Theatre

The Greenhouse Theater Center is pleased to announce its 2017-18 Season, kicking off this summer with Artistic Director Jacob Harvey and Elizabeth Margolius’ bold reimagining of Sophie Treadwell's most celebrated play MACHINAL, inspired by the first woman to be executed by the electric chair. MACHINAL will be presented through an educational partnership with North Central College, allowing students to shadow professional actors as the production’s understudy cast. Students will be immersed in every facet of the production, in a program that serves as an extension of classroom work and a springboard into the Chicago theatre community.

Next winter, best-selling author Laurence Leamer's critically acclaimed drama ROSE is back by popular demand! Following a sold-out run during last season's Solo Celebration! Series, celebrated Chicago actress Linda Reiter reprises her role as matriarch Rose Fitzgerald Kennedy in this intimate piece directed by Steve Scott. “Following the success of last year’s series, the Greenhouse is continuing its commitment to solo performance in both its production and education efforts,” comments Artistic Director Jacob Harvey. “We will offer a series of workshops and events throughout the run of Rose, as well as partner with solo artists whose work explores social justice themes to co-produce their work on our stages as supplements to our season.”

The Greenhouse's 2017-18 Season concludes next spring with the Chicago premiere of Marc Acito’s BIRDS OF A FEATHER, directed by Artistic Director Jacob Harvey. Based on one of America’s most banned books, Acito’s hit comedy brings to life the story of the Central Park Zoo’s gay penguins to tell a truly hilarious human story.

Season subscriptions packages are currently on-sale at greenhousetheater.org, in person at the Greenhouse box office or by calling (773) 404-7336. Three-play assigned seating package: $93. Two-play flex pass: $63. Subscribers enjoy discounted tickets, unlimited ticket exchanges, first choice for seats and additional exclusive benefits. Single tickets will go on sale at a later date.

“As one of Chicago’s newest Equity companies, the Greenhouse is thrilled to bring audiences a consciously curated season of true stories. In times of great change, elevating the individual’s journey allows us a deeper understanding of the collective,” comments Artistic Director Jacob Harvey. “This concept also defines our new education and revitalized Trellis Residency Initiative. We are excited to begin growing tomorrow's artists and audiences today.”

The Greenhouse Theater Center’s 2017-18 Season:

August 11 – September 24, 2017

MACHINAL

By Sophie Treadwell

Directed by Jacob Harvey

Movement by Elizabeth Margolius

Presented in association with North Central College

How do you escape the machine? One young woman must break out in this exhilarating reimagining of MACHINAL, the American classic inspired by the first woman to face the electric chair. Trapped in an unhappy marriage, Helen finds a thrill in the arms of a flyby lover. But when reality returns, how far will her fight for freedom take her? And who will pay the ultimate price? 

January 12 – March 11, 2018

ROSE

By Laurence Leamer

Directed by Steve Scott

Starring Linda Reiter

Press opening: Monday, January 15, 2018 at 7:30 pm

An intimate portrait of Rose Fitzgerald Kennedy, Camelot’s “queen mother,” as she retraces the rise and fall of her great family. A break-out hit during the 2016 Solo Celebration! Series following its successful Off-Broadway run, ROSE is based on never-before-heard interviews compiled by distinguished Kennedy biographer Laurence Leamer. 

April 27 – June 10, 2018

BIRDS OF A FEATHER – Chicago Premiere!

By Marc Acito

Directed by Jacob Harvey

It takes two to Tango. Roy and Silo are your typical gay American dads with one noticeable exception: they’re penguins! No strangers to the spotlight, these two Central Park Zoo chinstrap penguins have partnered and adopted an egg, but will they be able to raise little Tango together? BIRDS OF A FEATHER is a heartwarming and surprising tale, based on the true story that became one of the most banned books in the U.S.

Artist Biographies

Sophie Treadwell (Playwright, Machinal) Best remembered today for her acclaimed 1928 expressionist drama Machinal, based in part on the infamous murder trial of Ruth Snyder, Sophie Treadwell was an innovative American dramatist whose career spanned almost 60 years and nearly 40 plays. A relentless experimenter in dramatic subjects, styles and forms, Treadwell was one of a select number of American women playwrights who also actively produced and directed their own works. She was also a professional journalist, and she constantly used her writings to explore women's personal and social struggles for independence and equality. (From: Sophie Treadwell. A Research and Production Sourcebook by Jerry Dickey).

Jacob Harvey (Director, Machinal and Birds of a Feather) is the Artistic Director of the Greenhouse Theater Center, beginning his tenure by launching the organization’s producing arm with the Solo Celebration!, a series of 16 solo plays and events over eight months. He also contributed to the series as a director, helming the Chicago premier of Circumference of a Squirrel, as well as the co-production I Do Today (The Other Theater Company.) Locally, he has taught for American Theatre Company’s Bridge Program, and was named one of Newcity’s “Players 2017.” A freelance director, teaching artist and producer, Harvey was awarded the Bret C. Harte Director/Producer Fellowship for Berkeley Repertory Theatre’s 2013/14 Season; served as Associate Producer and Interim Director of Programming for the Drama Desk Award Winning New York Musical Theatre Festival (NYMF); and served as the Co-Artistic Director of the Ovation Award-Nominated Mechanicals Theatre Group in Los Angeles. He is also a Producer for Your Theatrics International, and was the Co-Producer of Ladyhawks (NYMF 2013 Best of Fest under the title Volleygirls) and the Associate Producer of Ryan Scott Oliver’s 35MM: A Musical Exhibition. Other regional directing credits include, Mr. Marmalade (The Theatricians), The Shape of Things (Silver Bell Productions) and the world premiere of the new musical The Many Selves of Mia Scott (Carrie Hamilton Theater). He is also the creator of the upcoming musical web series currently in development, The Cycle. He attended the BFA program at Marymount Manhattan College and is a graduate of The Los Angeles County High School for the Arts.

Elizabeth Margolius (Movement Director, Machinal) is a stage and movement director with a primary focus in developing and directing new and rarely produced musical theatre, operetta and opera. She has worked with theatres in various capacities throughout the country, including the Santa Fe Opera, Florida Studio Theatre, the Virginia Shakespeare Festival and New York’s Encompass New Opera Theatre. Her Chicago directorial credits include: Uncle Philip’s Coat for Greenhouse Theater, code name: CYNTHIA for FWD Theatre Project, Haymarket: The Anarchist’s Songbook for Underscore Theatre, The Girl in the Train for Chicago Folks Operetta, Goldstar, Ohio for American Theater Company, The Merry Wives of Windsor for Chicago Shakespeare Theater (Assistant Director to Barbara Gaines), Opus 1861 for City Lit Theater, nominated for three Joseph Jefferson Awards, Violet for Bailiwick Chicago nominated for five Joseph Jefferson Awards, among others. Margolius is an alumna of the 2004 and 2005 Lincoln Center Theater Directors Lab in New York, a 2007 recipient of a full directorial scholarship at the Wesley Balk Opera-Music Theater Institute in Minneapolis, a 2009 respondent and workshop artist for the Kennedy Center’s American College Theatre Festival, and a 2010 finalist for the Charles Abbott Fellowship. She is the Co-Founder and Artistic Director Emeritus of DirectorsLabChicago. Elizabeth is an associate member of the Stage Directors and Choreographers Society.

Laurence Leamer (Playwright, Rose) Rose is Laurence Leamer’s first play. Leamer is an award-winning journalist and historian who has written 14 books, many of them bestsellers. He has experienced many different lives. As a college student, he worked in a French factory. He was a Peace Corps Volunteer in Nepal stationed two days from a road. As a young journalist, Leamer worked in a coal mine in West Virginia and covered the war in Bangladesh for Harper’s. His one novel, Assignment, is about drug trafficking in Peru, where Leamer lived for two years. Most of his career Leamer has written nonfiction. His trilogy on the Kennedys – The Kennedy Women, The Kennedy Men and Sons of Camelot – were all New York Times best sellers. John Grisham called Leamer’s most recent book, The Price of Justice: A True Story of Greed and Corruption, “superb…This is a book I wish I had written.” The journalist’s new book, The Lynching: The Epic Courtroom Battle that Brought Down the Klan, was published in June. 

Steve Scott (Director, Rose) is the Producer of Goodman Theatre, where he has overseen more than 200 productions; he is also a member of Goodman's Artistic Collective. His Goodman directing credits include Vanya and Sonia and Masha and Spike, Horton Foote's Blind Date, Rabbit Hole, Binky Rudich and the Two-Speed Clock and No One Will Be Immune for the David Mamet Festival, Dinner With Friends, Wit, the world premiere of Tom Mula's Jacob Marley's Christmas Carol, A Midsummer Night's Dream (co-directed with Michael Maggio) and the 2011 and 2012 editions of A Christmas Carol. He also has directed at Silk Road Rising, American Blues Theatre, A Red Orchid Theatre, Redtwist Theatre, Northlight Theatre, Shattered Globe Theatre, The Next Theatre Company, and many others. He is the recipient of five Jeff nominations, an After Dark Award, the Illinois Theatre Association's Award of Honor and Eclipse Theatre Company's Corona Award.

Marc Acito (Author, Birds of a Feather) wrote the book of the Broadway musical Allegiance, which New York Newsday recognized for its “well-structured book” and “fully developed characters.” Acito’s comedy Birds of a Feather won Washington D.C.’s Helen Hayes Award for Best New Play. He won the Ken Kesey award for his novel How I Paid for College, which he adapted as a one-man musical starring Alex Brightman. Other projects include A Room with a View (Old Globe and 5th Avenue Theaters), Chasing Rainbows, about the adolescence of Judy Garland (Goodspeed Musicals) and It’s a Secret, a musical in Mandarin for Broadway Asia in China. This June, he’ll direct his rock musical comedy Bastard Jones at the cell theatre in New York. A former commentator on NPR’s All Things Considered, Acito now writes regularly for Playbill and teaches Musical Theater History and Story Structure at NYU. He’s a proud member of the Dramatists Guild, MENSA and Weight Watchers.

About the Greenhouse Theater Center

The Greenhouse Theater Center is a producing theater company, performance venue and theatre bookstore located at 2257 N. Lincoln Ave. in Chicago’s Lincoln Park neighborhood. Our mission is first and foremost to grow local theatre.

The Greenhouse Theater began its producing life in 2014 with the smash hit Churchhill, after which came 2016’s much-lauded Solo Celebration!, an eight month, 16 event series highlighting the breadth and depth of the solo play form. With a focus on our community, the Greenhouse is also launching the Trellis playwriting residency, an initiative designed to cultivate the next generation of Chicago theatre creators and a two-tiered education program for college and high school students.

As a performance venue, our complex offers two newly remodeled 190-seat main stage spaces, two 60-seat studio theaters, two high-capacity lobbies, and an in-house rehearsal room. We strive to cultivate a fertile environment for local artists, from individual renters to our bevy of resident companies, and to develop and produce their work. In 2016, the Greenhouse announced a new residency program, which offers a reduced rate to local storefront companies while giving the Greenhouse a stake in the resident’s success. We also offer the community affordable access to our work by housing Chicago’s only dedicated used theatre bookstore, located on the second floor of our complex. 

With new ideas always incubating, the Greenhouse Theater Center is flourishing. Come grow with us!

 

Published in Upcoming Theatre

"Attention must be paid," Arthur Miller pleads in his Pulitzer Prize winning play "Death of a Salesman." What is now required reading, "Death of a Salesman" asks its audience to consider the worth of one pathetic old man. The play debuted in 1949, at a time when America was coming out of a war and questioning the value of personal fulfillment. For that theme alone this play will always be relevant. 

 

The intimate space at Redtwist Theatre makes for an overwhelming experience. In many of the scenes there's an almost voyeuristic feel. As if you're in someone's living room listening to something you shouldn't. Director Steve Scott uses this atmospheric effect to create a palpable intensity. After the lights go out on the final scene, an audience gasped in unison. 

 

Brian Parry delivers a powerhouse performance as Willy Loman. Both tough and weak at the same time. His Loman is still feisty, making the ending all the more tragic. Jan Ellen Graves' Linda Loman is played calm and collected and rarely sentimental, but lively when the moment is right. Matt Edmonds gives a standout performance as Biff. There are such revelations in Edmonds' interpretation. 

 

Like Tennessee Williams and Eugene O'Neill, Arthur Miller knew America. He knew the sad and melancholic ways average people live. "Death of a Salesman" should make us uncomfortable. We should bristle at the idea of one average man getting used up and thrown away. It's a warning that if you don't take control of your own destiny, society will toss you aside. Willy Loman skirts through life on quick fixes and delusions. In a way, all of us are Willy Loman and Miller asks us to look beyond the superficial. As "On the Road" had also inspired a younger generation to live life differently than their parents, so does "Death of a Salesman." The moral here is that nobody wants to end up as Willy Loman. 

 

Through March 5 at Redtwist Theatre. 1044 W BrynMawr 773-728-7529

www.Redtwist.org 

 

Published in Theatre in Review

Truth should be at the heart of every good drama piece. Truth, honesty, a bit of realism, something that makes the audience connect with the story, or the characters. Terrence McNally's Mothers and Sons playing at Northlight Theatre in Skokie attempts to reach a truthful depth, but leaves audiences shrugging with indifference wondering what exactly to take away from the play.

 

Nearly twenty years after her son’s AIDS related death, Katharine (Cindy Gold) pays an unexpected visit to the New York apartment of his former partner, Cal (Jeff Parker), who is now married to another man and has a young child. Over the course of the play Katharine and Cal exchange stories, sass, and sarcasm as they awkwardly interact and attempt to reconcile. Katharine remains judgmental and curt throughout her visit to the apartment, portraying the stereotypical conservative, old fashioned, bitter woman well. Cal, on the other hand, attempts to be gracious and overtly friendly in the face of this judgmental woman. Things heat up when we meet Cal’s partner Will (Benjamin Sprunger) and their son Bud (Ben Miller). Katharine’s disdain for the household and the situation is apparent but predictable as are the interactions with the two men. The remainder of the play is both forced and at time self-righteous and does nothing to move the needle on the many themes it attempts to tackle.

 

At the heart of the play is a conservative, judgmental woman “challenged’ to accept that her son was gay and that a same-sex couple is raising a child. This theme might have been provocative ten years earlier, but now is played out. Mothers and Sons also touches on homosexuality, AIDS, same-sex marriage, same-sex parenting, loss of a child, loss of a husband, and tries its best to address all of them within the 90 minute run time. There are so many themes that we forget that the son was the driving force that brought this woman to this apartment. He is used more as a prop, much like the journal that was hardly mentioned - though we come to find was the reason for Katharine’s visit. What’s more is the themes and how the play chooses to address them are not profound or thought provoking. Nothing is said that the audience doesn’t already know, or even what the characters don’t already know, which borders on the preachy versus clever. And these themes don’t do anything to change the characters or bring them closer together. At one point, Will’s character is so offended that he asks Katharine to leave, though she stays, shares a self-indulgent “woe-is-me” story that highlights her selfishness more, and suddenly Cal is embracing her as if he understands her after all these years. This sentiment is entirely lost on the audience. Will, the character who was ready to throw the woman out, is suddenly calm, cool, and collected. The young boy offers cookies and milk to everyone, refers to this strange woman as grandma and they all sit around and all but sing Kumbaya. And that is where the play ends. 

 

Isn’t that truth? That in a matter of a single awkward visit, a selfish, self-loathing, gay-hating conservative becomes accepting of gay marriage, same-sex parenting, and her son’s death? And that her son’s former partner who felt the cold sting and shun of this woman would be so moved as to invite her into his home and his family? It isn’t truth. It’s trite and contrived. Call me a cynic, a millennial, jaded, what have you. The truth might be that people like Katharine still exist in the world, but would someone really be swayed in such a short amount of time? Was it out of sheer loneliness on her part and pity on his end that these two characters accepted one another and will move forward? Mothers and Sons did not offer us this depth, so it’s hardly worthy of such deep analysis.

 

Truthfully, there isn’t much one could take away from Mothers and Sons. You could reach and say it was a profound dialogue about how the definition of family continually changes and evolves. You could speculate that people in mourning can come together to find comfort and support in one another. But Mothers and Sons does nothing to challenge the audience or the characters, or create a worthwhile dialogue in today’s world.

 

Directed by Steve Scott, Mothers and Sons runs through February 27th. Tickets are available at http://www.northlight.org/.

 

Published in Theatre Reviews

 

 

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