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Writers Theatre, under the leadership of Artistic Director Michael Halberstam and Executive Director Kathryn M. Lipuma, opens its 2017/18 season with the World Premiere of TREVOR the musical. The production is directed by Marc Bruni (Beautiful: The Carole King Musical on Broadway), with book and lyrics by Dan Collins, music by Julianne Wick Davis, music direction by Matt Deitchman, orchestrations by Greg Pliska and choreography by Josh Prince, by special arrangement with U Rock Theatricals. TREVOR the musical runs August 9 – September 17, 2017 in the Alexandra C. and John D. Nichols Theatre at 325 Tudor Court, Glencoe. 
 
Tickets for TREVOR the musical are currently on sale. Subscriptions and individual tickets, priced $35-$80, may be purchased online at www.writerstheatre.org, by phone at 847-242-6000, or in person at the box office, 325 Tudor Court in Glencoe.
 
Meet Trevor, a 13-year-old boy in 1981 whose vibrant imagination drives a turbulent journey of self-discovery. As he deals with adolescence and all that goes with it, Trevor begins to explore what it means to be himself, influenced by his friends, parents . . . and Diana Ross.
 
Based on the story that inspired the Academy Award-winning film, the charity and the national movement, TREVOR the musical is a coming-of-age story about identity, emerging sexuality and the struggles of growing up in a world that may not be ready for you. This world premiere musical is directed by Marc Bruni, who helmed the Tony Award-winning production of Beautiful: The Carole King Musical on Broadway.
 
The Trevor Project was created as a result of the Academy Award-winning film that also inspired TREVOR the musical. The Trevor Project is the nation’s only accredited crisis intervention and suicide prevention organization focused on saving young LGBTQ lives. www.TheTrevorProject.org.
 
"TREVOR the musical represents an important step in the evolution of Writers Theatre," said Artistic Director Michael Halberstam. "This ambitious new musical, which we are producing in association with U Rock Theatricals, takes our literary development initiative into a whole new arena. Director Marc Bruni has assembled a superb team of local and national artists. He brings his sophisticated ability to develop new work to the table, along with his trademark gifts for precision in dramaturgy and creating a nurturing and joyous process. Based on Peggy Rajski's Oscar-winning film, book writer Dan Collins and composer Julianne Wick Davis will transport us all back to our adolescence, and into a world of heartache, hilarity and humanism. This is an important story to share and an important time to tell it.
 
The cast includes: Nathaniel Braga (Ensemble), Ariana Burks (Ensemble), Declan Desmond (Pinky), Timothy Eidman (Ensemble), Sophie Grimm (Mom/Mrs. Kerr), Maya Lou Hlava (Frannie), Isabel Kaegi (Ensemble), Eloise Lushina (Mary), Carly Meyer (Ensemble), Jhardon DiShon Milton (Jack), Justin O’Brien (Ensemble), Reilly Oh (Jason), Jerome Riley, Jr. (Ensemble), Salisha Thomas (Diana Ross), Eli Tokash (Trevor), Matthew Uzarraga (Walter), Tori Whaples (Cathy), Graydon Peter Yosowitz (Trevor) and Jarrod Zimmerman (Dad/Father Joe/Others).
 
ABOUT THE ARTISTS
Dan Collins (Book and Lyrics) wrote book and lyrics with composer Julianne Wick Davis for Southern Comfort, which was produced by the Public Theater in Spring 2016 following productions at Barrington Stage and Cap21 (NY Times and Time Out Critics Pick), and development support at the NAMT Festival of New Musicals and Playwrights Horizons. For his work on Southern Comfort, Dan received the Jonathan Larson Award and GLADD Media award. Other projects include Wood (starring Tony Award © Winner Cady Huffman), TREVOR the musical (currently in development with U Rock Theatricals and director Marc Bruni), based on the Academy Award winning film of the same name, and When We Met (The Eugene O’Neill National Musical Theater Conference; CAP 21 Theatre Company). Dan was selected along with Wick Davis as a Dramatist Guild Fellow as well as for TheatreWorks Palo Alto's Writer's Retreat. He received his M.F.A in Musical Theater Writing at Tisch School of the Arts, NYU and his B.F.A. in Playwriting at The Theatre School of DePaul University.
 
Julianne Wick Davis (Music) is a composer/lyricist who wrote music for Southern Comfort (book & lyrics by Dan Collins), which was produced by the Public Theater in Spring 2016 following productions at Barrington Stage and Cap21 (NY Times and Time Out Critics Pick), and development support at the NAMT Festival of New Musicals and Playwrights Horizons. For her work on Southern Comfort, Julianne received the Jonathan Larson Award and GLADD Media award. Julianne wrote music and lyrics for When We Met with Dan Collins (book), which was developed at the O’Neill Musical Theatre Conference, the York NEO Development Series and had a developmental production at CAP21 in 2014. She is currently writing music for TREVOR the musical (Collins, book & lyrics) based on the Oscar-winning film short for U Rock Theatricals, as well as writing music and lyrics for a song cycle based on Jon Crispin’s photographs of the Willard Asylum Suitcases. She is a York Theatre’s NEO 9 emerging writer, a Dramatist Guild Fellow, and a 2015 Sundance Fellow at UCross. Julianne has an MFA from NYU’s Tisch Graduate Musical Theatre Writing Program.
 
Greg Pliska (Orchestrations) is a composer, conductor and orchestrator who diverse career includes award-winning work in theater, film, television and other media. His recent orchestration work includes new themes for CBS Evening News, IMAX, HBO Feature Presentation and Hulu, along with the films The Infiltrator (featuring Bryan Cranston), Manhattan Nocturne (featuring Adrien Brody), Beethoven’s Treasure Tail, The Little Rascals Save the Day, The Wildest Dream and the BAFTA-winning documentary Flying Monsters 3D. He previously co-orchestrated (with Michael Starobin) Julianne Wick Davis' musical When We Met. Greg’s compositions include music for the Broadway play Sylvia and Shakespeare in the Park productions of Twelfth Night, Comedy of Errors, and As You Like It (co-composed with Steve Martin, Drama Desk nomination). He contributed music and orchestration to the BAFTA-winning TV series Life, along with other Discovery Channel and National Geographic programs and several short films. His off-Broadway scores include The Government Inspector, School for Scandal, Vigil, The Window Man, Ice Island, Oy!, and Pericles. He is composer of the theme music for Audible’s podcasts Presidents are People Too and Authorized. He wrote an opera with David Ives, The Secret Garden, and is currently developing a new piece on the life of labor leader Walter Reuther. Greg was the music director for the Tony-winning play War Horse (as well as the Toronto and North American tour productions), for which he also won a web award for Best Musical Direction of a Play. He has conducted off-Broadway and regionally, including the national tour of Jekyll and Hyde, and acclaimed New York productions of Tintypes, The Portable Pioneer and Prairie Show, and Michael Gordon’s Chaos.
 
As an educator, Greg is a frequent festival artistic director and workshop leader for the International Schools Theater Association, which has brought him to more than 35 countries to date. He is a former faculty member of the Graduate Musical Theater Writing Program at New York University, and a teaching artist for the New York Philharmonic, Metropolitan Opera, Manhattan School of Music and the national school reform initiative Different Ways of Knowing. He helped developed the highly acclaimed Creating Original Opera program for the Met, as well as curriculum for schools in New Jersey, New York, Maryland, Chicago and Washington, DC, through the organization Arts for Anyone. Greg was a recipient of the ASCAP Foundation Grants for Young Composers and a Fellow at the Sundance Documentary Composers Lab. He has served on the Board of the Society of Composers and Lyricists for two years, and is the chair of the organization’s New York chapter.
 
In his other life, Greg creates puzzle hunts for corporate and private clients, including two events per year at New York resort Mohonk Mountain House. He is a contributor and puzzle guru for NPR’s Ask Me Another, and a commentator and competitor for Will Shortz’s annual American Crossword Puzzle Tournament. Greg grew up in California and lives in Manhattan with his wife, Jessica, and two children, Margot and Nicholas.
 
Marc Bruni (Director) is currently represented on Broadway and the West End by Beautiful: The Carole King Musical, winner of two 2014 Tony Awards and currently on National Tour. Upcoming: Roman Holiday (Golden Gate Theatre), TREVOR the musical (Writers Theatre). Off Broadway: The Explorers Club (MTC), Old Jews Telling Jokes (NY and Chicago, Jeff Award Nomination). Other directing credits include Other People’s Money (Long Wharf), Presto Change-O (Barrington Stage), Paint Your Wagon (Encores!), The Sound of Music (Chicago Lyric Opera), Pipe Dream (Encores!), Fanny (Encores!), Ordinary Days (Roundabout), In the Mood (Berkshire Theatre Festival), 25th Annual Putnam County Spelling Bee (Paper Mill/Philadelphia Theatre Company), Irving Berlin's White Christmas (Paper Mill), Such Good Friends (NYMF Directing Award), High Spirits (York Mufti), Glimpses of the Moon (Oak Room) and 7 shows for the St. Louis MUNY: My Fair Lady, The Music Man, Sound of Music (Kevin Kline Nominations), Legally Blonde, My One and Only, Seven Brides for Seven Brothers, and Thoroughly Modern Millie. He has been associated with Walter Bobbie, Kathleen Marshall, Jerry Mitchell, Casey Nicholaw, and Jerry Zaks on 15 Broadway shows including The Book of Mormon, Nice Work if You Can Get It, Anything Goes, Legally Blonde, The Pajama Game, Irving Berlin’s White Christmas, Sweet Charity, High Fidelity.
 
Matt Deitchman (Music Director) returns to Writers Theatre where he previously served as the conductor for Parade, and understudied for The Hunter and The Bear. Deitchman is a Chicago based actor, composer, and music director whose work can also be seen in She Loves Me (Marriott Theater) and Ragtime (Griffin Theater). Other recent Chicago music/acting credits include Tug of War, Road Show, Murder For Two (Chicago Shakespeare Theater), Spring Awakening, October Sky (Marriott Theater), Sweeney Todd, The Who’s Tommy (Paramount Theater), Adding Machine, Into The Woods (The Hypocrites), Spelling Bee (Drury Lane Oakbrook), The Man Who Murdered Sherlock Holmes (Mercury Theater) and Wonderland (Chicago Children’s Theatre). He is a graduate of Northwestern University’s musical theater department. mattdeitchman.com
 
Josh Prince (Choreographer)most recently finished choreographing the new hit Broadway show, Beautiful: The Carole King Musical, which was nominated for a Tony in 2013. For his work on Beautiful, he was nominated for the Fred and Adele Astaire Award and played in London’s West End and on a National US Tour. Josh was part of the creative team of the Tony nominated Shrek, The Musical, which opened on Broadway at the Broadway Theater in 2009 and went on to tour the US and play in London’s West End at the Theater Royal Drury Lane. For his choreography in Shrek, The Musical he received an Outer Critics Circle Nomination. Since then, he has had the pleasure of working at Carnegie Hall (The Jerry Springer Opera, starring Harvey Keitel), Lincoln Center (Camelot, starring Gabriel Byrne – PBS), The Kennedy Center (Spring Gala, hosted by Liza Minelli; Latino Inaugural Celebration in 2013 with Chita Rivera and Rita Moreno), Town Hall (All Singing All Dancing, co-director), The Brooklyn Academy of Music (The Bridge Project 2009/10, directed by Sam Mendes), and The New Group (The Kid; Bunty Berman Presents). In London, he has worked at The Old Vic (The Bridge Project), The Royal Festival Hall (Singin’ In The Rain) and The Royal Albert Hall (My Fair Lady, Chor.; BBC Prom 59 starring Family Guy creator, Seth MacFarlane. Dir./chor.)
 
Ariana Burks (Ensemble) makes her Writers Theatre debut. Film credits include Chicago Med, Chicago Fire (NBC), The Jr. Cuisine Cooking Show (2011 Emmy nomination) and PrankStars (Disney). Theatre credits include Clara in The Nutcracker (The House Theatre of Chicago), Marjan in The Compass (Steppenwolf Theatre), Little Inez in Hairspray (Paramount Theatre), Alice in Wonderland: Alice's Rock and Roll Adventure (Chicago Children's Theatre), Emma in The Black & White Ball (FWD Theatre Project), Elf in Rudolph (Broadway Playhouse), Belinda/Fan in A Christmas Carol (Goodman Theatre) and Little Inez in Hairspray (Drury Lane Oakbrook).
 
Nathaniel Braga (Ensemble) Chicago credits include Shakespeare in Love (Chicago Shakespeare Theater), Wonderful Town (Goodman Theatre), M. Butterfly (Court Theatre), Sweet Charity, The King and I (Drury Lane Oakbrook), Mamma Mia and The Producers (Marriott Theatre). New York credits include Turandot (The Metropolitan Opera), New York Spring Spectacular (Radio City Music Hall), It's a Bird...It’s a Plane…It’s Superman (City Center Encores!) and the dance lab of The SpongeBob Musical. Regional Theaters include Guthrie Theater, Theater Under The Stars, North Shore Music Theater, Alabama Shakespeare Festival, Maltz Jupiter Theater (Carbonell Award nominee), The Wells-Metz at IU, Asolo Theater, as well as two seasons at The Muny in St. Louis. He appeared in HMS Pinafore as part of PBS’ Fall Arts Festival. He is a Minnesota State Gymnastics Champion, and plays the violin professionally.
 
Declan Desmond (Pinky) makes his Writers Theatre debut. Declan has had the honor of working with The Goodman Theatre, Lookingglass Theatre Company and The Gift Theatre. He has also had the good fortune to study voice at Northwestern University and the Merit School of Music. In his free time, he studies violin and piano.
 
Timothy Eidman (Ensemble, Dance Captain) makes his Writers Theatre debut. Chicago credits include Mary Poppins, The Bardy Bunch and The Producers (Mercury Theater Chicago). Other credits include Joseph… DreamcoatDisney’s Aladdin, Dreamgirls, Pirates! or Gilbert and Sullivan Plunder’d (The Muny), Oklahoma! and The Addams Family (Tibbits Opera House). Timothy holds a B.A. in Dance and Theatre from Loyola University Chicago, and is a recent alum of The School at Jacob’s Pillow where he studied under the direction of Chet Walker.
 
Sophie Grimm (Mom/Mrs. Kerr) makes her Writers Theatre debut. Originally a Twin Cities performer (Ellsworth, WI) alongside her family, Colleen Raye, Trey, Jennifer and Reed Grimm, Sophie is now a Chicago-based vocalist and actor, with credits including Desdemona in the critically acclaimed Othello: The Remix (Chicago Shakespeare Theater), Les Miserables (Paramount Theatre), Frederick (Chicago Children's Theatre), The Sound of Music (Drury Lane Oakbrook) and I Love Lucy: Live! (Broadway Playhouse), as well as across the country in jazz, cabaret and concert settings. Teaching and assisting are also passions of Sophie and she enjoys making them a part of daily life.
 
Maya Lou Hlava (Frannie) makes her Writers Theatre debut. Other Chicago credits include The Nether (A Red Orchid Theatre), White Christmas and Bye Bye Birdie (Drury Lane Theater), Jake's Women (Spartan Theatre Company), The Secret Garden (Court Theatre), The Talking Cure (Idle Muse Theatre Company), Jane Eyre (Lifeline Theatre), and The Wheel (Steppenwolf Theatre). Maya is also a principal voice over artist for Disney’s World of English and was seen in the film The Life of Penny Cyclone within the US Premiere of Ride the Cyclone (Chicago Shakespeare Theatre). Maya studies voice with Roberta Duchak, dance with Matt Crowle, and on camera at Vagabond School of the Arts. 
 
Isabel Kaegi (Ensemble)makes her Writers Theatre debut. Isabel was recently seen as The Narrator in Winnie the Pooh (Ravinia Festival) and Debbie in Billy Elliot (Highland Park Players). Additional credits include Wednesday in The Addams Family (Palatine High School), Cinderella in Into the Woods Jr. and Ugly Duckling in Shrek The Musical (The Performer's School), Annie in Annie, Chip in Beauty and the Beast, Little Fiona in Shrek The Musical and Ladybug in James and the Giant Peach. She trained with The Performer’s School and is a member of the International Thespian Society. 
 
Eloise Lushina (Mary) makes her Writers Theatre debut. Chicago credits include Mary Beth in A Christmas Story, Jane Banks in Mary Poppins (Paramount Theatre), Carrie Nawlins in Bedknobs and Broomsticks workshop (Chicago Shakespeare Theater). Other stage credits include Young Bonnie in Bonnie & Clyde , Elle Woods in Legally Blonde, (Wilmette Theater/Actor’s Training Center), Children’s Chorus in Dead Man Walking (Cahn Auditorium, Northwestern University), Alice in Through the Looking Glass and Young Elizabeth Lavenza in Frankenstein (Mudlark Theater). Film credits include lead roles in Addicted, Break My Bones, Happy Snow Day Franny, Graybeard and Free Man. Eloise is a freshman at Evanston Township High School.
 
Carly Meyer (Ensemble) makes her Writers Theatre debut. A sophomore at Glenbrook North High School, Carly was recently named best actress by Broadway in Chicago at the Illinois High School Musical Theatre Awards for her role as Hodel in Fiddler on the Roof. This earned her the honor of performing at the Jimmy Awards in New York. Some of her other favorite roles include Crystal in Little Shop of Horrors (Glenbrook North High School) Fiona in Shrek The Musical (The Performer's School), Joanne in Godspell (Actor's Training Center), Mary in Secret Garden (Lake Forest Theatre) and Bare: A Pop Opera (Another Door Theatre Project). Carly was a featured vocal performer for KIDZ ROC at the Clay Cooper Theater in Branson, Missouri and fan favorite winner of Suburban Chicago's Got Talent. In addition, she received the top honor in Sinfonietta Bel Canto Voice. Carly has been privately studying musical theatre, classical repertoire, and dance since the age of seven.
 
Jhardon DiShon Milton (Jack) makes his Writers Theatre debut. Credits include Bye Bye Birdie and Monty in Saturday Night Fever at (Drury Lane Oakbrook), La Cage aux Folles and Madagascar (Marriott Theatre) and Seymour in Little Shop of Horrors (Tantrum Theatre Ohio). He’s also been seen in various productions at Black Ensemble Theatre and Theatre at the Center.
 
Justin O'Brien (Ensemble) makes his Writers Theatre debut. Previous credits include Tom Sawyer in The Adventures of Tom Sawyer, Rapunzel's Prince in Into the Woods (Encore Music Academy), Ensemble in Anything GoesCinderella, Evita (CGHS), 42nd Street (Fremont St. Theater Co.) and Guys and Dolls (Music On Stage). He has also been seen with Judith Svalander Dance Theatre performing leading roles in the ballets The Nutcracker and Cinderella and Centennial Dances. Justin is currently a Senior at Cary Grove High School and studies dance at Judith Svalander School of Ballet.
 
Reilly Oh (Jason/Ensemble) makes his Writers Theatre debut. A rising sophomore at New Trier High School, some of Reilly's favorite roles include Danny in Grease (New Trier High School), Josh in Big: The Musical, Judas in Godspell (Actors Training Center) and Donkey in Shrek The Musical (Children's Theatre of Winnetka).
 
Jerome Riley, Jr. (Ensemble) is a queer artist originally from St. Louis, where he found his passion for… thrifting! He is a recent graduate of Columbia College Chicago, where he received his B.F.A. in Musical Theatre with a Minor in Women & Gender Studies. Jerome was recently seen as Roy Wright in The Scottsboro Boys (Porchlight Music Theatre). He is also a part of a queer performance group: The Chanel’s, who can be seen every second Wednesday of the month at DURO, at Berlin Nightclub.
 
Eli Tokash (Trevor) makes his Writers Theatre debut. He has performed on Broadway as Peter Llewelyn Davies in Finding Neverland and Theo in Pippin. He was also seen across the country in the national tours of Finding Neverland as Peter Llewelyn Davies, in A Christmas Story as Ralphie Parker and in Mary Poppins as Michael Banks. Television credits include Limitless (CBS), I Love You... But I Lied (Lifetime) and Forever (ABC). He can be seen in the feature films Blood Ties, and the upcoming Benji the Dove. One of his proudest moments was performing for First Lady Michelle Obama in Broadway at the White House.
 
Salisha Thomas (Diana Ross) makes her Writers Theatre debut. California native and Miss California World 2016. Credits include Beautiful: The Carole King Musical, principal vocalist for Disney. Regional credits include Deena Jones in Dreamgirls, TiMoune in Once On This Island, Martha in Spring Awakening, Dynamite in Hairspray, to name a few. BA Theatre from Cal State Fullerton.
 
Matthew Uzarraga (Walter) makes his Writers Theatre debut. Chicago area credits include John Webster in Shakespeare in Love, Flounder in The Little Mermaid, Young Shrek/Baby Bear in Shrek the Musical (Chicago Shakespeare Theater), Prince Chulalongkorn in The King and I (Lyric Opera of Chicago and Marriott Theatre), Gavroche in Les Misérables, Workhouse Boy/Pick Pocket in Oliver! (Drury Lane Oakbrook), Schwartz in A Christmas Story the Musical and Children’s Chorus in Joseph and the Amazing Technicolor Dreamcoat (Paramount Theatre). Commercial and industrial credits include Wisconsin Dells Tourism, Chrysler, Kyle Dine & Friends allergy awareness DVD, Accenture, Pearson Education, Toys R Us, Shout, Incredible Islands and Cap Gun Collective. His voiceover work is featured in the animated short film Moose. He has trained at Vagabond School of the Arts, The Performer’s School, Kaneland Arts Initiative, Xplore Tumbling and Gymnastics and tap with Matt Crowle.
 
Tori Whaples (Cathy) makes her Writers Theatre debut. Regional theatre credits include Into the Woods (Woodstock Opera House), Annie (Steps P.A.C), Far from Heaven (Porchlight Music Theatre) and The Secret Garden (Court Theatre). Tori is a recent 8th grade graduate and is ready to start her exciting journey as high school freshman at Grayslake Central High School. She is a student at the Steps Performing Arts Center and would like to thank Mr. Phil, her voice teacher who challenges her to always be her best. She also loves to perform with her friends at the RLAPD Performing Arts Center. Thanks to all of her family and friends who make time to come see her perform and to Paonessa Talent.
 
Graydon Peter Yosowitz (Trevor) makes his Writers Theatre debut. Off-Broadway credits include The Light Years (The Debate Society/Playwrights Horizons), You’re a Good Man Charlie Brown (York Theatre), The Gold (Pearl Theatre), The Odyssey (The Public/Delacorte Theatre). Concert series performances include Rudolph the Red Nosed Reindeer (NY Pops/Carnegie Hall), Wall to Wall Stephen Schwartz (Symphony Space NYC). Television credits include Nightcap (POP TV), Kevin Can Wait (CBS), The Jim Gaffigan Show (TV Land).
 
Jarrod Zimmerman (Dad/Father Joe/Others) returns toWriters Theatre, where he previously appeared in Days Like Today and Sweet Charity. Chicago credits include A Christmas Carol (Goodman Theatre), Shakespeare in the Parks: The Taming of the Shrew, The Emperor’s New Clothes (Chicago Shakespeare Theater), Gypsy (Drury Lane Oakbrook), Merrily We Roll Along (The Music Theatre Company), The Music Man, Little Women, Into the Woods (Marriott Theatre), The Boys Are Coming Home (AMTP) and The Spitfire Grill (Provision Theater). Regional credits include A Minister's Wife (San Jose Repertory Theatre), 1776 (American Conservatory Theatre and Asolo Repertory Theatre), A Day in Hollywood / A Night in the Ukraine (Peninsula Players), I Love You, You’re Perfect, Now Change (Totem Pole Playhouse), Big! the musical, Proof, The Mousetrap, Little Women and Arsenic and Old Lace (Arrow Rock Lyceum Theatre). Television credits include Boss (Starz). Zimmerman is a graduate of Northwestern University.
 
 
AUDIENCE ENGAGEMENT
Accessible Performances
ASL-Interpreted performance: Saturday, September 16, 2017 at 7:30 pm
Open-Captioned performance: Friday, September 15, 2017 at 7:30 pm
 
Sunday Spotlight—Sunday, September 3, 2017
Are you curious about the world that surrounds your favorite plays? Sunday Spotlight offers access to the finest speakers, scholars and cultural leaders. This one-hour event extends the conversation on our stages by featuring an expert in an area connected to the play. Seating is limited. RSVP is required. Save the date!
 
The Making of… Series—Monday, September 11, 2017 at 6:30 pm
Writers Theatre will once again host its popular The Making of… Series, providing insight into a different aspect of creating the productions seen on our stages. Enjoy a short and lively presentation by our actors, designers or other experts who will walk you through the process of preparing for and executing a production. The Making of… events are FREE and open to the public. Seating is limited. RSVP is required.
 
Post Show Conversation: The Word
Join us after every Tuesday evening performance (excluding previews and extensions) for a 15-minute discussion of the play, facilitated by a member of the WT Artistic Team.
 
Post Show Conversation: The Artist
Join us after every Wednesday evening performance (excluding previews and extensions) for a 15-minute talk-back featuring actors from the production, facilitated by a member of the WT Artistic Team.
 
Pre-Show Conversation: Up Close
Join us at 6:45pm before every Thursday evening performance (excluding previews and extensions) for a 15-minute primer on the context and content of the play, facilitated by a member of the WT Artistic Team.
 
For more information about Writers Theatre Audience Enrichment programs visit writerstheatre.org/events.
 
RIDE METRA TO WRITERS THEATRE
In an effort to promote taking public transit to the Theatre, Writers Theatre launched a new promotion in 2013. Any audience member who purchases a ticket to a Writers Theatre production and rides Metra’s Union Pacific North Line to the Theatre may snap a photo of themselves on the train and post it to their Facebook or Instagram page or their Twitter feed with a tag of @WritersTheatre and #[the title of the show], and upon showing the post at the Writers Theatre Box Office, receive $5 in cash to put toward the cost of your fare as a thank you for going green.
 
This promotion is available for a limited time only, and may end without warning. Ticket must have been paid for in advance. Not valid on comp tickets. More information available at writerstheatre.org/metra
 
WRITERS THEATRE PARTNERS
Writers Theatre is pleased to welcome back BMO Harris Bank as the 2017/18 Season Sponsor, and ComEd as the Official Lighting Sponsor of the 2017/18 Season. The Major Corporate Sponsor for TREVOR the musical is Northern Trust. The Major Production Sponsor is Mary Pat Studdert. Additional support for TREVOR the musical is provided by the Director’s Society Sponsors.
 
 
ABOUT WRITERS THEATRE
For 25 years, Writers Theatre has captivated Chicagoland audiences with inventive interpretations of classic work, a bold approach to contemporary theatre and a dedication to creating the most intimate theatrical experience possible.
 
Under the artistic leadership of Michael Halberstam and the executive leadership of Kathryn M. Lipuma, Writers Theatre has grown to become a major Chicagoland cultural destination with a national reputation for excellence, being called “America’s No. 1 theatre company” by The Wall Street Journal. The company, which plays to a sold-out and discerning audience of more than 60,000 patrons each season, has garnered critical praise for the consistent high quality and intimacy of its artistry—providing the finest interpretations of both classic and contemporary theatre in its two intensely intimate venues. 
 
In February 2016, Writers Theatre opened a new, state-of-the-art facility. This established the company's first permanent home—a new theatre center in downtown Glencoe, designed by the award-winning, internationally renowned Studio Gang Architects, led by Founder and Design Principal Jeanne Gang, FAIA, in collaboration with Theatre Consultant Auerbach Pollock Friedlander. The new facility has allowed the Theatre to continue to grow to accommodate its audience, while maintaining its trademark intimacy. The new facility resonates with and complements the Theatre’s neighboring Glencoe community, adding tremendous value to Chicagoland and helping to establish the North Shore as a premier cultural destination.
 
Find Writers Theatre on Facebook at Facebook.com/WritersTheatre or follow @WritersTheatre on Twitter. For more information, visit www.writerstheatre.org.
 
 
Title:                             TREVOR the musical
Book and Lyrics by:        Dan Collins
Music by:                       Julianne Wick Davis
Based on the Academy Award-winning film Trevor
Orchestrations by:          Greg Pliska
Music Direction by:         Matt Deitchman
Choreography by:           Josh Prince
Directed by:                   Marc Bruni       
 
Featuring:                        Nathaniel Braga, Ariana Burks, Declan Desmond, Timothy Eidman, Sophie Grimm, Maya Lou Hlava, Isabel Kaegi, Eloise Lushina, Carly Meyer, Jhardon DiShon Milton, Justin O’Brien, Reilly Oh, Jerome Riley, Jr., Salisha Thomas, Eli Tokash, Matthew Uzarraga, Tori Whaples, Graydon Peter Yosowitz and Jarrod Zimmerman.
 
Dates:                              First performance: Wednesday, August 9, 2017

                                         Closing performance: September 17, 2017
 
Schedule:                         Tuesdays – Fridays: 7:30pm
                                         (with select 3:00pm Wednesday matinees)
                                         Saturdays: 3:00pm and 7:30pm
                                       Sundays:2:00pm and 6:00pm
 
Location:                           The Alexandra C. and John D. Nichols Theatre 325 Tudor Court, Glencoe
             
              Prices:                             Prices for all performances range from $35 - $80. Purchase early for best prices                                 
             
Box Office:                       The Box Office is located at 325 Tudor Court, Glencoe;847-242-6000; www.writerstheatre.org
 
 
Notes of Interest:
TREVOR the musical is based on the Academy Award-winning short film. The film can be seen on YouTube, or by clicking here.
 
Director Marc Bruni and choreographer Josh Prince are fresh from the Tony Award-winning production of Beautiful: The Carole King Musical on Broadway, which has subsequently toured North America, London and an upcoming tour launching this fall in Australia.
 
Dan Collins (book and lyrics) and Julianne Wick Davis (music) worked together on Southern Comfort, which was produced by the Public Theater in Spring 2016 following productions at Barrington Stage and Cap21 (NY Times and Time Out Critics Pick), and development support at the NAMT Festival of New Musicals and Playwrights Horizons. Southern Comfort received the Jonathan Larson Award and GLAAD Media award. They wrote music and lyrics for When We Met, which was developed at the O’Neill Musical Theatre Conference, the York NEO Development Series and had a developmental production at CAP21 in 2014.
 
The film inspired the creation of The Trevor Project, the nation’s only accredited crisis intervention and suicide prevention organization focused on saving young LGBTQ lives. www.TheTrevorProject.org.
 
According to The Trevor Project "suicide is the second leading cause of death among young people ages 10 to 24; the rate of suicide attempts is 4 times greater for LGB youth and 2 times greater for questioning youth than that of straight youth. Suicide attempts by LGB youth and questioning youth are 4 to 6 times more likely to result in injury, poisoning, or overdose that requires treatment from a doctor or nurse, compared to their straight peers.”
 
Writers is partnering with U Rock Theatricals, a group of young producers, who aim to create a new generation of intelligent and relevant musicals, ultimately for Broadway audiences. 

Published in Upcoming Theatre

Following the lives of Charlotte and Jonny, The Mystery of Love and Sex cleverly explores a variety of subjects including sexual identity, race, political correctness and family undercurrents. Charlotte and Jonny have grown up together and have become the very best of friends. Charlotte is a white girl who had lived with her parents, her father Jewish and her mother converted, while Jonny, an African American had lived with his mother just next door. 

The story starts off with Charlotte and Jonny living together while attending college. They wonder if their longtime friendship can develop into something more. The two are stressed when Charlotte’s parents, Howard and Lucinda, come by for dinner unsure of what they might think of their living relationship and their possible future together. Howard, a  successful crime novelist accused of writing with racist and sexist overtones by Jonny ("Why are all black men able to dance? Why are most found victims women with no clothes on?"), is direct, concerned and, at times, a bit skeptical. “What is this? Like Bohemian?” He says referring to the couple’s table setting. It doesn’t help matters that Charlotte and Jonny are serving just salad and bread. But we quickly see how much Howard cares for both his daughter Charlotte and Jonny, who he considers his son, despite his oft coarse exterior. 

As the story progresses, Charlotte and Jonny show trepidation in pursuing a future together even questioning their own sexuality. Howard and Lucinda, who consider themselves liberal parents, just want their daughter to be happy. We are then taken on several plot twists and turns in both Howard and Lucinda’s marriage and the lives of Jonny and Charlotte that keep the story highly engaging.

Keenly directed by Marti Lyons and smartly written by Bathsheba Doran, The Mystery of Love and Sex provides four main characters that are each appealing in their own ways. The interactions between the four is fulfilling, as it is humorous, touching and true to life. Doran’s story is that of love, whether it be unconditional or the lengths taken to find it. It is a journey into life’s most sought after desire and a tribute to accepting those for who they are.  

"I have had the pleasure of following the impressive rising careers of playwright Bash Doran and Director Marti Lyons for the past few years and I am delighted to find a project that suited both their considerable talents so perfectly," says Artistic Director Michael Halberstam.

Hayley Burgess leads the way as Charlotte with a bold performance in her Writers Theatre debut. Charlotte has many layers that are revealed throughout the play and Burgess gently takes the audience by the hand into her character’s depth one step at a time. Best friend and confidant Jonny is well-played by Travis Turner who is also able to play up to the complexities in his role with much aplomb. Lia Mortensen is just fantastic as Lucinda, delivering her witty lines to perfection and getting several laughs in the way her character struggles to quit smoking. Cast in the role of Howard is Keith Kupferer. However, Kupferer had taken ill and was unavailable for the performance I had attended thrusting Mark David Kaplan into the role, who is simply remarkable. Kaplan steers his role with grit and finesse offering the clear predictability of Howard’s stereotype, but is also able to throw in a handful of surprising moments filled with a genuineness than can catch us off guard. Kaplan and Mortensen are terrific as Charlotte’s parents, bringing forth plenty of funny exchanges and throwing several well-timed darts at each other.

There is a lot to like in Doran’s The Mystery of Love and Sex from its tantalizing script to its well-executed performances. The play delivers a solid message in a uniquely crafty way that is entertaining from beginning to end. 

Recommended. 

The Mystery of Love and Sex is currently running at Writers Theatre (325 Tudor Court, Glenview) through July 2nd. For tickets and/or more show information click here

*This play contains frontal nudity.

Published in Theatre in Review

We first meet Clea as she traipses into the great room of a sky-high Manhattan penthouse, enraptured by the “surreal” view. Looking on disdainfully are Charlie (Mark Montgomery), an actor who has been struggling to get cast lately, and his wing-man Lewis (La Shawn Banks).

In the world of theater, a gushing ingénue making a breathless entrance is something that has been seen before, to put it mildly. Charlie for one is not impressed. 

In short order, though, we sense there may be more to this young woman, and these men, than first appears. As it happens, the party is in the home of an actor-writer on the rise, and his older, wealthy patron. Charlie is there hoping to rub shoulders with him, and maybe get a role in his new production.

Clea (Deanna Myers blazes in the role) is on a similar mission – though at this point in her career she is less certain about how things will play out. She is also a font of inanity – “Food is, like, disgusting to me,” she avers, claiming never to eat. “Most things people put in their mouths, it is totally just like eating death. Someone proved that eating is killing people." 

Charlie and Lewis are agape at Clea. Charlie clearly finds her exaggerated pronouncements aversive, while Lewis nods and puts on about the phoniest show of interest imaginable - miming that attraction men sometimes feel despite (or perhaps because of) knowing better.  

Poured into snug-fitting couture and clearly master of her heels, Clea reads, accurately, the mocking tone in Charlie’s desultory conversation. When he asks her how the view can be “surreal,” sparks begin to fly in what turns out to be a harbinger of later romance.   

This is also the first inkling we have that Clea is more femme fatale than ingénue.  She vacillates from helpless to heated. In due course, she reveals a grab-bag of information about herself, and observations on life in general. Her mother is an alcoholic, so she doesn’t drink. People are just not "awake" to life.  

She has recently arrived from Ohio hoping to make her break in New York. She eventually asks for that vodka – just this one time – and becomes even more voluble. Clea reveals she has applied for a position on a television production team – and does a send-up of the woman who interviewed her, describing a “Nazi priestess” of talent bookings, by the name of Stella. As it turns out, Stella is Charlie’s wife - and fatefully, the unrequited love of Lewis.

Clea came there intent on making an impression. And oh she does in Meyers’s super-charged performance. In later scenes, after she has vanquished Lewis, she moves on to seduce Charlie, ultimately triggering his downfall by overstaying a tryst - so the two get caught by Stella.

Charlie eventually ends up on the street, having cast aside his stable life with Stella. (The story line draws on Waugh's of Human Bondage, according to playwright Therese Rebeck.)

The couple was about to adopt a child. Perhaps the prospect of parenthood was too great a strain on Charlie. Fear of parenthood is a classic romance killer, but under Kimberly Seniors direction we are witness to Charlie's action, but not his motivation. Stella also is a bit of a caricature, slipping into Spanish when her blood gets boiling.  Lewis, meanwhile, has played this marriage's third wheel from the opening scene, defending Stella against critiques. The trio has a reasonable chemistry in scenes, but Stella seems overplayed, and Lewis underplayed when they are alone together. 

As to Clea: Viper? Seductress? Ingénue? Trollop? Those old-fashioned words don’t quite apply, as Clea owns her sexuality, and is aware of where she is heading. She seems at once incisive, and empty-headed.

“How can you know so much and so little at the same time?” as Charlie asks.

Waugh’s classic, Of Human Bondage, was filmed three times. And The Scene was also made into a movie - Seducing Charlie Barker. 

In The Scene, the eventual affair with Clea leads to Charlie’s downfall, and his wife Stella’s departure, among other things. While the performance by Myers is captivating, and the chemistry between Stella (Charin Alvarez), Lewis and Charlie is convincing, I struggled to find empathy with anyone other than Clea – a rather villainous protagonist.

The glass and steel set is striking, and works really well through all the scenes. The furnishings were dead on, very Blue Dot Catalog. Likewise the costumes, down to the men's shoes.  Brian Sidney Bembridge did sets;  Nan Zabriskie costume; Sarah Hughey, lighting; Richard Woodbury, original music and sound design; and Scott Dickens handled props. 

Running through April 2 at the Writers Theatre in Glencoe, Illinois, The Scene comes recommended, especially to see Deanna Myers.

Published in Theatre in Review
Wednesday, 22 February 2017 13:13

Writers Theatre Announces 2017-18 Season

Writers Theatre Artistic Director Michael Halberstam and Executive Director Kathryn M. Lipuma announce the company’s 2017-2018 six-show season, opening with the World Premiere of Trevor the musical in the Alexandra C. and John D. Nichols Theatre. The production will be directed by Marc Bruni (Beautiful: The Carole King Musical on Broadway), with book and lyrics by Dan Collins, music by Julianne Wick Davis, music direction by Alexander Rovang and choreography by Josh Prince, by special arrangement with U Rock Theatricals. The season will continue with Oscar Wilde’s clever comedy of manners The Importance of Being Earnest directed by Michael Halberstam; Eugene O’Neill’s masterpiece A Moon for the Misbegotten directed by William Brown; and Sam Shepard’s Pulitzer Prize-winning Buried Child, directed by Kimberly Senior in the Alexandra C. and John D. Nichols Theatre, with a production yet to be announced opening the season in the Gillian Theatre, followed by the Chicago Premiere of Lydia Diamond’s Smart People, directed by Hallie Gordon.

 

The 2017-2018 Season marks Writers Theatre’s second full season in the company’s award-winning new home at 325 Tudor Court in Glencoe, designed by Studio Gang Architects. Productions will be presented in two spaces in the theater complex including the 255-seat Alexandra C. and John D. Nichols Theatre as well as the Gillian Theatre, a 50 to 99-seat flexible theatre space.

 

From its very first year, Writers Theatre has brought quality and excellence to the stage while maintaining the company’s hallmark intimacy. The last 25 years have seen unprecedented growth in both the artistic and business arenas as the company has garnered national acclaim and recognition, marked by the celebrated opening of the Theatre’s new facility in February of 2016. With a longstanding reputation for consistent artistic excellence and with strong ties to the community, Writers Theatre has built an award-winning repertoire and serves as a vital and highly regarded company in the Chicagoland theatre community.

 

“This is a particularly ambitious season for us,” says Artistic Director Michael Halberstam. “We are starting to really stretch things in our new home! We are particularly delighted to be in collaboration with such a wonderful array of directors, actors and playwrights. Of particular note, this season marks our first collaboration with a team of New York producers in presenting a powerful world premiere musical, which will launch what is a classic Writers Theatre season. We have our trademark mix of classic revivals and new plays presented with fresh perspective in our two intimate venues. When we set about to build a new home, we wanted to create a theatre that would allow us to continue to pursue our mission, but with much greater sophistication.  This season takes advantage of our new facility by honoring our past while very much looking forward to our future. Stand by for additional news to come! There is one more exhilarating production still to announce!”

 

Season Packages are available at the Box Office, 325 Tudor Court, Glencoe, 847-242-6000 and www.writerstheatre.org.

 

Writers Theatre is pleased to welcome back BMO Harris Bank as the distinguished 2017/18 Season Sponsor, marking the Bank’s seventh consecutive year as season sponsor.

 

 

The Writers Theatre 2017-2018 Season includes:

 

World Premiere

TREVOR THE MUSICAL

Book and Lyrics by Dan Collins

Music by Julianne Wick Davis

Based on the Academy Award-winning film Trevor

Choreography by Josh Prince

Music Direction by Alexander Rovang

Directed by Marc Bruni

August 9 – September 17, 2017

Alexandra C. and John D. Nichols Theatre | 325 Tudor Court, Glencoe

 

Meet Trevor, a 13-year-old boy in 1981 whose vibrant imagination drives a turbulent journey of self-discovery. As he deals with adolescence and all that goes with it, Trevor begins to explore what it means to be himself, influenced by his friends, parents . . . and Diana Ross. 

 

Based on the story that inspired the Oscar-winning film, the charity and the national movement, TREVOR the musical is a coming-of-age story about identity, emerging sexuality and the struggles of growing up in a world that may not be ready for you.  This world premiere musical is directed by Marc Bruni, who helmed the Tony Award-winning production of Beautiful: The Carole King Musical on Broadway.

 

The Trevor Project was created as a result of the Academy Award-winning film that also inspired TREVOR the musical. The Trevor Project is the nation’s only accredited crisis intervention and suicide prevention organization focused on saving young LGBTQ lives. www.TheTrevorProject.org 

 

 

TO BE ANNOUNCED

September 27 – December 17, 2017

The Gillian Theatre | 325 Tudor Court, Glencoe

 

We’re still finalizing details for the first production in the Gillian Theatre next season, and aren’t quite ready to make the project public yet. However, we can tell you that it fits the Writers Theatre style—intimate, engaging and full of captivating performances by top-flight talent.

 

 

THE IMPORTANCE OF BEING EARNEST

Written by Oscar Wilde

Directed by Artistic Director Michael Halberstam

November 8 – December 23, 2017

Alexandra C. and John D. Nichols Theatre | 325 Tudor Court, Glencoe

 

One of the cleverest comedies by one of the greatest writers in the English language, THE IMPORTANCE OF BEING EARNEST introduces us to Jack and Algernon, two charming bachelors who are each living a double life, aided by a fictional alter ego called “Ernest.” But when they fall truly in love with a pair of proper young women, will they be able to bring an end to the charade and convince the formidable Lady Bracknell that they are suitable candidates for marriage? After all, “the one charm about marriage is that it makes a life of deception absolutely necessary for both parties.”

 

Artistic Director Michael Halberstam brings his talent for refreshing the classics to this effervescent comedy of manners. Filled with Wilde’s sparkling wit, piercing social satire and trademark wordplay, this well-loved classic is certain to delight this holiday season!

 

 

A MOON FOR THE MISBEGOTTEN

Written by Eugene O’Neill

Directed by William Brown

February 7 – March 18, 2018

Alexandra C. and John D. Nichols Theatre | 325 Tudor Court, Glencoe

 

In 1920s rural Connecticut, Phil Hogan cobbles together a living on rented farmland that he hopes to someday own outright, when his landlord Jim Tyrone comes into his inheritance. Hogan has driven away his three sons, but his towering daughter Josie understands her father and can hold her own. When the two learn that the land may be sold out from under them, they concoct a plan to save it that ultimately reveals the secret desires that two lonely souls have kept hidden for years.

 

This bittersweet elegy from four-time Pulitzer Prize-winning playwright and Nobel laureateEugene O’Neill offers a moving and powerful exploration of humanity at its basest and most beautiful.  Directed by WT Resident Director William Brown (Company, Doubt: A Parable, The Liar, A Little Night Music and many more), this soaring powerhouse of a play is simultaneously intimate and epic, touching on themes of desire, family and the things we sacrifice for those we love.

 

 

SMART PEOPLE

Written by Lydia Diamond

Directed by Hallie Gordon

March 21 – June 10, 2018

The Gillian Theatre | 325 Tudor Court, Glencoe

 

Four intelligent, attractive and opinionated young urban professionals—a doctor, an actress, a psychologist, and a neurobiologist studying the human brain’s response to race—search for love, success, and identity while also attempting to navigate the intricacies of racial and sexual politics. This whip-smart new play taps into current cultural conversation in an enthralling and provocative way, taking on deep questions of the nature of prejudice with razor sharp wit.

 

Staged in our intimate Gillian Theatre, this sexy, serious and fiercely funny new play explores the inescapable nature of racism and other tricky topics with rapid fire dialogue, shattering assumptions about our culture’s ingrained attitudes of racism, sexism and classism. You’re sure to be captivated by one of the smartest new plays of its time!

 

 

 

BURIED CHILD

Written by Sam Shephard

Directed by Kimberly Senior

May 9 – June 17, 2018 

Alexandra C. and John D. Nichols Theatre | 325 Tudor Court, Glencoe

 

On a cross-country trip from New York to the west coast, Vince and his girlfriend Shelly decide to make a stop at his grandparents’ rural Illinois home. But when they arrive, neither his grandparents, Dodge and Halie, nor his father Tilden and uncle Bradley seem to recognize or remember him. As Vince searches for answers, truths begin to emerge that reveal a deep corrosion of this fragmented family living in a forgotten America.

 

This Pulitzer Prize-winning masterpiece will be newly invigorated for the WT stage by Resident Director Kimberly Senior (Hedda Gabler, The Diary Of Anne Frank, Marjorie Prime, The Scene), drawing audiences deeply into the story of a family fighting to come to grips with an America that may have left them behind.

 

 

SEASON PACKAGES

Writers Theatre season ticket packages provide a convenient theater going experience and guarantee access to all of WT’s highly anticipated productions throughout the season. Six-play subscription packages are available, ranging in price from $249 to $389.

 

Three-play “Pick Your Own” Flex packages that include two productions in the Nichols Theatre and one production in the Gillian Theatre start at $199.

 

Season package subscribers receive exclusive benefits including complimentary ticket exchanges by phone and mail (upgrade fees may apply), a one-year subscription to The Brief Chronicle newsmagazine and more. For a complete list of benefits visit writerstheatre.org.

 

Season Packages are available at the Box Office, 325 Tudor Court, Glencoe, 847-242-6000 and writerstheatre.org.

 

AUDIENCE ENGAGEMENT OPPORTUNITIES:

For additional information about the WT Audience Enrichment programs listed below, visit writerstheatre.org/events.

 

Pre-Show Conversation: Up Close

Join us at 6:45pm before every Thursday evening performance (excluding previews and extension dates) of Trevor the musical, The Importance of Being Earnest, A Moon for the Misbegotten and Buried Child for a 15-minute primer on the context and content of the play facilitated by a member of the WT Artistic Team.

 

Post Show Conversation: The Word

Join us after every Tuesday evening performance (excluding previews and extension dates) for a 15-minute discussion of the play, facilitated by a member of the WT Artistic Team.

 

Post Show Conversation: The Artist

Join us after every Wednesday evening performance (excluding previews and extension dates) for a 15-minute talk-back featuring actors from the production, facilitated by a member of the WT Artistic Team.

 

Sunday Spotlight

This one-hour event extends the conversation on our stages by featuring an expert in a field related to the themes or setting of each play, moderated by a member of the WT Artistic Team. Seating is limited. RSVP is required.

 

The Making of… Series

Writers Theatre will once again host its popular The Making of… Series, providing insight into a different aspect of creating the productions seen on our stages. This one-hour event will feature WT Literary Manager Bobby Kennedy in conversation with an artist associated with each production, discussing their part in bringing the play to life. The Making of… events are FREE and open to the public. Seating is limited. RSVP is required.

 

From Page to Stage Series

Writers Theatre and select North Shore libraries present the 13th annual From Page to Stage Series. This comprehensive series of special events, lectures, readings and film viewings are designed to enhance and enrich the audience experience of WT productions each season.  All events are FREE of charge and open to the public. For more information about the From Page to Stage Series, visit writerstheatre.org/from-page-to-stage-series. From Page to Stage is generously sponsored by Randy L. and Melvin R. Berlin, who have been supporting the program since its inception 13 years ago.

 

Writers Theatre also offers Access Performances, including ASL-interpretation and Open Captioning on select dates for each production.  Please visit writerstheatre.org/accessibility for more information.

 

 

ABOUT WRITERS THEATRE

For more than 25 years, Writers Theatre has captivated Chicagoland audiences with inventive interpretations of classic work, a bold approach to contemporary theatre and a dedication to creating the most intimate theatrical experience possible.

 

Under the artistic leadership of Michael Halberstam and the executive leadership of Kathryn M. Lipuma, Writers Theatre has grown to become a major Chicagoland cultural destination with a national reputation for excellence, being called the top regional theatre in the nation by The Wall Street Journal. The company, which plays to a sold-out and discerning audience of more than 60,000 patrons each season, has garnered critical praise for the consistent high quality and intimacy of its artistry—providing the finest interpretations of both classic and contemporary theatre in its two intensely intimate venues. 

 

In February 2016, Writers Theatre opened a new, state-of-the-art facility. This established the company's first permanent home—a new theatre center in downtown Glencoe, designed by the award-winning, internationally renowned Studio Gang Architects, led by Founder and Design Principal Jeanne Gang, FAIA, in collaboration with Theatre Consultant Auerbach Pollock Friedlander. The new facility, which was recently recognized with LEED Gold Certification for sustainability initiatives, has allowed the Theatre to continue to grow to accommodate its audience, while maintaining its trademark intimacy, resonating with and complementing the Theatre’s neighboring Glencoe community, adding tremendous value to Chicagoland and helping to establish the North Shore as a premier cultural destination.

 

Find Writers Theatre on Facebook at Facebook.com/WritersTheatre or follow @WritersTheatre on Twitter. For more information, visit www.writerstheatre.org.

 

Published in Buzz Extra
Sunday, 30 October 2016 17:04

East Texas Hot Links: A Hearty Meal

In an interview in the program, playwright Eugene Lee says that East Texas Hot Links is like a combination of an August Wilson play and the Twilight Zone. But fantasy was a common feature of Wilson’s plays. The new production of Lee’s 1991 play at Writers Theatre in Glencoe, which is slated to run through January, is more like watching Wilson’s Two Trains Running transform into John Carpenter’s Halloween. Under the direction of Chicago theatre treasure Ron OJ Parson, who directed the same play in 1995 and a revival in 1998, a cast of eight delves into the horror lurking just below the surface normalcy of African-American life in Jim Crow Texas. It’s not just the specter of physical violence which haunts these characters, it’s also the psychological effect of living in a society built on terrorizing them.

In 1955 in the rural vicinity of Houston, Charlesetta Simpkins (Tyla Abercrombie) runs a bar she inherited from her father. She has a strict policy of only serving drink and prepackaged food—the men who are her regulars delight in razzing her and each other, and if she cooked better than their wives, they’d likely never leave, but ridicule her all the same. Hanging around as usual is the soft-hearted local landlord, Columbus (Alfred H. Wilson), his brooding much younger brother-in-law, XL (Namir Smallwood), and XL’s boisterous frenemy, Roy Moore (Kelvin Roston, Jr.), who also has a crush on Charlesetta. The big news is that the local plutocrat, Prescott Ebert, is building a highway to Dallas. Columbus has been screwed by the use of eminent domain, but XL has worked for Ebert as a middle manager several times, and he sneeringly declares that he’ll hold out for another foreman job instead of wasting himself on manual labor.

This attitude does not exactly make him popular, particularly as Prescott Ebert is, by reputation, a Klan leader and a serial killer of black people. XL dismisses this as irrelevant; he’s always been paid on time, and that’s what matters. In fact, he’s hooked up Delmus Green (Luce Metrius), a kid with big dreams, with Ebert for some secret work that will be done late tonight. That explains why Delmus is hanging around, attempting to reach Ebert by phone. He’s unsuccessful for the moment, and the other patrons’ conversation meanders over a wide range of subjects. However, those conversations have a way of taking a strange turn due to the presence of Adolph (Willie B.), an elderly blind man whom the others call “Professor” due to his half semester of college education and ability to improvise free-verse. Having taught himself the vampiric psychological and sociological theories that were all the rage in the late nineteenth and early twentieth centuries, Adolph links everything to parasitism, death, decay, and consumption in both senses of the word. He’s more fun to have around than you might think.

Rounding out the cast are Buckshot (Antoine Pierre Whitfield), a man who claims to have been much-improved since he was sent to prison for trying to kill a man who called him “Titty-baby,” and Uncle Boochie (A.C. Smith), a mystical gambler who can foretell death. When they all put their heads together they come to the conclusion that there is something extremely wrong with whatever it is XL has offered Delmus to Ebert for. All the actors are fascinating, and Lee’s dense script provides all of them with memorable dialogue, but Smallwood’s XL stands out for the intensity of his greed and fear, and the effort he puts into his compartmentalization. Though deeply loathsome, the character is impossible to look away from. The world these characters inhabit, with scenic design by Jack Magaw, costumes by Christine Pascual, and lights by Kathy A. Perkins, feels full, yet isolated, and a great deal of credit for that has to go to sound designer Joshua Horvath. The sound of animals and wind in the surrounding woods is vaguely unsettling, and reinforces how much of a refuge this building is, as well as its vulnerability. Long before the characters realize their immediate danger, we know there’s something evil out there.

Adolph proclaims that we feed on those who hate us. But in the food chain of east Texas, it’s all too clear to the African-American characters how far down they are. Even literal eating is something that has become psychologically poisonous—Roy defensively announces at one point that he only eats the front feet of a pig. Lee has said that he sees the play as hopeful because of the context that it takes place just a few months before the Civil Rights movement revived, and because the characters unite in an effort to save Delmus. Upon reflection, that’s true, but the hair-raising ending, along with the expertly crafted rising tension which proceeded it, are more likely to dominate the audience’s reaction immediately after viewing than the more implicit themes of awakening to collective action and survival. It is nice, though, that, upon digestion, the audience finds something nourishing in East Texas Hot Links other than human misery. Adolph says we feed on those who love us, as well.

 

 

East Texas Hot Links will play in The Gillian Theatre at Writers Theatre, 325 Tudor Court, Glencoe, through January 22, 2017. Running time is ninety minutes with no intermission. Parking is available, and the theatre is within walking distance of the Metra. Audience members who post a Facebook or Twitter photos of themselves with the tags @WritersTheatre and #EastTexasHotLinks will receive $5 cash if ticket was bought in advance. Tickets are $35-80. Showtimes are Tuesdays-Fridays at 7:30 pm, Saturdays at 3:00 pm and 7:30 pm, and Sundays at 2:00 pm and 6:00 pm, with some exceptions. To order, call 847-242-6000 or visit writerstheatre.org. The actors eat peanuts onstage during this show.

Published in Theatre in Review
Friday, 24 June 2016 11:22

Review: Company at Writers Theatre

Imagine a 70s-era Woody Allen movie set to music. That's basically "Company" by Stephen Sondheim. It premiered in a time when many Broadway musicals were just collections of songs loosely connected by a simple plot. In 1970, Sondheim's "Company" challenged that formula by presenting a musical that was more book than music. The story is even less clear than a classic Broadway show. It's the story of Bobby, a bachelor living in New York City with mixed-up ideas about marriage. 

 

Though Bobby (Thom Miller) is the main character, "Company" is about the women in his life. Writers Theatre director William Brown has assembled a stellar cast of Chicago actresses. Each scene is a vignette in which Bobby learns about his friends' marriages. Blair Robertson as uptight Jenny is charmingly neurotic. Tiffany Scott playing urban Southern bell, Susan, and with costumes by Rachel Anne Healy, looks like a young Cybil Shepard. With distinct performances from the female ensemble, it's hard to pick out a favorite scene from the show, however Allison Hendrix singing "Getting Married Today" is a highlight. For Sondheim groupies, this is one of the show's most popular numbers but also its most challenging with a unique staccato rhyming scheme. Hendrix pulls it off, and makes the comedy relatable. Jess Godwin as April, is the show's last stop. Her portrayal of an awkward bachelorette is sure to make everyone laugh. 

 

"Company" concludes on the bittersweet song "Being Alive" and while Thom Miller's performance as Bobby is a little uneven throughout, he brings a lot to the cathartic final number. In one song, the musical goes from odd-ball romantic comedy to a philosophical question about the nature of long term love.

 

Writers Theatre in Glencoe is rightfully proud of their new space designed by Jeanne Gang. "Company" is presented as part of their Inaugural Season. The show, like the space is sleek, stylish and sexy. William Brown's production will likely be remembered as a definitive presentation of this not-often produced Sondheim classic. With more space, it’s nice to see a show at Writers with some breathing room. 

 

Through July 31st at Writers Theatre. 325 Tudor Court, Glencoe. 847-242-6011.

 

Published in Theatre Reviews

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Sideshow Theatre Company Announces 2017-18 Season

20 June 2017 in Upcoming Theatre

Sideshow Theatre Company is pleased to announce its 2017-18 Season, launching next spring with the Chicago premiere of Mia Chung’s …

Steppenwolf's LookOut Series Announces Concert Reading with Co-Founder Jeff Perry and Broadway Legends

20 June 2017 in Upcoming Theatre

Steppenwolf’s LookOut Series is excited to announce a surprise summer performance of Standup Shakespeare: A Concert Reading with music by…

Moby Dick is a spectacular physical theatre experience

19 June 2017 in Theatre in Review

Winner of four Jeff Awards, including Best Production, and fresh off a national tour, Moby Dick, adapted and directed by…

The King and I at Oriental Theatre a true theatrical gem

18 June 2017 in Theatre in Review

Oriental Theatre is currently housing one of the finest productions of The King and I that you will ever see.…

 

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