARY SOUNDTRACK ON RECORD STORE DAY 2019

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RECORD STORE DAY LIST LAUNCH EVENT SLATED FOR HOUSE OF VANS CHICAGO 

ON FEBRUARY 28

MULTI-CITY WAX TRAX! EXPERIENCE TO FEATURE SCREENING, PANEL DISCUSSION, 

AND LIVE Q&A AND PERFORMANCE BY MINISTRY OF WAX TRAX! ERA SET

Here at ChiIL Live Shows we grew up with Chicago's punk and industrial music scene in the ‘80s and ‘90s. The story of Wax Trax! is not only an award winning doc with kickass music, but a vital piece of counter culture history that's left a lasting impact on generations. Don't miss this. 



Record Store Day and Vans, the original action sports brand rooted in art, music and street culture, are teaming up to release a special edition soundtrack for the award-winning music documentary Industrial Accident: The Story of Wax Trax! Records on Record Store Day, April 13, 2019.



The album, which features previously unreleased songs by Wax Trax! artists, (see track listing below) will be available at independent record stores across the United States and Canada. To coincide with the album launch, Vans will kick off a multi-city Wax Trax! experience featuring screenings of the film, live Q&A, and a performance by Ministry of a Wax Trax! era, early 90's set. 

On April 13, House of Vans Chicago located at 113 N. Elizabeth St., Chicago, IL will kick-off the first of six stops. Tickets to the Vans and Wax Trax! Events will be available through independent record stores on April 13. Partner record stores and ticket information to be announced soon.

“The story of Wax Trax! is a perfect example of the incredible importance and influence that independent record stores have not only on the music scene by selling records, but also on our culture by helping people find a home where they can express themselves through music,” said Carrie Colliton, co-founder of Record Store Day. “There’s no better day than Record Store Day to release this album with Vans, an iconic brand in the world of indie record stores.”

Wax Trax! was an influential Chicago record store and label that helped give rise to punk and industrial music of the ‘80s and ‘90s. It also served as a lifeline for people outside of the mainstream by fostering and encouraging a safe place for artists and outsiders. The soundtrack includes artists closely aligned with the label and music scene including Ministry, My Life With The Thrill Kill Kult, The Young Gods, Pankow, KMFDM, Revolting Cocks, FRONT 242, Mussolini Headkick, Laibach and Chris Connelly.

Watch the trailer for Industrial Accident: The Story of Wax Trax! Records HERE

“Wax Trax! is a story of artistic freedom, creativity and social acceptance of sub-culture through music,” said Brooke Burt, Senior Manager for Lifestyle Brand Marketing for Vans. “We are proud to partner with Record Store Day to release an album and celebrate a story that pays homage to the ongoing influence of independent record stores and pushes the boundaries of music genres.”

In addition to featuring music from the soundtrack, the film delivers insightful interviews with family members, former employees and musicians who worked with or were heavily influenced by Wax Trax!, including Al Jourgensen, Dave Grohl, Trent Reznor, Paul Barker, Ian MacKaye, Steve Albini, Jello Biafra and others.

As an added dimension of collaboration between Vans and Record Store Day, House of Vans Chicago will host the RSD 2019 List Launch on February 28, 2019 at noon CST.

The announcement scheduled will showcase the highly anticipated limited-edition release titles coming to record stores and will be followed by a panel discussion with artists from the Wax Trax! Soundtrack moderated by Nik Carter host of SiriusXM’s Feedback on the Volume Channel 106.

Listeners can tune-in to a special Record Store Day list launch special on SiriusXM’s Volume channel on February 28 at 7 PM ET.

Panelists include:

Paul Barker - Former Ministry bass player from 1986-2003, member of Revolting Cocks, Lard and Pigface, as well as many other bands

Chris Connelly - Former Ministry keyboard player from 1987-1991, member of KMFDM, Revolting Cocks and Pigface, as well as many other bands

Julia Nash - Director of Industrial Accident: The Story of Wax Trax! Records, and daughter of late Wax Trax! Co-founder Jim Nash

Rick Wojcik - Owner of Dusty Groove in Chicago. Rick spent much of his teenage years, (and his teenage dollars), at the Wax Trax! store, and that has a strong influence on his own Chicago record store, Dusty Groove.

Carrie Colliton – Co-founder/organizer of Record Store Day.




TRACK LISTING FOR Industrial Accident: The Story of Wax Trax! Records SOUNDTRACK:

1: MY LIFE WITH THE THRILL KILL KULT - “A Daisy Chain 4 Satan” (Acid and Flowers Mix)
2: REVOLTING COCKS - “Animal Nation”
3: THE YOUNG GODS - “Envoyé!”
4: PANKOW - “Me and My Ding-Dong”
5: MINISTRY - “Tonight We Murder (Original Version)”
6: KMFDM - “Vogue (Apart Version)”
7: FRONT 242 - “Headhunter (Live NYC)”
8: MUSSOLINI HEADKICK - “Your God is Dead”
9: LAIBACH - “Leben-Tod”
10: FINI TRIBE - “I Want More” **CD Only**
11: Mystery Track - Previously Unreleased **CD + Deluxe Only**
12: Mystery Track - Previously Unreleased **CD + Deluxe Only**
13: Mystery Track - Previously Unreleased **CD Only**
14: CHRIS CONNELLY - “Shipwreck”
15: MICHAEL WELLS/GREATER THAN ONE - “Untitled" **CD Only**



For more information about Record Store Day, please visit www.recordstoreday.com

About Record Store Day
Record Store Day, the organization, is managed by the Department of Record Stores and is organized in partnership with the Alliance of Independent Media Stores (AIMS), the Coalition of Independent Music Stores (CIMS) and promotes independent record stores year-round with events, special releases and other fun things.

 Record Store Day, the global celebration of the culture of the record store, takes place annually in April. Record Store Day 2019 is April 13.

 Record Store Day Sponsors:
ADA, Caroline, Crosley Turntables, D’Addario, Dogfish Head Brewery, Furnace Record Pressing, Glowtronics, InGrooves, Music Business Association, MVD Entertainment, The Orchard, Redeye Distribution, Sony Music, ThinkIndie, Traffic Distribution, URP Distribution, Vans, Vinyl Styl, WEA

About Vans
Vans®, a VF Corporation (NYSE: VFC) brand, is the original action sports footwear, apparel and accessories brand. Vans® authentic collections are sold in 84 countries through a network of subsidiaries, distributors and international offices. Vans®has over 2,000 retail locations globally including owned, concession and partnership doors. The Vans® brand promotes creative self-expression in youth culture across action sports, art, music and street culture and delivers progressive platforms such as the Vans Park Series, Vans Triple Crown of Surfing®, Vans Pool Party, Vans Custom Culture, and Vans’ cultural hub and international music venue, House of Vans.

Vans Presents: Industrial Accident: The Story of Wax Trax! Records Experience Events

4/13: Chicago

4/15: Brooklyn

4/17: Toronto

4/19: Austin

4/22: San Francisco

4/23: Los Angeles

Vans, “Off The Wall” Since ’66

www.vans.com
youtube.com/vans
instagram.com/vans
facebook.com/vans
twitter.com/vans_66

OPENING: CHICAGO PREMIERE OF TOO HEAVY FOR YOUR POCKET VIA TIMELINE THEATRE APRIL 24 – JUNE 29, 2019

ChiIL Live Shows on our radar

TIMELINE THEATRE’S CHICAGO PREMIERE OF CIVIL RIGHTS DRAMA 

TOO HEAVY FOR YOUR POCKET, 

DIRECTED BY RON OJ PARSON, MARKS CHICAGO DEBUT OF PLAYWRIGHT JIRÉH BREON HOLDER, “TOMORROW’S MARQUEE NAME,” 

APRIL 24 – JUNE 29, 2019

Chicago premiere of Too Heavy for Your Pocket doubles as the Chicago debut of rising young playwright and TV writer Jiréh Breon Holder, recently named one of “Tomorrow’s Marquee Names, Now in the Making” by The New York Times.

Set during the height of the civil rights movement, Too Heavy for Your Pocket is a captivating and complicated tale about the intersection of family, responsibility, and progress. Previously seen at Atlanta’s Alliance Theatre and in an extended Off Broadway run at Roundabout Theatre, Holder’s riveting new play was hailed “an exceptional work, one that will dive-bomb into your head and your heart” (Talkin’ Broadway) and a story “that examines life on both the margins and at the epicenter of historic change” (Stage Left).

Preproduction Photos by Kenny Nakai

TimeLine Company Member Ron OJ Parson will direct TimeLine’s Chicago debut of Too Heavy for Your Pocket. Named one of Chicago’s most “in demand directors” by Chicago Magazine (February 2019), Parson’s credits at TimeLine include Brett Neveu’s To Catch a Fish, Dominique Morisseau’s Paradise Blue and Sunset Baby, and Lorraine Hansberry’s A Raisin in the Sun. Right before helming TimeLine’s Too Heavy for Your Pocket, Parson is also directing back-to-back productions of August Wilson’s Ma Rainey’s Black Bottom for Writers Theatre and Sweat by Lynn Nottage at Goodman.

Preproduction Photos by Kenny Nakai

The Too Heavy for Your Pocket cast, all making their TimeLine debuts, features Jalen Gilbert (he/him, playing Bowzie), Ayanna Bria Bakari (she/her, as Evelyn), Jennifer Latimore (she/her, as Sally Mae), and Cage Sebastian Pierre (he/him, as Tony). Gilbert was previously seen in Ma Rainey’s Black Bottom and East Texas Hot Links at Writers Theatre and Mies Julie at Victory Gardens. Bakari recently co-starred in How to Catch Creation at Goodman Theatre. She also has
Both Gilbert and Bakari are graduates of The Theatre School at DePaul University. Latimore was recently seen in The Importance of Being Earnest and as Viola in Twelfth Night Or What You Will at Writers Theatre. Other local credits are Court Theatre’s Harvey and Chicago Shakespeare Theater’s Love’s Labor’s Lost and Macbeth. Pierre also appeared in Macbeth, as well as Gardens, 16th Street Theatre, The New Colony, and in Stage Left’s Jeff-nominated Insurrection: Holding History. performed at Victory Q Brothers Christmas Carol and at Chicago Shakespeare, and A Short Shakes! Romeo and Juliet
Moon for the Misbegotten at Writers Theatre.

TimeLine’s production team for Too Heavy for Your Pocket includes José Manuel Díaz-Soto (Scenic Designer, he/him); Alexia Rutherford (Costume Designer, she/her); Maggie Fullilove-Nugent (Lighting Designer, she/her); Christopher Kriz (Sound Designer and Original Composition, he/him); Jermaine Hill (Music Director and Original Composition, he/him); Vivian Knouse (Properties Designer, she/her); Katie Cordts (Wig and Hair Designer, she/her), Regina Victor (Dramaturg, they/them); Dina Spoerl (Lobby Designer, she/her); Cara Parrish (Stage Manager, she/her); and Am’Ber D. Montgomery (Assistant Director, she/her).

Too Heavy for Your Pocket begins previews on April 24. Press Night is Wednesday, May 1 at 7:30 p.m. Opening Night is May 2. Performances run through June 29 at TimeLine Theatre, 615 W. Wellington Ave., Chicago. For tickets and information, visit timelinetheatre.com or call the TimeLine Box Office at (773) 281-8463 x6.



MORE ABOUT TOO HEAVY FOR YOUR POCKET
Too Heavy for Your Pocket “brings the early civil rights movement up close and personal” (Deadline), resulting in a powerful look at the tenuous balance between security and risk, the bonds of love and friendship, and the personal cost of progress. Holder’s story centers on Bowzie Brandon, his wife Evelyn, and their best friends Tony and Sally, who all see happiness on the horizon when Bowzie gets a college scholarship and a chance to improve his family’s life. However, when the opportunity to become a Freedom Rider arises, Bowzie leaves his obligations as a husband and friend behind to join the fight against racism in the Deep South.

Jiréh Breon Holder (Playwright) is currently a writer on NBC's new hit show New Amsterdam. He is an Atlanta-area playwright, director, and dramaturg. His sharp yet funny and often political plays frequently include wild visual metaphors and address the magic of everyday life in the South. From 2016-2019, Holder served as the Playwriting Fellow of the Department of Theater and Creative Writing at Emory University. In 2016, he received his MFA degree in Playwriting from the Yale School of Drama, where he studied with Sarah Ruhl. He is a co-founder of Pyramid Theatre Company in Des Moines, Iowa. From 2012-13, he served as the Kenny Leon Fellow at the Tony Award-winning Alliance Theatre. He graduated cum laude with a BA degree in Theatre from Morehouse College, where he served as the artistic director of Spelman College Playwrights’ Workshop and directed several productions. His play Too Heavy for Your Pocket was the recipient of the Laurents/Hatcher Foundation Award, winner of the Alliance/Kendeda National Graduate Playwriting Competition, and had an extended off-Broadway run at the Roundabout Theatre in 2017. He was a recipient of the 2016 Edgerton Foundation New Play Awards and honored as the Fellowship of Southern Writers' 2017 Bryan Foundation Award for Drama. His other plays have received productions at the Alliance Theatre, the Yale School of Drama and Yale Cabaret. He has also received readings at the Manhattan Theatre Club, the Roundabout Theatre, the Kennedy Center, and the Old Globe Theatre. Holder is under commission with the Old Globe Theatre, the Roundabout Theatre, and the Manhattan Theatre Club. For more, visit jirehbreonholder.com.



Ron OJ Parson (Director) became a TimeLine Company Member in 2016. His TimeLine credits include acclaimed productions of Brett Neveu’s To Catch a Fish, Dominique Morisseau’s Paradise Blue and Sunset Baby, and Lorraine Hansberry’s A Raisin in the Sun. He is a native of Buffalo, New York, and
a graduate of the University of Michigan’s professional theater program. He is the co-founder and former Artistic Director of Onyx Theatre Ensemble of Chicago and a co-founder and co-director of Ripe ManGo Productions. Parson is a Resident Artist at Court Theatre and an Associate Artist with
Teatro Vista. Since moving to Chicago from New York in 1994, he has worked as both an actor and director. His Chicago credits include work with The Chicago Theatre Company, Victory Gardens, Goodman, Steppenwolf, Chicago Dramatists, Northlight, Court, Black Ensemble Theatre, Congo
Square, Northlight Theatre, Urban Theatre Company, City Lit Theater, ETA Creative Arts, and Writers. Regionally, Ron has directed shows at Studio Arena Theatre, Alliance Theatre, Actors Theatre of Louisville, Milwaukee Repertory, South Coast Repertory, Pasadena Playhouse, Geva
Theatre, Virginia Stage, Roundabout Theatre, Wilshire Theatre, The Mechanic Theatre, CenterStage,

SPONSORS
TimeLine’s Chicago premiere of Too Heavy for Your Pocket is sponsored in part by the Pauls Foundation and the National Endowment for the Arts, with additional support from the Elizabeth F. Cheney Foundation.

TOO HEAVY FOR YOUR POCKET PERFORMANCE SCHEDULE/EVENTS
Previews of Too Heavy for Your Pocket are Wednesday, April 24 through Saturday, April 27 at 8 p.m.;
Sunday, April 28 at 2 p.m.; and Tuesday, April 30 at 7:30 p.m. Press Night is Wednesday, May 1 at 7:30 p.m.
Opening Night is Thursday, May 2 at 7:30 p.m.
Regular performances continue through June 29: Wednesdays and Thursdays at 7:30 p.m.; Fridays at 8 p.m.; Saturdays at 4 p.m. and 8 p.m.; and Sundays at 2 p.m. Exceptions: No 4 p.m. show on Saturday, May 4. There is an added performance on Tuesday, June 25 at 7:30 p.m.

DISCUSSION & ACCESSIBILITY EVENTS:
Post-Show Discussions: A brief, informal post-show discussion hosted by a TimeLine Company Member and featuring the production dramaturg and members of the cast on Wednesday, May 8; Thursday, May 16; Wednesday, May 22; Thursday, May 30; Wednesday, June 5; and Sunday, June 23.
Pre-Show Discussions: Starting one hour before these performances, a 25-minute introductory conversation hosted by a TimeLine Company Member and the production dramaturg on Sunday, June 9, and Thursday, June 13.
Company Member Discussion: A post-show discussion with the collaborative team of artists who choose TimeLine’s programming and guide the company’s mission on Sunday, May 19.

Captioned Performance: An open-captioned performance with a text display of words and sounds heard during the performance on Saturday, June 1 at 4 p.m.
Sunday Scholars Panel Discussion: A one-hour post-show discussion featuring experts on the themes and issues of the play on Sunday, June 2.
All discussions are free and open to the public. For further details about all planned discussions and events, visit timelinetheatre.com.

BUYING TICKETS
Single tickets to Too Heavy for Your Pocket are now on sale. Preview tickets are $25. Single tickets to regular performances are $40 (Wednesday through Friday), $49 (Saturday evenings) and $54 (Saturday and Sunday matinees). Student discount is 35% off regular price with valid ID. TimeLine is also a member of TCG’s Blue Star Theatre Program and is offering $25 tickets to U.S. military personnel, veterans, first responders, and their spouses and family.
Discounted rates for groups of 10 or more are available. Ticket buyers age 18-35 may join TimeLine’s free MyLine program to obtain access to discounted tickets, special events and more. Visit timelinetheatre.com/discounts for more about Blue Star, MyLine and other available discounts.

To purchase a FlexPass, single tickets or for more information, visit timelinetheatre.com or call the Box Office at (773) 281-8463 x6.
St. Louis Black Repertory, Pittsburgh Public Theater, Pittsburgh Playwrights Theatre, Signature Theatre, and Portland Stage, among others. In Canada, he directed the world premiere of Palmer Park by Joanna McClelland Glass at the Stratford Festival. He is a member of AEA, SAG-AFTRA, and
SDC. For further information, visit ronojparson.com.
    
LOCATION/TRANSPORTATION/PARKING
Too Heavy for Your Pocket will take place at TimeLine Theatre, 615 W. Wellington Ave., in Chicago’s Lakeview neighborhood, near the corner of Wellington and Broadway, inside the Wellington Avenue United Church of Christ building. TimeLine is served by multiple CTA trains and buses. TimeLine offers discounted parking at the Laz parking garage at Broadway Center ($8 with validation; 2846 N. Broadway, at Surf) or the Century Mall ($9 with validation; 2836 N. Clark), with other paid parking options nearby, plus limited free and metered street parking.

ACCESSIBILITY
TimeLine Theatre is accessible to people with disabilities. Two wheelchair lifts provide access from street level to the theatre space and to lower-level restrooms. Audience members using wheelchairs or who need to avoid stairs, and others with special seating or accessibility needs should contact the TimeLine Box Office in advance to confirm arrangements. See DISCUSSION & ACCESSIBILITY EVENTS above for information about the open-captioned performance for patrons who are deaf or hard of hearing.

ALSO AT TIMELINE
Currently on stage at TimeLine Theatre, through March 17, is the Chicago premiere of Cardboard Piano, Hansol Jung’s powerful story of faith, love, and the human capacity for forgiveness set amidst violent conflict in northern Uganda, directed by TimeLine Company Member Mechelle Moe.
Newcity hailed Cardboard Piano as “a delicate and priceless work of theater ... the first ‘Must-See’ show of 2019.” For tickets and information, visit timelinetheatre.com.

Already announced as the opening production of TimeLine’s upcoming 2019-20 season is the Chicago premiere of J.T. Rogers’ internationally acclaimed and Tony Award-winning play Oslo. Directed by TimeLine Associate Artistic Director Nick Bowling, Oslo will run September 10 – October 20, 2019 at Broadway In Chicago’s Broadway Playhouse at Water Tower Place, 175 E. Chestnut St., Chicago.

Three other productions of TimeLine’s 2019-2020 season, to be performed at the company’s home at 615 W. Wellington Avenue in Chicago, are still to be announced. The best way to secure seats to Oslo is to purchase a 2019-2020 TimeLine FlexPass Subscription. Four different tiers of 4-Admission FlexPasses, priced from $97 - $235, are now on sale. For more information and to purchase a TimeLine FlexPass Subscription, call (773) 281-8463 x6 or visit timelinetheatre.com.

Oslo will be part of the upcoming Broadway In Chicago season on sale in Spring 2019. Individual tickets for Oslo will go on sale in July 2019 (specific date to be announced) and will range in price from $30 - $75 with a select number of premium seats. Group tickets for 10 or more are now on sale by calling Broadway In Chicago Group Sales at (312) 977-1710.

2019 YEAR OF CHICAGO THEATRE
TimeLine Theatre Company is proud to be part of the 2019 Year of Chicago Theatre, presented by the City of Chicago and the League of Chicago Theatres. To truly fall in love with Chicago, you must go to our theatres. This is where the city bares its fearless soul. Home to a community of creators, risk-takers, and big hearts, Chicago theatre is a hotbed for exciting new work and hundreds of world premieres every year. From Broadway musicals to storefront plays and improv, there’s always a seat waiting for you at one of our 200+ theatres. Learn more at chicagoplays.com/year-of-chicago-theatre/.



ABOUT TIMELINE THEATRE COMPANY
TimeLine Theatre Company, recipient of the prestigious 2016 MacArthur Award for Creative and Effective Institutions, was founded in April 1997 with a mission to present stories inspired by history that connect with today's social and political issues. Now in its 22nd season, TimeLine has presented 78 productions, including 10 world premieres and 34 Chicago premieres, and launched the Living History Education Program, now in its 12th year of bringing the company's mission to life for students in Chicago Public Schools. Recipient of the Alford-Axelson Award for Nonprofit Managerial Excellence and the Richard Goodman Strategic Planning Award from the Association for Strategic Planning, TimeLine has received 54 Jeff Awards, including an award for Outstanding Production 11 times. TimeLine is led by Artistic Director PJ Powers, Managing Director Elizabeth K. Auman and Board President Eileen LaCario. Company members are Tyla Abercrumbie, Will Allan, Nick Bowling, Janet Ulrich Brooks, Wardell Julius Clark, Behzad Dabu, Charles Andrew Gardner, Lara Goetsch, Juliet Hart, Anish Jethmalani, Mildred Marie Langford, Mechelle Moe, David Parkes, Ron OJ Parson, PJ Powers, Maren Robinson and Benjamin Thiem.
Major corporate, government and foundation supporters of TimeLine Theatre include Alphawood Foundation, Paul M. Angell Family Foundation, Bayless Family Foundation, The Crown Family, Forum Fund, The Joseph and Bessie Feinberg Foundation, Illinois Arts Council Agency, Laughing Acres Family Foundation, A.L. and Jennie L. Luria Foundation, MacArthur Fund for Arts and Culture at Prince, the National Endowment for the Arts, The Pauls Foundation, Polk Bros. Foundation, and The Shubert Foundation.

For more information, visit timelinetheatre.com or Facebook, Twitter, or Instagram (@TimeLineTheatre).

OPENING: Chicago Premiere of HOW TO LIVE ON EARTH Via Chimera Ensemble March 8-24, 2019

ChiIL Live Shows on our radar

HOW TO LIVE ON EARTH

BY 

MJ Kaufman

Directed by Gwendolyn Wiegold

“[A] beguiling subject, a piece of science fiction that isn’t so fictional after all.” –The New York Times

Chimera Ensemble is proud to present the Chicago Premiere of How to Live on Earth, written by award-winning playwright MJ Kaufman, and directed by Gwendolyn Wiegold.

How to Live on Earth tells the stories of Omar, Eleanor, Aggie, and Bill, applicants to become the first colonists of the planet Mars. The mission, should they be chosen to embark on it, would be one-way, with no possible return to Earth. As the applicants compete for the few spots available, they are forced to reckon with the cost of their dream, especially for the lovers and family they would be leaving behind. 

At a time when environmental and political catastrophe looms large, and our technological capabilities grow stronger and stronger, How to Live on Earth asks us what it really means to go and what it means to stay.

The production will go up March 8-24 in The Pentagon Theater at Collaboraction Studios in The Flat Iron Arts Building, 1579 N. Milwaukee Ave., Chicago IL 60622. There will be one preview performance on Friday, March 8 at 7:30 pm. Opening night, followed by a reception, will be Saturday, March 9 at 7:30 pm.

How to Live on Earth Cast

Top row: Katlynn Yost, Graham Carlson, Brian Sheridan.

Middle row should be l-r: Siddartha Rajan, Jermaine Robinson, Hannah Larson

Bottom row should be l-r: Bob Webb, Stacey Lind, Arif Yampolsky

BIOS

MJ Kaufman (Playwright) MJ Kaufman is a playwright and devised theater artist. Their work has been produced and developed by The Public Theater, New York Theatre Workshop, the New Museum, WP Theater, Clubbed Thumb, New Georges, Page73, Colt Coeur, Yale School of Drama, Lark Play Development Center, InterAct Theater, Huntington Theater, and performed in Russian in Moscow. MJ’s awards include the 2013 ASCAP Cole Porter Prize in Playwriting, the 2013 Global Age Project Prize, and the 2010 Jane Chambers Prize in Feminist Theatre. MJ is a resident playwright at New Dramatists and currently a staff writer on Netflix’s The Chilling Adventures of Sabrina. Originally from Portland, Oregon, MJ attended Wesleyan University and received their MFA in playwriting from Yale School of Drama. MJ also recently founded a fellowship for trans theater artists.

Gwendolyn Wiegold (Director) is a Chicago-based director and producer. She has had the pleasure of working with Chicago companies including Court Theatre, Chicago Children’s Theatre, and Chimera Ensemble, where she also serves as Managing Director, and has assistant directed productions with directors including Seret Scott, Sean Graney, Scott Westerman, and Charlie Newell. She originally hails from New York City and has her BA in Theatre and Performance Studies from the University of Chicago, where her directing credits include As You Like It, Cowboy Mouth, and The Seagull. Most recently, Gwendolyn’s directing was seen in The 9th Annual Chicago One-Minute Play Festival. She is a recipient of the Francis X. Kinahan Memorial Prize.

LISTING INFORMATION 
How to Live on Earth by MJ Kaufman
Directed by Gwendolyn Wiegold

March 8-24 at The Pentagon Theater at Collaboraction Studios, 1579 N. Milwaukee Ave., Chicago IL 60622. Thursdays-Saturdays at 7:30pm, Sundays at 3pm.

Pay-What-You-Can Preview: Friday, March 8 at 7:30 pm
Press Opening: Saturday, March 9 at 7:30 pm. Reception to follow.
Ticket Pricing: $23 general admission, $15 senior, $15 student/industry with valid ID (discounts subject to availability)

For additional information and to purchase tickets, visit http://www.chimeraensemble.com/



CHIMERA ENSEMBLE’S MISSION:
To create a quality innovative theatrical platform. To give back to Chicago organizations that advocate for the betterment of our community. To provide accessibility for all people. Above all, we seek out the good; we question our fears and judgments so that others may question theirs.

ACCESSIBILITY: 
Access is an important part of our mission at Chimera Ensemble. Through discussions within the Ensemble and with Chimera’s amazing collaborators in the Chicago community, we attempt to create an environment in which performers, directors, designers, playwrights, and audience members feel welcome to work with us and experience our productions. Season Two marks a new chapter in our mission of access, as every performance will feature Open Captioning, rather than the norm of this programming only being offered for one performance during a production's run. By providing Open Captioning for every performance, Chimera hopes to create not only a more cohesive and inclusive theatrical process that better reflects the varied ways in which individuals experience the world, but also a model for other theater companies to follow. How to Live on Earth will also feature one Audio Described performance proceeded by a Touch Tour, date TBD. 


CHIMERA’S COMMUNITY FUND:
Part of Chimera Ensemble’s mission as a theatrical platform is to give back to the community, so for each show we produce we partner with a local organization whose work matches the themes of the production. We collect money and raise awareness for our partner organization. For How to Live on Earth, Chimera is partnering with Chicago-based Project Exploration. Project Exploration creates transformational learning opportunities for youth underrepresented in the sciences—particularly students of color and girls—by equipping them with the skills, practices, and mindset needed for a lifelong pursuit of learning.

Visit https://projectexploration.org/ for more information. 

REVIEW: LA TRAVIATA Now Playing at Lyric Opera Chicago Through March 22, 2019

LA TRAVIATA

by Giuseppe Verdi

Sung in Italian with projected English translations

Approximate Running Time: 2 hours, 50 minutes with 2 intermissions

Review of Opera “La Traviata” at Lyric

By Catherine Hellmann, guest critic

Even though it was her first opera, my daughter Emily’s head was happily bobbing along with the music in Act I, recognizing the famous aria “Sempre Libera” by the lovely courtesan, Violetta Valery. (New Zealand folk band Flight of the Conchords would refer to her in their song,”The Most Beautiful Girl in the Room,” as a “High-Class Prostitute.” “Courtesan” sounds almost respectable.) I reassured Skeptical Em that she would love the opera, find the music familiar, and be impressed with the costumes especially. Yes, on all counts!

Except My Big Girl also had her own take on some plot points: “Honey, your dress costs more than a peasant’s salary for a year. Didn’t they realize this would spell trouble?” “Oh, yeah, they’re having fun now...wait a few years until the Revolution…”

As the show opens in 1860 Paris, Violetta is hosting a soiree after recovering from a serious illness (can you say “foreshadowing”?). Violetta, feeling faint, is  the Hostest with the Mostest, and encourages her friends to go ahead and celebrate without her in the next room. (And none of her guests/moochers inquire how she is feeling? Girlfriend needs new friends.)

Her pal, Gastone de Letorieres, (not to be confused with the sexist hunter from “Beauty and the Beast,” one of Em’s favorites) introduces Belle (I mean Violetta) to his friend and her admirer, Alfredo Germont. Alfredo has been vigilant about visiting Violetta every day throughout her illness. They fall in love through song; by Act II, they are living together in the country! But they are broke...Violetta is slyly selling her possessions for their expenses. (“They say our love won’t pay the rent…” Couldn’t resist...It’s not often one can get a Sonny and Cher reference in when describing Verdi!)    

Alfredo’s father arrives and wants to break up the relationship, fearing that Violetta’s past life as a ‘ho (he sings it much better in Italian!) will threaten his daughter’s marriage prospects. He is pleasantly surprised to discover Violetta’s true love for his son. But Violetta selflessly breaks things off with the love of her life by leaving him a farewell note. Alfredo misunderstands and humiliates Violetta at a party. Sigh…at least the elder Germont sees the truth and calls his son out for insulting Violetta and being a dick.

By Act III, a month later, Violetta is dying of that romantic heroine disease, Tuberculosis, also called Consumption. Alfredo learns of her sacrifice, and he arrives in time for his beloved to die in his arms. Of course. Curtain.

The music for “La Traviata” is gorgeous. The singers were marvelous, especially Russian soprano Albina Shagimuratova as our doomed goddess/hooker-with-a-heart-of-gold, and Italian tenor Giorgio Berrugi as Alfredo. Zeljko Lucic was also impressive as the father whose opinion of Violetta changes dramatically.

Whether you have seen this standard repertoire piece numerous times, like myself, or are a first-timer like Emily, you will love this gorgeous classic playing at our marvelous Lyric Opera House!

Catherine Hellmann inspires middle schoolers by day and attends as much theater as possible by night. If she could have a Super Power, it would be to never need sleep...she is getting close to this goal. 

VERDI’S MUSIC IS INCOMPARABLE, WITH ONE HEARTSTOPPINGLY BEAUTIFUL MELODY AFTER ANOTHER, in this exquisitely romantic story. Within the social whirl of sophisticated Paris, the courtesan Violetta lives purely for pleasure but longs for true love. She finds the right man in Alfredo, but their happiness is cut short: at his father’s insistence, Violetta leaves Alfredo for the sake of his family. Her spirit broken, her health shattered, Violetta now lives only with the hope that Alfredo will return to her. La traviata gives us one of opera’s most glorious heroines, a woman of boundless humanity and emotional depth.



PRODUCTION SPONSORS

DONNA VAN EEKEREN
FOUNDATION THE MICHAEL AND
SUSAN AVRAMOVICH
CHARITABLE TRUST
NANCY AND SANFRED
KOLTUN LAUTER MCDOUGAL
CHARITABLE FUND BMO HARRIS BANK
ITW


Coproduction of Lyric Opera of Chicago, Houston Grand Opera, and Canadian Opera Company.

Follow along on social media #LyricTraviata

7 REASONS LA TRAVIATA IS A CAN'T-MISS PRODUCTION

Violetta is the ultimate party girl, and her risqué lifestyle might cost her the love of her life. Only 7 performances remain of the critically acclaimed La traviata; here are 7 reasons La traviata is a can't-miss live theater experience:  

1. The costumes are stunning. From elaborate parties to country estates, Violetta and the rest of the cast are dressed to impress by costume designer Cait O’Connor.

2. Albina Shagimuratova shines as Violetta. The Chicago Tribune is calling her "a superb singing actress...as thrilling to hear as her acting was compelling to behold." 

3. Verdi's music is unforgettable. Opera experts and newcomers alike will recognize songs like "Sempre libera." Listen to some of our favorites!

4. Calling all culture vultures. A story as timeless as this never gets old; La traviata has inspired pop culture favorites like Pretty Woman and Moulin Rouge. 

5. Paris is beautiful this time of year. Get swept up in the social whirl of sophisticated Paris with Violetta as she discovers love, loss, and redemption.

6. Prices to fit every budget. Tickets start at just $49 you don't have to break the bank to have a special night out!

7. Critics love it. Find out for yourself why Broadway World is calling it "the best of all things opera."


La traviata must close March 22 — don't miss your chance to experience this  breathtaking production. Save your seats today online or over the phone at 312.827.5600.