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Sunday, October 15, 2017

Martha Lavey Celebration and Honorary Street Naming at Steppenwolf Last Week

Steppenwolf Paid Heartfelt Tribute to Influential and Beloved Chicago Cultural Leader
in Public Memorial Event, October 9

Martha Lavey: 
A Celebration of Her Life and Legacy


It's been a huge year of loss for Steppenwolf Theatre Company with numerous beloved ensemble members and associates passing away. The untimely death of former artistic director Martha Lavey, is the one that hit me the hardest. I was happy to see they have a tribute to her with a reserved sign on the bookshelves at Front Bar. There will always be space reserved in our hearts and minds for Martha Lavey, as those she influenced create on.


Steppenwolf Theatre Company hosted a warm and heartfelt public memorial celebrating the remarkable life and legacy of ensemble member and former artistic director Martha Lavey, who passed earlier this year at the age of 60. On October 9, more than 500 ensemble members, friends, family, co-workers, and collaborators gathered in Steppenwolf’s Downstairs Theatre to share in a two hour tribute to the legendary Chicago cultural leader with stories, song, laughter and tears, hosted by current Artistic Director Anna D. Shapiro and Executive Director David Schmitz. More than 500 people also tuned into the live stream of the event.

In addition to the hosts, the evening included speeches honoring the many ways that Martha Lavey touched the lives around her personally as a sister, aunt, friend and collaborator, and publicly as a cultural and community leader, mentor and advocate of the arts and artists. Speakers included ensemble members Amy Morton, Bruce Norris, Yasen Peyankov, Molly Regan (sharing the words of ensemble member Austin Pendleton) along with Jenny Avery, Doug Brown, Ben Cameron, Curt Columbus, Nora Daley, Michele Dragisity, Evan Hatfield, Bruce Sagan, Jessica Thebus and Andy White. The event also included musical performances by the All Nations Worship Assembly Chicago Ensemble, Suzi Petri and ensemble member Jim True-Frost. A retrospective video looking back on Lavey’s life and legacy was provided by HMS Video.

The following morning, the stretch of Halsted Street in front of Steppenwolf Theatre was renamed “Martha Lavey Way” in an honorary ceremony. Steppenwolf ensemble, employees and public gathered at the corner of Willow St and Halsted St at 11am for the sign unveiling with remarks by Steppenwolf Executive Director David Schmitz and Alderman Michele Smith.

The honorary street renaming ordinance was submitted by Alderman Michele Smith of the 43rd Ward and granted by the City Council. Two honorary “Martha Lavey Way” signs have been installed—one at the northwest corner of North Halsted Street and West North Avenue, pointing north, and the other sign will be located at the southwest corner of North Halsted and West Willow Street, pointing south.




Martha Lavey joined the Steppenwolf ensemble in 1993 and served as Artistic Director from 1995 to 2015. Under her transformative leadership, Steppenwolf became a national leader in producing new plays and commissioning playwrights, doubled the size of its ensemble and diversified its base of artists, added two performance spaces, expanded and deepened its partnerships in public schools and the community, created Steppenwolf for Young Adults, and instituted a platform for engaging audiences after every performance. She oversaw the production of hundreds of plays and transferred dozens of Steppenwolf productions to Broadway and abroad, gaining national and international recognition for the company and Chicago as a vital theater destination.
                           
During Martha Lavey’s tenure, Steppenwolf was awarded the National Medal of the Arts, the only theater to ever receive the honor, as well as the Illinois Arts Legend Award, Equity Special Award and nine of the company’s 12 Tony Awards. Lavey catapulted Steppenwolf to the forefront of new play development and production with a robust commissioning program that cultivates ongoing creative relationships with some of the most compelling playwrights today. Lavey oversaw the conception of and programming for the Garage Theater, an intimate space in 1998 that provided an additional platform for outside companies, new works and audience engagement. Several programs were established during her tenure, including Steppenwolf for Young Adults, an innovative and influential program for teens and their families; The School at Steppenwolf, an acclaimed training residency based in ensemble traditions; The Professional Leadership program for emerging arts managers and designers; The First Look Rep of New Work for plays in development; and the Garage Rep, presenting Chicago’s vibrant Off-Loop theater companies, among others. Lavey was named one of the ‘100 Most Powerful People’ by Chicago Magazine twice, was selected as one of the city's ‘10 Most Powerful Women in the Arts’ by the Chicago Sun-Times and was awarded the title of ‘2010 Chicagoan of the Year’ by the Chicago Tribune. Lavey and former Steppenwolf Executive Director David Hawkanson were recipients of the 2015 ‘Citizen Advocate Award’ presented by the Arts Alliance Illinois for their extraordinary contributions to the arts locally and nationally. In May 2016 she received an honor from the City of Chicago for her two decades of service as artistic director.

While leading one of the most acclaimed theater companies in the world, Martha Lavey also performed in more than 30 Steppenwolf productions including Middletown, Endgame, Up, Good Boys and True, Love-Lies-Bleeding, Lost Land, I Never Sang for My Father, The Memory of Water, Supple in Combat, Time of My Life, A Clockwork Orange, Talking Heads, SLAVS!, Picasso at the Lapin Agile, Love Letters, and Aunt Dan and Lemon. Elsewhere in Chicago she performed at the Goodman, Victory Gardens, Northlight and Remains theaters and in New York at the Women’s Project and Productions.

Martha Lavey served a Board President for the Theatre Communications Group from 2009 – 2011. She served on grants panels for the National Endowment for the Arts, The Theatre Communications Group, Three Arts Club, USA Artists and the City Arts panel of Chicago. She earned a doctorate in Performance Studies from Northwestern University and was a member of the National Advisory Council for the School of Communication at Northwestern University. She was a recipient of the Sarah Siddons Award, an Alumni Merit Award and an Honorary Doctorate from Northwestern University.
Martha Lavey passed away on April 25, 2017 due to complications from a stroke. Faithful friends, audience members, donors, staff, artists, mentees, members of the Steppenwolf family and the national theatre community were all indelibly impacted by Martha's passion, commitment, vision and unmatched intellect. She will be dearly missed. Services for Martha were held in May 2017 in her parent’s home of Vienna, Virginia.

Steppenwolf Theatre Company is the nation’s premier ensemble theater. Formed by a collective of actors in 1976, the ensemble today features 47 members who represent 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: Firebrand Theatre Launches With Chicago Premiere of LIZZIE

Chi, IL LIVE Shows On Our Radar:


Inaugural Production!

Firebrand Theatre Presents the Chicago Premiere of
LIZZIE

The cast of Firebrand Theatre’s Chicago premiere of LIZZIE (left to right) Leah Davis, Jaquelyne Jones, Liz Chidester and Camille Robinson. Photo by Joe Mazza.


Music by Steven Cheslik-deMeyer and Alan Stevens Hewitt 
Lyrics by Steven Cheslik-deMeyer and Tim Maner
Book by Tim Maner
Additional Music by Tim Maner
Additional Lyrics by Alan Stevens Hewitt
Based on an original concept by Steven Cheslik-deMeyer and Tim Maner 
Orchestrations by Alan Stevens Hewitt 
Directed by Victoria Bussert
Music Direction by Julia A. Miller and Andra Velis Simon
Choreography by Janet Louer
November 11 – December 17, 2017 at The Den Theatre

Firebrand Theatre, the first musical theatre company committed to employing and empowering women by expanding opportunities on and off the stage, is pleased to present its inaugural production, the Chicago premiere of LIZZIE, the rock musical based on the true-life story of accused axe-murderess Lizzie Borden. LIZZIE will play November 11 – December 17, 2017 at The Den Theatre's Bookspan Theatre, 1333 N. Milwaukee Ave. in Chicago’s Wicker Park neighborhood. Single tickets for LIZZIE and season subscriptions (including 9 TO 5 THE MUSICAL) are currently available at firebrandtheatre.org. 

Directed by Victoria Bussert with music direction by Julia A. Miller and Andra Velis Simon and choreography by Janet Louer, LIZZIE features music by Steven Cheslik-deMeyer and Alan Stevens Hewitt, lyrics by Steven Cheslik-deMeyer and Tim Maner, book by Tim Maner, additional music by Tim Maner, additional lyrics by Alan Stevens Hewitt, based on an original concept by Steven Cheslik-deMeyer and Tim Maner with orchestrations by Alan Stevens Hewitt. 

LIZZIE features Liz Chidester as Lizzie, Leah Davis as Bridget, Jacquelyne Jones as Alice and Camille Robinson as Emma. The late night cast/understudies, who will appear in four 11 pm performances, include Kyrie Anderson as Lizzie, Tatiana Bustamante as Bridget, Elle Walker as Alice and Dakota Hughes as Emma.

"Lizzie Borden took an axe, gave her mother forty whacks. When she saw what she had done, gave her father forty-one." So goes the nursery rhyme describing the crime of the century that took the nation by storm when Lizzie Borden murdered her parents with an axe in 1892. Or did she? LIZZIE is a musical that reimagines that bloody legend with four women fronting a female rock band. LIZZIE is American mythology set to a blistering rock score with rage, sex, betrayal and bloody murder. 

Comments Artistic Director Harmony France, “We knew pretty early on that we wanted Lizzie to open our season. It fits our mission perfectly. It's one of the few musicals that feature all women. The characters are flawed and complicated in a way that women don't normally get to portray in musical theatre. There is an unapologetic blistering rock score that will be played by our all femme band. It's sexy and scary and vulnerable and there's a splash zone. The alleged axe-murderess, Lizzie Borden, has captured our imagination for centuries. She is a fascinating historical figure who lived a very unconventional life and she is one of the few women in America responsible for a ‘crime of the century.’ At Firebrand, we are committed to illuminating women's stories whether they're good, bad or ugly – and Lizzie is definitely all of the above.”

The production team for LIZZIE includes: Eleanor Kahn (scenic design), Charlotte M. Yetman (costume design), Maya Michele Fein (lighting design), Victoria Deiorio (sound design), Jon Martinez (assistant director), Danielle Stack (production manager) and Jean E. Compton (stage manager).


Cast: Liz Chidester (Lizzie), Leah Davis (Bridget), Jacquelyne Jones (Alice) and Camille Robinson (Emma).
Late Night Cast/Understudies: Kyrie Anderson (Lizzie) Tatiana Bustamante (Bridget) Dakota Hughes (Emma) and Elle Walker (Alice). 

Location: The Den Theatre's Bookspan Theatre, 1333 N. Milwaukee Ave.
Dates: Previews: Saturday, November 11 at 8 pm and Sunday, November 12 at 3 pm.

Regular run: Thursday, November 16 – Sunday, December 17, 2017
Curtain Times: Thursdays, Fridays & Saturdays at 8 pm; Sundays at 3 pm. Please note: there will not be a performance on Thursday, November 23 (Thanksgiving Day).

Late Night Performances (featuring understudies): Friday, December 1 at 11 pm, Saturday, December 2 at 11 pm, Friday, December 8 at 11 pm and Saturday, December 9 at 11 pm.
Open Captioned Performances (by Molly Brennan): Sunday, November 26 at 3 pm and Sunday, December 3 at 3 pm

Tickets: Previews $25. Regular run $45. Late night shows $30. Students $20. Single tickets and season subscriptions are currently available at firebrandtheatre.org.

About The Creative Team
Victoria Bussert (Director) balances the professional and academic worlds working as an award-winning freelance director while serving as Director of Music Theatre for Baldwin Wallace University.  Her work has been seen at the Manhattan Theatre Club, Goodspeed Opera, Repertory Theatre of St. Louis, Dallas Theatre Center, Cincinnati Playhouse, Portland Stage, Cleveland Playhouse, Dobama Theatre, Marriott Lincolnshire Theatre, Pegasus Players, Beck Center for the Arts, Lake Tahoe Shakespeare Festival, among others.  Victoria serves as Resident Director for Cleveland's Great Lakes Theatre and the Idaho Shakespeare Festival.  She has directed seven national tours including Into The Woods, Once On This Island and The Who’s Tommy. Her international directing credits include The Adventures of Friar Tuck in Russia, the Danish premieres of Avenue Q and [title of show], as well as the European premiere of Lizzie for Fredericia Theatre which moves to London in February 2017. Victoria received a BA in Theatre and Dance from Barat College and an MFA in Directing from Northwestern University.

Julia A. Miller (Music Director) performs as a guitarist with the electroacoustic trio Auris, with Gimlet Eye, and as a frequent soloist and collaborator in experimental and avant garde chamber music. Auris’s current CD has been released on Artco Records (2009). Julia completed the performance half of a double Master of Music in Classical Guitar Performance at Northwestern University, and served as the Jazz, Folk and Contemporary Guitar Department Chair at the Music Institute of Chicago, where she was also a Suzuki Guitar specialist. As a composer, Julia is active with the Chicago Composer’s Consortium and New Music Chicago, and has a CD of acoustic chamber music on the Southport Composer’s label. Julia’s music has been performed by artists including guitarist Fareed Haque, piano trio The Lincoln Trio, guitar and mandolin duo Ahlert & Schwab, and sopranos Toni Arnold and Julia Bentley, and has been featured at such festivals and venues as the Aspen Music Festival, May In Miami, the Accademia Musicale Chigiana, the Museum of Contemporary Art in Chicago, Depaul University, Northwestern University, and Oberlin University, as well as rock clubs, cabarets, bars and alternative spaces internationally. Julia has received awards and fellowships from the Chicago Tribune Foundation, the New York Art Ensemble, the United Arts Council, the American Composer’s Forum, and Meet the Composer.  Julia has been a member of the composition faculty at the Music Institute of Chicago and has also served as an Adjunct Associate Professor at Sound and Liberal Arts, at The School of the Art Institute, Chicago.

Andra Velis Simon (Music Director) is a music director, adapter, arranger, vocal coach and pianist based in Chicago. Regionally, her work has been seen at the Oregon Shakespeare Festival, A.R.T. in Cambridge, Brooklyn Academy of Music, Actors Theatre of Louisville, Berkeley Rep, Olney Theatre Center in Maryland and Three Oaks in Michigan. In Chicago: The Goodman Theatre (The Iceman Cometh and Camino Real), Theater Wit (Mr. Burns: a post-electric play and 10 out of 12), Chicago Children’s Theatre (The Hundred Dresses, A Year with Frog and Toad, Goodnight Moon), The Hypocrites (Cinderella at the Theater of Potatoes, American Idiot, Pirates of Penzance, The Mikado, HMS Pinafore), Windy City Playhouse, and many others. Andra is an adjunct faculty member at Columbia College Chicago, where she teaches several musical theatre performance courses, and where she served as the staff Musical Director for the Theatre Department from 2008-2016.

Janet Louer (Choreographer) has been responsible for launching many careers’ over the past 35 years that she has worked in the industry. Some of them are now Artistic Directors, Directors, Agents, Casting directors in Chicago, New York, and all over the country. Janet was the former manager of Tony Award Winner Heather Headley. Janet created the Musical Theatre Division at ATC and is currently the Artistic Director/Creator for Another Door theatre Project; The Ensemble Conservatory, a comprehensive training/performance opportunity for young actors. Janet is the Development Director of a new approach to acting called Acting;out of and through the Human Condition. National Tours: (all under direction of Victoria Bussert) BUDDY (Jeff Award for choreography), Assassins, The Secret Garden, Once On This Island, Barnum, Into The Woods and Anyone Can Whistle. Regional: The Frogs, You’re Gonna Love Tomorrow, Pacific Overtures, Company, Goblin Market, Follies, A Funny Thing Happened On The Way To The Forum, Little Shop of Horrors, A Little Night Music and The Mystery of Edwin Drood.

Mission Statement
FIREBRAND THEATRE is a musical theatre company committed to employing and empowering women by expanding their opportunities on and off the stage. Firebrand is a 501(c)(3) Equity theatre.

Company members: Artistic Director: Harmony France, Managing Director: Kimberly Lawson, Advisory Board: Lili-Anne Brown, Brenda Didier, Kate Garassino, Emjoy Gavino, Amber Mak, Danni Smith, Company Members: Kasey Alfonso, Sydney Charles, Adelina Feldman-Schultz, Carly Glenn, Amanda Horvath, Jon Martinez, Eric Martin, Amelia Jo Parrish and Andra Velis-Simon.

OPENING: CHICAGO PREMIERE OF GISELLE AT THE JOFFREY BALLET 10/18-29

Chi, IL LIVE Shows On Our Radar:

THE JOFFREY BALLET OPENS 2017-18 SEASON
WITH CHICAGO PREMIERE OF LOLA DE ÁVILA’S VISIONARY ADAPTATION OF GISELLE


At the Auditorium Theatre, October 18-29, 2017

The Joffrey Ballet launches its 2017-18 season with the Chicago Premiere of Lola de Ávila’s visionary adaption of Giselle, one of the greatest and most beloved Romantic era ballets. De Ávila, former Associate Director of the San Francisco Ballet School, has elevated this classic tale of passion beyond the grave to new heights, set to prolific 19th century composer Adolphe Adam’s original score created for the ballet’s premiere in 1841. Giselle is presented in 10 performances only, October 18-29, 2017.

“Giselle marks the beginning of our 2017-18 season as well as my tenth year as Artistic Director of The Joffrey Ballet,” said Ashley Wheater. “During this time, we’ve worked tirelessly to redefine dance at the highest level and promote remarkable and moving experiences. One of the most renowned ballets, Giselle showcases the youthful passion of the human spirit in a time when it’s never been more needed. I’m thrilled to present Giselle – the first ballet I worked on as Artistic Director of the Joffrey – to Chicago audiences this fall.”

A ballet in two acts, Giselle is set in the Rhineland of the Middle Ages on the day of the grape harvest festival. When the curtain rises, the cottage of Giselle and her mother Berthe is seen on one side, while opposite is the cottage of Duke Albrecht of Silesia, a nobleman. Albrecht comes to the village in disguise before his marriage to Bathilde, the daughter of the Prince of Courland. Against the advice of his squire Wilfrid, Albrecht flirts with Giselle, who falls completely in love with him. Hilarion, a gamekeeper, is also in love with Giselle and warns her against him, but she refuses to listen. A hunting party enters, among them Bathilde and her father. Giselle is entranced by the nobility. When the party departs, Albrecht reappears with the grape harvesters. A celebration begins but the merriment is brought to a halt by Hilarion who, having investigated Albrecht’s cottage, brandishes the nobleman’s horn and sword. When Giselle learns the truth of Albrecht’s deception, madness overwhelms her heart and she dies.

Act Two begins near Giselle’s grave on the night of her burial. Hilarion is grieving Giselle’s death. He is frightened by Myrtha, Queen of the Wilis – female spirits jilted before their wedding day. At night, the Wilis rise from their graves and seek revenge upon men by dancing them to death. Albrecht enters searching for Giselle’s grave. As her spirit appears before him, Albrecht is overwhelmed by remorse and grief for the girl he grew to love. He begs forgiveness. Her love undiminished, Giselle does. Hilarion enters, pursued by the Wilis, who throw him to his death in a nearby lake. The Wilis then surround Albrecht and sentence him to death. He begs to be spared, but Myrtha refuses. As the Wilis attempt to dance Albrecht to exhaustion, Giselle protects him. Day breaks and the Wilis retreat to their graves. Giselle’s love has saved Albrecht. By not succumbing to the Wilis and their feelings of vengeance and hatred, Giselle is freed from their grasp and returns to her grave to rest in peace.

Tickets and Schedule
The Joffrey Ballet performs Giselle October 18–29, 2017; the full performance schedule is as follows:
Wednesday, Oct. 18 at 7:30pm, Friday, Oct. 20 at 7:30pm, Saturday, Oct. 21 at 2:00pm and 7:30pm, Sunday, Oct. 22 at 2:00pm, Thursday, Oct. 26 at 7:30pm, Friday, Oct. 27 at 7:30pm, Saturday, Oct. 28 at 2:00pm and 7:30pm, Sunday, Oct. 29 at 2:00pm

Single tickets range from $34 - $174 and are available for purchase at The Joffrey Ballet’s official Box Office located in the lobby of Joffrey Tower, 10 E. Randolph Street, as well as the Auditorium Theatre of Roosevelt University Box Office, by telephone at 312.386.8905, or online at Joffrey.org.

About The Joffrey Ballet
Classically trained to the highest standards, The Joffrey Ballet expresses a unique, inclusive perspective on dance, proudly reflecting the diversity of America with its company, audiences, and repertoire which includes major story ballets, reconstructions of masterpieces and contemporary works.

The company’s commitment to accessibility is met through an extensive touring schedule, an innovative and highly effective education program including the much-lauded Academy of Dance, Official School of The Joffrey Ballet, Community Engagement programs and collaborations with myriad other visual and performing arts organizations.

Founded by visionary teacher Robert Joffrey in 1956, guided by celebrated choreographer Gerald Arpino from 1988 until 2007, The Joffrey Ballet continues to thrive under internationally renowned Artistic Director Ashley Wheater and Executive Director Greg Cameron.

The Joffrey Ballet gratefully acknowledges the generous support of Giselle Production Sponsor JHL Capital Group, LLC and Live Music Sponsor The Marina and Arnold Tatar Fund for Live Music.

Special thanks to Co-Sponsors of the 2017-2018 Season: Abbott Fund, Alphawood Foundation Chicago, NIB Foundation, Daniel and Pamella DeVos Foundation, and Season Partners: pamella roland and Fox Ford Lincoln, Clear Channel Airports, JW Marriott, and Chicago Athletic Clubs.

For more information on The Joffrey Ballet and its programs, visit joffrey.org. Connect with the Joffrey on Facebook, Twitter and Instagram.

OPENING: CAPTAIN STEVE’S CARING KINGDOM AT THE FACTORY THEATER 10/27-12/9/17

Chi, IL LIVE Shows On Our Radar:

THE FACTORY THEATER ANNOUNCES ITS FIRST SHOW OF THE 25TH ANNIVERSARY SEASON, 
MIKE OOI’S CAPTAIN STEVE’S CARING KINGDOM,
OCTOBER 27 – DECEMBER 9


**not suitable for children**

Company Member Mike Ooi Writes and Directs the Production that Delves Behind the Scenes into What Happens to the Land Frequented by a Popular Children’s TV Show Host When He’s Not There

The Factory Theater presents the first production of its 25th anniversary season, the world premiere of Captain Steve’s Caring Kingdom, playing at the Factory Theater, 1623 W. Howard St., October 27 – December 9. The new play is both written and directed by Company Member Mike Ooi. Previews are Friday, Oct. 27 and Saturday, Oct. 28 at 8 p.m. and Sunday, Oct. 29 at 3 p.m. Opening night is Friday, Nov. 3 at 8 p.m. The regular run, November 3 – December 9, is Fridays and Saturdays at 8 p.m. and Sundays at 3 p.m. Ticket prices are $10 for previews, $18 for students and seniors and $25 for general admission. 

Tickets may be purchased through the Box Office by calling 866.811.4111 or by visiting TheFactoryTheater.com.

Everyone is familiar with the host of a children’s show visiting a land filled with talking animals and puppets. What happens when the host isn’t around? Do the animals also go to jobs they hate? Are they struggling to save their relationships? Do they have issues they can’t seem to fix? The Factory Theater takes a glimpse into the lives of the residents of Captain Steve’s caring kingdom, in a new story not suitable for children.

The cast for Captain Steve’s Caring Kingdom includes: Christy Arington (Shakes and Frankie), Jennifer Betancourt (Meowser and Ronnie), Greg Caldwell (Dr. Stork), Blake Dalzin (Squeals), Brittany Ellis (Ellie Phant), Chris Hainsworth (Beaky), Dan Krall (The Fattie/Donnie), Topher Leon (Busby), Scott OKen (OK Bear), Michael Reyes (Turv the Perv), Sarah Scanlon (Allamis Morrison), Christopher M. Walsh (Mookie/The King) and Rebecca Wolfe (Nellie Phant/Grimby).

Understudies include Phil Claudnic, Morgan Gire, Lydie Hiller, (U/S Allamis, Shakes/Frankie, Meowser/Ronnie), Brian Kulaga, Andrew Rodriguez (Dr. Stork, Busby), Allie Romano (Ellie Phant), Anthony Tournis (Beaky) and Ashley Yates (The Fattie/Donnie).

The production team for Captain Steve’s Caring Kingdom includes: Mike Ooi, director and playwright; Mandy Walsh, assistant director; Jeremy Hollis, scenic designer; Meghan Erxleben, lighting designer; Rachel Sypniewski, costume designer; Gary Nocco, co-costume designer; Caleb Awe, assistant costume designer; Chas Vrba, sound designer; Ann Sonneville, prop designer; Jill Frederickson, puppet designer; R&D Choreography: Rick Gilbert and Victor Bayona, violence design; Monica M. Brown, stage manager and Timothy C. Amos, production manager.

About Mike Ooi, playwright and director

For the Factory, Ooi directed Street Justice:Condition Red (2013) and wrote Dating & Dragons (2016). Ooi has also worked as an actor, stage manager, and in other aspects for Lifeline Theatre, AdventureStage, ETD, Strawdog, The House Theatre of Chicago, and The Hypocrites. TV credits include NBC’s Chicago Fire. He is a proud company member of the Factory Theater and is represented by Paonessa Talent.

About The Factory Theater
For almost 25 years, The Factory has created its shows from scratch, doing exactly the kind of theater they wanted to do. From writing workshops to the closing night bash, Factory shows are a unique experience that fits its exacting standards: original, bold, and full-tilt. Its shameless ensemble is ambassadors of a good time, making certain that Chicago remains heartily entertained.

The Factory Theater presents the first production of its 25th anniversary season, the world premiere of Captain Steve’s Caring Kingdom, playing at the Factory Theater, 1623 W. Howard St., October 27 – December 9. The new play is both written and directed by Company Member Mike Ooi. Previews are Friday, Oct. 27 and Saturday, Oct. 28 at 8 p.m. and Sunday, Oct. 29 at 3 p.m. Opening night is Friday, Nov. 3 at 8 p.m. The regular run, November 3 – December 9, is Fridays and Saturdays at 8 p.m. and Sundays at 3 p.m. Ticket prices are $10 for previews, $18 for students and seniors and $25 for general admission. Tickets may be purchased through the Box Office by calling 866.811.4111 or by visiting TheFactoryTheater.com. 

Friday, October 13, 2017

OPENING: World Premiere of CARRIE 2: THE RAGE (AN UNAUTHORIZED MUSICAL PARODY) Via Underscore Theatre Company at The Arkham

 Chi, IL LIVE Shows On Our Radar:

Casting Announced!
Underscore Theatre Company Presents the World Premiere of
CARRIE 2: THE RAGE 
(AN UNAUTHORIZED MUSICAL PARODY)
Book, Music and Lyrics by Preston Max Allen
Co-Directed by Isaac Loomer and Rachel Elise Johnson
Music Direction by T.J. Anderson 


October 13 – November 19, 2017 at The Arkham

Back in the day, I played Carrie in a haunted house for two seasons, moving kitchen drawers and banging cupboards with my mental powers (and a little help from backstage). It was huge fun donning my deliciously bloody prom dress and air brushed makeup and scaring full grown adults into screaming idiots. I'd never made anyone pee themselves before, run shrieking into walls, or completely lose their minds. So, I'll always have a soft spot for the Carrie character, and can't wait to catch Underscore Theatre's macabre musical parody that takes place 10+ years after that fateful pig blood infused prom night. 

Just in time for Halloween, Underscore Theatre Company is pleased to launch its 2017-18 Season with the world premiere of with CARRIE 2: THE RAGE (An Unauthorized Musical Parody), an irreverent, rock-infused send-up of Stephen King’s iconic horror film Carrie and its subsequent spin-off The Rage: Carrie 2, featuring a book, music and lyrics by Preston Max Allen. Co-directed by Isaac Loomer and Rachel Elise Johnson, with music direction by T.J. Anderson, CARRIE 2: THE RAGE will play October 13 – November 19, 2017 at The Arkham, 4609 N. Clark St. in Chicago. Tickets on sale at underscoretheatre.org.

CARRIE 2: THE RAGE (An Unauthorized Musical Parody) will feature Demi Zaino as Rachel, Alex Newkirk as Jesse, Britain Gebhardt as Sue Snell and David Kaplinsky as Producer/Arnie with Sam Button-Harrison, Amanda Giles, Carissa Gonzalez, Michael Idalski, Annie Pfohl, Taylor Snooks and Joe Wesolowski.

More than a decade after Carrie White burned her high school to the ground with her mind, goth teenager Rachel Lang has her own issues to deal with, and Sue Snell, Carrie’s former classmate and Rachel’s guidance counselor, must grapple with surprising similarities between the two outcasts before history repeats itself. Framed as a backer’s auction for a ridiculously ambitious Broadway production, this irreverent meta-musical pokes fun at the entire “Carrie” canon through a punchy, rock-infused score.

The production team for CARRIE 2: THE RAGE (An Unauthorized Musical Parody) includes: Eric Luchen (scenic design), Rachel Johnson and Isaac Loomer (costume design), Erik Barry (lighting design), Timothy McNulty (sound design), Mealah Heidenreich (props design), Andrew Lynn (production manager), Karla Meyer (sound engineer), Elias Nelson (stage manager) and Josh Prisching (technical director, master electrician).

Location: The Arkham, 4609 N. Clark St., Chicago
Dates: Previews: Friday, October 13 at 7:30 pm, Saturday, October 14 at 7:30 pm, Sunday, October 15 at 4 pm.

Regular run: Friday, October 20 – Sunday, November 19, 2017
Curtain Times: Mondays, Fridays and Saturdays at 7:30 pm; Sundays at 4 pm. Please note: there will be an added Halloween performance on Tuesday, October 31 at 7:30 pm.

Tickets: $20 Sundays & Mondays; $25 Fridays & Saturdays. Tickets go on sale Monday, September 18, 2017 at underscoretheatre.org.



Artist Biographies
Preston Max Allen (Book, Music and Lyrics) is a writer, composer, lyricist and bizarrely avid Carrie fan based in New York City. Their work has been featured at the New York Musical Festival, Musical Theatre Factory, Feinstein's/54 Below, Joe's Pub, Laurie Beechman Theatre, Signature Theatre, York Theatre ("Tune In Time" winner), Gallery Players and Second City Chicago. Preston conceived and wrote book, music and lyrics for We Are The Tigers, A New Musical (Hudson Backstage Theatre, L.A. Stage Alliance Ovation winner for Best Lyrics/Composition, nominee for Best Production and Music Direction), Remission (NYMF Developmental Reading Series), CARRIE 2: THE RAGE (An Unauthorized Musical Parody) (Feinstein's/54 Below) and My Gay Killer Husband: A Lifetime Original Musical (Boo Festival Award Winner). Additional projects include book/lyrics for Franklin Pierce: Dragon Slayer (composer Will Buck, Sound Bites 4.0 Selection), music/lyrics for Bradical and the Pink Socks (Diverging Elements), music/lyrics for The Hunted: Encore (LA Webfest Outstanding Score), book/music/lyrics for The Untitled Agent 355 Project with collaborator Jessica Kahkoska (Marion International Fellowship Recipient) and a collaboration with composer/lyricist Rob Rokicki. Preston is a graduate of the Second City Chicago Comedy Studies Program and alum of the BMI Lehman Engel Musical Theater Workshop.

Isaac Loomer (Co-Director) Originally from MN, he is excited to be putting on his director hat with long time friend Rachel Johnson for the first time since moving to Chicago. He has been obsessed with musical theatre for as far back as he can remember and is thrilled to be working on the world premiere of The Rage: Carrie 2. One of the the things that drew him to the project is a love of the famously flopped musical version of Carrie, and after reading the script to The Rage knew that it would succeed where it's predecessor had failed. It's a show that relishes in the Carrie-verse's successes and flops while still maintaining a clear relevant message for any era.

Rachel Elise Johnson (Co-Director) most recently assistant directed Underscore’s world premiere of My Name is Annie King. She also serves as Underscore’s Company Manager and has been performing in the Chicago theatre community since moving here from California.

T.J. Anderson (Music Director) Recent music direction credits include Shockheaded Peter (Black Button Eyes Productions), Now. Here. This., [title of show], A New Brain (Brown Paper Box Co.) and Borderlands (Underscore Theatre Company). He has also recently been seen onstage as an actor in productions with Brown Paper Box Co., City Lit Theater Company and 20% Theater Company. T.J. is an artistic associate with Brown Paper Box Co. and a trumpet player throughout the city.

OPENING: WORLD PREMIERE OF KIRSTEN RIIBER’S TANGLES & PLAQUES at THE NEO-FUTURARIUM 10/12-11/18

Chi, IL LIVE Shows On Our Radar:

 THE NEO-FUTURISTS LAUNCH THEIR LATEST SEASON WITH THE WORLD PREMIERE OF 
KIRSTEN RIIBER’S 
TANGLES & PLAQUES, 
OCTOBER 12 – NOVEMBER 18, AT THE NEO-FUTURARIUM


A Neo-Lab Commission, Neo-Futurists’ Artistic Associate Jen Ellison Directs an Ever-Changing, Always Original, Interrogation of Dementia and Memories

Don't forget to grab your tickets to this intriguing participatory world premiere! ChiIL Live Shows will be out on opening night so check back soon for our full review.

The Neo-Futurists present Ensemble Member Kirsten Riiber’s Tangles & Plaques, October 12 – November 18, directed by Artistic Associate Jen Ellison at The Neo-Futurarium, 5153 N. Ashland (at Foster) in Andersonville. Previews are Thursday, Oct. 12  – Saturday, Oct. 14 at 7:30 p.m., with opening night Monday, Oct. 16 at 7:30 p.m. Performances run Thursdays – Saturdays at 7:30 p.m. Ticket prices for previews and Thursdays are pay-what-you-can; for the regular run, tickets are $10-25. Tickets and information are available at neofuturists.org or 773.275.5255.

Neo-Lab’s 2016-17 commission, Tangles & Plaques attempts to demystify the experience of dementia in the language of theatre—offering a vivid, poignant, participatory experience that is unique to each audience and different every performance. Creator Kirsten Riiber* and Director Jen Ellison+ conduct a symphony of impossible tasks and egregious forgery with the help of the audience and a cast including Riiber, Kaitlyn Andrews, Ida Cuttler*, Justin Deming, Mike Hamilton, Nick Hart* and Dan Kerr-Hobert.* With guidance from Memory Care Director Alex Schwaninger, a professional counselor at the local Bethany Retirement Community, the ensemble interrogates the life and death of memories— how they persist, when they depart and the ways they distort over time. 

* denotes Ensemble Member  + denotes Artistic Associate 

Neo-Lab is an original works residency originally launched in 2015 by a grant from the National Endowment for the Arts. The inaugural Neo-Lab production during the 2015-16 Season was Ensemble Member Tif Harrison’s Saturn Returns; the Chicago Tribune said, “Saturn Returns provides a smart and sensitive ramble through the first pangs of grappling with saying goodbye forever.” The 2017-18 Season’s current Neo-Lab commission is Ensemble Member Nick Hart’s Remember the Alamo, with its first workshop presentation Saturday, Feb. 3, 2018.

The Tangles & Plaques production team includes Kirsten Riiber (creator, ensemble), Jen Ellison (director), Alex Schwaninger (professional consultant), John Kelly (lighting designer), John Wilson (set designer) and Kate Hardiman (production manager).

ABOUT KIRSTEN RIIBER*, creator

Kirsten Riiber is a visual artist, writer and actor who also serves as the activities director for Bethany Retirement Community. Roles include “Marion” in The Big Knife at Shafer Street Playhouse and “Moss” in Glengarry Glen Ross, as well as devising two original shows with Alluvium Group: The Adventures of Goodbye Forever and Hello Again and Oniero. Riiber has appeared as a writer-­performer in the productions Saturn Returns, Analog, Too Much Light Makes the Baby Go Blind and The Infinite Wrench since 2013 as an ensemble member of The Neo-­Futurists.

ABOUT JEN ELLISON+, director

Jen Ellison has been performing, writing and directing in Chicago for nearly 20 years. Directing credits include Trap Door Theatre, WNEP, and Collaboraction, and The Neo-­Futurists where she is an artistic associate. As a resident director at the Second City, Jen has overseen two national touring companies, developed multiple shows for their Outreach and Diversity program, and directed Apes of Wrath for the ETC stage. In addition to teaching ethics at DePaul University, she is a member of the Comedy Writing and Performance faculty at Columbia College Chicago.

ABOUT ALEX SCHWANINGER, professional consultant

Alex Schwaninger has always loved connecting with people over the deepest issues of life – from the search for personal identity to interpersonal and community issues. Even since his earliest memories, he has found himself in situations meditating, translating and coaching others in communicating in a way both to understand the other and to be understood. Schwaninger has a master’s degree in counseling psychology and has been a memory care director at Bethany Retirement Community since 2011.

Tangles & Plaques
October 12 – November 18
Created by Neo-Futurist Ensemble Member Kirsten Riiber
Directed by Neo-Futurist Artistic Associate Jen Ellison
Previews: Thursday, Oct. 12 -  Saturday, Oct. 14 at 7:30 p.m.
Opening Night: Monday, Oct. 16 at 7:30 p.m.
Run: Thursdays through Saturdays at 7:30 p.m., October 19 – November 18

Tickets and information are available at neofuturists.org or 773.275.5255

About The Neo-Futurists

The Neo-Futurists are a collective of writer-director-performers creating theater that is fusion of sport, poetry and living-newspaper. Originating over 9,978 plays within the newly launched The Infinite Wrench, 28 years of Too Much Light Makes the Baby Go Blind, and over 65 full-length productions within their immediate, non-illusory aesthetic, The Neo-Futurists have grown to become one of the most highly regarded experimental theater companies in the United States. From humble beginnings as the first late-night theater production in Chicago, they launched what became Chicago’s longest running show and today sustain multifaceted programs such as Neo-Access, The Kitchen (a micro-festival on art and performance), Prime Time, exchanges with branches in New York and San Francisco, Neo-Lab, and The Infinite Wrench, their flagship ongoing late-night show running 50 weekends every year. For more information visit www.neofuturists.org

The Neo-Futurists are partially supported by grants from Alphawood Foundation Chicago, The Chicago Community Foundation, a CityArts Grant from the City of Chicago Department of Cultural Affairs & Special Events, Gaylord and Dorothy Donnelley Foundation, and The MacArthur Fund for Arts and Culture at The Richard H. Driehaus Foundation.

OPENING: IN THE NEXT ROOM, OR THE VIBRATOR PLAY VIA TimeLine Theatre At Stage 773

Chi, IL LIVE Shows On Our Radar:

TimeLine Theatre’s production of 
IN THE NEXT ROOM, OR 
THE VIBRATOR PLAY 
by Sarah Ruhl

OCTOBER 20 – DECEMBER 16, 2017 AT STAGE 773


TIMELINE THEATRE COMPANY ANNOUNCES CAST AND PRODUCTION DETAILS FOR SARAH RUHL’S PULITZER-PRIZE FINALIST AND TONY AWARD-NOMINATED IN THE NEXT ROOM, OR THE VIBRATOR PLAY, DIRECTED BY MECHELLE MOE


TimeLine Theatre Company announces casting and details for the second production of its 2017-2018 season—the Chicago premiere of IN THE NEXT ROOM, OR THE VIBRATOR PLAY, the “insightful, fresh and funny” (The New York Times) play by Sarah Ruhl, directed by TimeLine Company Member Mechelle Moe. The production runs October 26 - December 16, 2017 (previews 10/20 – 10/25) at the company’s alternate location, Stage 773, 1225 W. Belmont Avenue in Chicago.

For tickets and information, visit timelinetheatre.com or call the Stage 773 Box Office at (773) 327-5252.

directed by Mechelle Moe (from left), and featuring Anish Jethmalani, Edgar Sanchez, Dana Tretta, Melissa Canciller, Joel Ewing, Krystel McNeil and Rochelle Therrien.


We'll be out the final Friday in October to review IN THE NEXT ROOM, OR THE VIBRATOR PLAY. Can't wait to check out more of Sarah Ruhl's award winning writing. Do note, this production's at Stage 773, not TimeLine's home space. Check back soon for our full review.

The cast for IN THE NEXT ROOM, OR THE VIBRATOR PLAY features TimeLine Associate Artist Anish Jethmalani (Dr. Givings), Edgar Sanchez (Leo Irving), Dana Tretta (Annie), Melissa Canciller (Sabrina Daldry), Joel Ewing (Mr. Daldry), Krystel McNeil (Elizabeth) and Rochelle Therrien (Catherine Givings).
Sarah Ruhl—a two-time Pulitzer Prize finalist, a Tony Award nominee, and a 2006 recipient of the MacArthur Fellowship—has written a story of awakening, equality, and the need for connection that offers a “rare and savvy premise that manages to be titillating and amusing” (Chicago Tribune).

It is the 1880s and Thomas Edison’s invention of the electric light has begun to change the fabric of daily life. Inspired by Edison’s discovery, scientist and inventor Dr. Givings experiments with a piece of machinery to treat the increasingly common affliction of female hysteria. When he starts to see a new patient regularly, his wife’s curiosity with the invention and what occurs “in the next room” grows, leading to discoveries of her own. This intimate and humorous story of self-discovery reveals that human connection is not simply a means to an end, but a vital part of life itself.

Inspired by the book The Technology of Orgasm by Rachel P. Maines, IN THE NEXT ROOM, OR THE VIBRATOR PLAY is insightful, relatable, and an “enticing blend of irreverent humor and skewed realism” (San Francisco Chronicle). Previously featured at TimeLine in 2016 in a staged reading in collaboration with The Chicago Inclusion Project, TimeLine looks forward to re-examining this play that illuminates “how much control men had over women’s lives, bodies and thoughts, even their most intimate sensations” (The New York Times).
“During the Victorian era when this play is set, women weren’t supposed to exercise their desires or their thoughts, and a diagnosis of ‘hysteria’ was often used to silence them,” said director Mechelle Moe, who is making her TimeLine directorial debut with this production. “Now, in our current political and social climate, women are still fighting for their voice. This smartly written play—a comedy that deals so thoughtfully with complex issues around intimacy in relationships of all kinds—provides a platform for the female voice, helping women be heard.”

The production team includes Sarah JHP Watkins (Scenic Designer), Alison Siple (Costume Designer), Brandon Wardell (Lighting Designer), Andrew Hansen (Original Music / Sound Designer), Vivian Knouse (Properties Designer), Katie Cordts (Wig Designer), Eva Breneman (Dialect Designer), Maren Robinson (Dramaturg), Jared Bellot (Assistant Director), Daniel Parsons (Production Assistant), and Miranda Anderson (Stage Manager).


PERFORMANCE SCHEDULE/EVENTS 
PREVIEWS: Friday 10/20 and Saturday 10/21 at 8 p.m.; Sunday 10/22 at 2 p.m.; Tuesday 10/24 and Wednesday 10/25 at 8 p.m.

REGULAR RUN: 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., through December 16, 2017. EXCEPTIONS: No performance on Saturday, October 28 at 4 p.m.; no performance on Thursday, November 23; additional performances on Friday, November 24 at 4 p.m. and Tuesday, December 12 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 11/1, Sunday 11/5, Thursday 11/9, Thursday 11/30, Wednesday 12/6, and Tuesday 12/12.
— Pre-Show Discussions: Starting one hour before these performances, a 30-minute introductory conversation hosted by a TimeLine Company Member and the production dramaturg with members of the production team on Wednesday 11/15 and Sunday 12/3.
— Captioned Performance: An open-captioned performance with a text display of words and sounds heard during the performance on Saturday 11/18 at 4 p.m. Partial support of open captioning is provided by Theatre Development Fund.
— 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 11/19.
— Sunday Scholars Panel Discussion: A one-hour post-show discussion eaturing experts on the themes and issues of the play on Sunday 12/10.
All discussions are free and open to the public. For further details about all planned discussions and events, visit timelinetheatre.com.

BUYING TICKETS           
Only TimeLine FlexPass Subscribers enjoy priority access to tickets to IN THE NEXT ROOM, OR THE VIBRATOR PLAY. FlexPass Subscriptions for TimeLine’s 2017-18 season are now on sale, priced from $66 to $204. For more information and to purchase FlexPass Subscriptions, call (773) 281-TIME (8463) or visit timelinetheatre.com.

Single ticket prices are $42.50 (Wednesday through Friday), $51.50 (Saturday evenings) and $56.50 (Saturday and Sunday matinees). Preview tickets are $27.50. 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.
Advance purchase is recommended as performances may sell out. For tickets and information, visit timelinetheatre.com or call the Stage 773 Box Office at (773) 327-5252.

LOCATION / TRANSPORTATION / PARKING / ACCESSIBILITY
IN THE NEXT ROOM, OR THE VIBRATOR PLAY will take place at Stage 773, 1225 W. Belmont Ave., Chicago. Stage 773 is located one-half block west of the corner of Belmont and Racine and immediately east of Theater Wit in Chicago’s Lakeview East neighborhood. The theater is accessible via the CTA El stop at Belmont (Red/Brown/Purple lines). CTA bus #77-Belmont stops at Racine. Valet parking is available for $12 and there is also limited free and metered street parking nearby. Visit timelinetheatre.com for complete directions and parking information. Stage 773 is accessible for people with disabilities.     

BIOGRAPHIES
Sarah Ruhl (Playwright) is a Pulitzer Prize Finalist and Tony Award-nominated playwright and has had her work produced across the country. Her plays include STAGE KISS; IN THE NEXT ROOM, OR THE VIBRATOR PLAY (Pulitzer Prize finalist, Tony Award nominee for Best New Play); THE CLEAN HOUSE (Pulitzer Prize finalist, 2005; The Susan Smith Blackburn Prize, 2004); PASSION PLAY (PEN American Award, The Fourth Freedom Forum Playwriting Award from The Kennedy Center); DEAD MAN’S CELL PHONE (Helen Hayes Award); MELANCHOLY PLAY (a musical with Todd Almond); EURYDICE; ORLANDO; DEMETER IN THE CITY (NAACP nomination); LATE: A COWBOY SONG; THREE SISTERS; DEAR ELIZABETH; and most recently, THE OLDEST BOY and FOR PETER PAN ON HER 70TH BIRTHDAY. Her plays have been produced on Broadway at the Lyceum by Lincoln Center Theater, off-Broadway at Playwrights Horizons, Second Stage and Lincoln Center’s Mitzi Newhouse Theater, as well as at Yale Repertory Theater, Berkeley Repertory Theater, and in Chicago at the Goodman Theatre and the Piven Theatre Workshop. Her plays have also been produced internationally and have been translated into more than 12 languages. Originally from Chicago, Ruhl received her MFA degree from Brown University, where she studied with Paula Vogel. An alumna of 13P and of New Dramatists, she received a MacArthur Fellowship in 2006. She was the recipient of the PEN Center Award for a mid-career playwright, the Whiting Writers Award, the Feminist Press’ Forty under Forty Award, and a Lilly Award. She served on the executive council of the Dramatist’s Guild for three years, and she is currently on the faculty at Yale School of Drama. Her book of essays on the theater and motherhood, 100 Essays I Don’t Have Time to Write, was a The New York Times Notable Book of the Year.

Mechelle Moe (Director) is a Company Member at TimeLine, where her credits include directing readings of IN THE NEXT ROOM, OR THE VIBRATOR PLAY in collaboration with The Chicago Inclusion Project, CARDBOARD PIANO in artistic alliance with The Yard, and EXPERIMENT WITH AN AIR PUMP, and appearing in THE APPLE FAMILY PLAYS, MY KIND OF TOWN, THE FRONT PAGE, THE CHILDREN’S HOUR, NOT ENOUGH AIR, and PARADISE LOST. She is co-artistic director of The Yard, a youth-based theater company that produces theater relevant to young people, performed by young people. She is also a founding member of The Hypocrites, and currently is a part of its ensemble. Moe is a Jeff Award recipient for Actress in Principal Role for her performance in MACHINAL (The Hypocrites) and received a Jeff Award nomination for Actress in Principal Role for STAGE DOOR (Griffin). She has directed and devised numerous works at Senn Arts and with The Yard, including MILK LIKE SUGAR, THE 4TH GRADER’S PRESENT AN UNNAMED LOVE SUICIDE, ECLIPSED, OUR AMERICA: GHETTO LIFE 101: REMORSE (which she also adapted) and METAMORPHOSES, both of which were selected for the 2014 and 2015 Illinois High School Theatre Festivals, as well as the docudrama BROKEN TEXT, an original work by Moe based on her interviews with men recently released from incarceration and living in a transitional facility. Moe graduated with honors from the University of Illinois Chicago with both a bachelor’s degree in Theater as well as Anthropology.



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. To date over 20 seasons, TimeLine has presented 71 productions, including nine world premieres and 31 Chicago premieres, and launched the Living History Education Program, now in its 11th 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 53 Jeff Awards, including an award for Outstanding Production 11 times.

Now playing at TimeLine is the Chicago premiere of Peter Morgan’s THE AUDIENICE, directed by Nick Bowling and starring Janet Ulrich Brooks as Queen Elizabeth II. Acclaimed as “smart, juicy and gossipy” (Chicago Tribune) and “sheer theatrical heaven” (Chicago Theatre Review), THE AUDIENCE is now playing through November 12, 2017, at TimeLine, 615 W. Wellington Ave., in Chicago.

The rest of TimeLine Theatre’s upcoming 2017-18 season includes:  
— The Chicago premiere of BOY by Anna Ziegler, inspired by the real-life story of a boy who claims his true identity after being raised as a girl, and finds love, directed by Damon Kiely, January 10 – March 18, 2018.
— And the world premiere of TO CATCH A FISH by Chicagoan Brett Neveu, the first play to be produced that was written and developed through TimeLine’s inaugural Playwrights Collective, about a family and a community torn apart by a flawed search for justice, directed by TimeLine Company Member Ron OJ Parson, April 25 – July 1, 2018.

TimeLine is led by Artistic Director PJ Powers, Managing Director Elizabeth K. Auman and Board President Eileen LaCario. Company members are Nick Bowling, Janet Ulrich Brooks, Behzad Dabu, Lara Goetsch, Juliet Hart, 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, Bloomberg Philanthropies, The Chicago Community Trust, The Crown Family, Forum Fund, The Joseph and Bessie Feinberg Foundation, Lloyd A. Fry Foundation, Illinois Arts Council Agency, Laughing Acres Family Foundation, MacArthur Fund for Arts and Culture at Prince, The Pauls Foundation, Polk Bros. Foundation, The Seabury Foundation, and The Shubert Foundation.

TimeLine is a member of the League of Chicago Theatres, Theatre Communications Group, Choose Chicago, Lakeview East Chamber of Commerce, Chicago Green Theatre Alliance, and Chicago’s Belmont Theater District.

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