Displaying items by tag: Rivendell Theatre Ensemble

Rivendell Theatre Ensemble (RTE), Chicago's only women-centered Equity storefront theatre, ushers in its 30th Anniversary Season with the world premiere of No Such Thing by Rivendell Ensemble Member Lisa Dillman and directed by Malkia Stampley. No Such Thing runs March 22 – April 27, 2025, with a press opening on Tuesday, April 1 at 7pm.

Tickets are now available at Rivendell Theatre Ensemble, 5779 N. Ridge Avenue in Chicago, (773) 334-7728 or www.RivendellTheatre.org.

Ren was once a sought-after screenwriter. Now in late middle age, her career foundering, she finds her-self at a crossroads of social and professional invisibility. Seeking the intimacy that's been missing from her friendly but sexless marriage without capsizing the rest of her life, she begins an intricately construct-ed affair that blends sex and storytelling. Fact and fiction collide.

No Such Thing looks at the question of what makes a life story and charts the unpredictable changes to that story in a society that tends to downsize women out of some of their most productive years.

The cast of No Such Thing includes RTE member Jessica Ervin (Olivia) with Susan Gosdick (Ren), Matt DeCaro (Ted), Cheryl Hamada (Marilyn) and Josh Odor (Fallon).

The creative team includes: Lauren Nichols (Scenic Design), Evelyn Danner (Costume Design), Madeleine Reid (Lighting Design), Ethan Korvne (Sound Design), Lonnae Hickman (Props Designer), Shan-non Golden (Production Manager), Kristi Martens* (Stage Manager) and Autumn Dancy (Assistant Stage Manager).

"When I was younger, I had a bird's-eye view of my mother's experience as she transitioned into and be-yond middle age. It seemed as if a societal curtain had dropped—she gradually became invisible. What she experienced as she got older, I've since learned firsthand, is all too common for women in this country. When I experienced it myself, I admit it became a bit of an obsession," comments Lisa Dillman. "In writing No Such Thing, I set out to create a portrait of one woman's struggle to step over the societal boundary lines that so many women encounter as they age past society's view of who is relevant, attractive, and acceptable in our world. And I couldn't be more thrilled that this play is going to premiere at my longtime artistic home, Rivendell Theatre Ensemble, whose mission it is to elevate the lives of all women through the power of theatre."

Artistic Director Tara Mallen comments, "No Such Thing is the absolute embodiment of Rivendell's 30 years of excellence – a new play developed through our Fresh Produce developmental series, featuring contributions from a cadre of genius artists, with a resonant story told from an all too often invisible perspective – a woman over sixty. We are delighted to offer Chicago yet another provocative and surprising work penned by our longtime ensemble member Lisa Dillman, and cannot imagine a better way to kick off our 30th anniversary season!"

The Production Sponsor is Michael Litt.

About the Artists

Lisa Dillman (playwright) is a longtime ensemble member of Rivendell Theatre Ensemble, where her plays American Wee Pie, The Walls, and Chiaroscuro all premiered. Her work includes Ground, Rock Shore, American Wee-Pie, Half of Plenty, The Walls, and Just Cause (co-written with Todd Logan), among others. In addition to Rivendell, her plays have been produced by Steppenwolf Theatre, Actors Theatre of Louisville (Humana Festival), American Theatre Company, Seattle Public Theatre, Rogue Ma-chine, Station Theatre, Tipping Point Theatre, and other companies as well as at universities across the country. Dillman has received commissions from Steppenwolf, Goodman, Northlight, Baltimore Center-stage, Rivendell, and the Chicago Humanities Festival and has developed work at the O'Neill, PlayPenn, Goodman's Playwrights Unit, Chicago Dramatists (where she is a Resident Alum), ACT Theatre/ Hedgebrook Women Playwrights Festival, and others. Dillman's work is published by Samuel French/Concord Theatricals, and Dramatic Publishing, as well as anthologized in collections from Heinemann, Playscripts Inc., Smith and Kraus, and New Issues Press.

Malkia Stampley (director) is a director, actor and Goodman Theatre's BOLD Artistic Producer. Select directing credits: Primary Trust and In My Granny's Garden (Goodman Theatre); Nunsense and Nina Simone: Four Women (Milwaukee Rep), The October Storm (Raven, Jeff-nominated, Best Director), Boulevard of Bold Dreams (TimeLine), STEW (Shattered Globe), Black Nativity (Black Arts MKE), The Gift of the Magi (American Players), Five Guys Named Moe (Skylight Music), Lady Day at Emerson's Bar and Grill (Farmers Alley), Exit Strategy (Northwestern). She is a Milwaukee native, Ensemble Member of Congo Square Theatre and co-founder of Bronzeville Arts Ensemble and Milwaukee Black Theater Festival.

Matt DeCaro (Ted) has most recently appeared as Winston Churchill in The Audience at Drury Lane Theatre where he also appeared as Big Daddy in A Cat On a Hot Tin Roof, for which he received a Joseph Jefferson Award. His recent credits include The Cherry Orchard at Goodman Theatre and Kansas City Rep's premiere of Flood. He was a company member for several seasons at Sarasota's Asolo Repertory Theater. Roles there include: LBJ in The Great Society, Oscar Hubbard in The Little Foxes, Gene in Frank Galati's Rhinoceros and Stan in Sweat. Matt has been fortunate to play in theaters across the country including Lincoln Center, Manhattan Theatre Club, Goodman Theatre, Guthrie Theatre, Steppenwolf Theatre, The Old Globe Theatre, San Francisco's A.C.T., and internationally in Dublin, Toronto and China. Some favorite roles include the Judge in David Mamet's Romance, Dave Moss in Glengarry Glen Ross, Boss Mangan in Heartbreak House, Boolie in Driving Miss Daisy, and Fa Hai in Mary Zimmerman's The White Snake. His TV and film credits include The Wise Kids, Eagle Eye, "House," "The Office," "Prison Break," and "Curb Your Enthusiasm," among many others.

Jessica Ervin (Olivia) is an ensemble member at Rivendell Theatre Ensemble where she originated the role of Annie in Rivendell's Jeff Award-winning production of Motherhouse. Other credits with Rivendell include: Dry Land (Jeff Nomination - Actress in a Principal Role), I Wanna F*cking Tear You Apart; The Firebirds Take the Field; and understudying Scientific Method, Alias Grace, and the tour of Women at War. Ervin's other theatrical work includes roles with Goodman Theatre, Minetta Lane Theatre, Strawdog Theatre Company, A Red Orchid Theatre, American Blues Theater, Walkabout Theater Company, Route 66 Theatre Company, Kalliope and Co., and Prop Thtr. On-screen, she has appeared on Chicago Fire (NBC), and in the films Princess Cyd, Provo, Teacher, Lucid, and Late Bloomer, in addition to other shorts and a commercial for CDW NetApp. Ervin is a graduate of The School at Steppenwolf and Ball State University.

Susan Gosdick (Ren) Recent performances include: My Fair Lady (Paramount Theatre); A Christmas Story (Theatre at the Center); Women Who Steal, Indian Blood, Our Town (Artists' Ensemble Theatre); Musical Comedy Murders 1940 (Drury Lane Oakbrook); Trial By Jury, Cox and Box (Transgressive Theatre-Opera); Nathan the Wise (Chicago Festival of the Arts); Henry V, Richard II, The Merry Wives of Windsor (Shakespeare Project), The Old Globe Theatre, Lincoln Center Institute, and Ma-Yi Theatre. As a dialect coach, she has worked with Chicago Shakespeare Theater, Paramount Theatre, Marriott Theatre, Chicago Opera Theater, Pulse Theatre Chicago, Invictus Theatre Company, Music Theater Works, Shattered Globe, Artistic Home, and teaches voice / dialects at Columbia College Chicago and Roosevelt University.

Cheryl Hamada (Marilyn) recently appeared in Token Theatre's premiere production of Zac Efron. Other stage work includes Chimerica (TimeLine Theatre), Washer/Dryer (Rasaka Theatre), Yohen and Golden Child (Silk Road Rising), Race (Lookingglass Theatre Company), A Christmas Carol (Goodman Theatre), ER: Emergency Room (Organic Theatre) and Innocent Thoughts, Harmless Intentions (Next Theatre-Jeff Citation). Her TV/Film credits include her work for the WTTW and national PBS pledge drives, hosting 4 seasons of the HGTV series Extreme Homes, one season of WTTW's Your Chicago Kitchen and film roles in About Schmidt, The Dilemma, Nothing Like the Holidays, Above the Law, Chain Reaction, Chicago Hope, Boss, Unsolved Mysteries and the indie film Relative. She also appeared recently in episodes of Chicago Med and the limited series Emperor of Ocean Park.

Josh Odor (Fallon) is excited to be back working with Rivendell where he previously performed in Scientific Method, The Firebirds Take the Field and I Wanna F*cking Tear You Apart. Most recently he was in Facility's Right Now (Jeff Award for Best Ensemble), No Man's Land at Steppenwolf Theatre and Origin Story in Cincinnati at Playhouse in the Park. Odor has worked with the Goodman Theatre, Lookingglass Theatre Company, TimeLine Theatre, Steep Theater, Jackalope Theatre Company and the The Artistic Home Theater, among others over the past 20 years. TV/Film credits: The Chi, Chicago Med/PD/Fire, Boss, Betrayal, Janie Jones and The Express. He is represented by DDO Chicago and is a proud member of SAG/AFTRA.

Fact Sheet

Title:      No Such Thing

Written by: RTE member Lisa Dillman±

Directed by: Malkia Stampley

Featuring: RTE member Jessica Ervin (Olivia) with Susan Gosdick* (Ren), Matt DeCaro* (Ted), Cheryl Hamada* (Marilyn) and Josh Odor (Fallon).

Creative Team: Lauren Nichols (Scenic Design), Evelyn Danner (Costume Design), Madeleine Reid (Lighting Design), Ethan Korvne (Sound Design), Lonnae Hickman (Props Designer), Shannon Golden (Production Manager), Kristi Martens* (Stage Manager) and Autumn Dancy (Assistant Stage Manager)

Production Sponsor: Michael Litt

*= Member of Actors Equity Association

± = RTE Member

Dates: March 22 – April 27, 2025

Previews: March 22 – 29, 2025

Gala Opening: Sunday, March 30 at 6pm

Press Opening: Tuesday, April 1 at 7:00pm

Regular Run: April 3 – April 27, 2025

Schedule: Thursdays at 8:00pm

Fridays at 8:00pm

Saturdays at 4:00pm and 8:00pm

Masks Required performances: 

Saturday, April 5 at 4pm

Sunday, April 13 at 3pm

Special added performances include: 

Sunday, April 13 at 3:00pm

Monday, April 21 at 8:00pm (Industry Night) 

Sunday, April 27 at 3:00pm (Closing)

Performance with Post-Show Town Hall:

Saturday, April 12 immediately following the 4pm performance

Tickets: $39 General Admission

$17 Student, Educators, Military/Veterans, Industry (Limited quantity, first-come, first-served)

$28 Seniors 

$49 Sponsor Admission (to help us pay artists fair wages by covering the full cost of a seat at the performance)

$94 Angel Admission (1 Basic Admission, plus helping to cover discounted or free tickets to people who need them)

Membership / Subscription

RIV Pass: $95 (see Rivendell productions and other events as often as desired)

Box Office: (773) 334-7728 or www.RivendellTheatre.org

Parking and Transportation: There is limited paid and free street parking in the area. The theatre is easily accessible via the Clark (#22) or Broadway (#36) bus and is a short walk from the Bryn Mawr Red Line L station.

Rivendell Theatre Ensemble: 30 Years of Transformative Impact

After three decades firmly in the cultural landscape of Chicago, Rivendell Theatre Ensemble has learned one very important thing: even in a small space you can tell big stories.

And telling big, impactful stories in an intimate environment is what Rivendell does best.

Serving as a narrative of change, Rivendell's 30th Anniversary Season continues to make a tangible difference in the world by giving voice to women through artistic recognition of their lives with the support of an award-winning ensemble of artists, combating the inequities experienced by women in the theater landscape through gender parity at all levels of theatrical production, and by creating a meaningful and rewarding experience for audiences and community by being a catalyst for conversation through relevant, insightful stories and outreach. 

Artistic Director Tara Mallen founded Rivendell Theatre Ensemble (RTE) in 1994 with a group of like-minded artists who understood that stories must be shared to open minds. And since its inception, Rivendell has grown to uniquely fill an important role in the Chicago and national theatre community as Chicago's premier women-focused storefront theatre. In its 30-year history, Rivendell has earned 12 Joseph Jefferson Awards and nearly four dozen nominations. It is recognized as a national force in new play development and as a home for women theatre artists, engaging over 200 artists and 3,000+ audience members each year through its mainstage season, new work development, and outreach.

For more information about Rivendell Theatre Ensemble, visit http://rivendelltheatre.org. Follow Rivendell on Facebook at Facebook.com/rivendelltheatre and on Instagram at @rivendelltheatre.

Rivendell Theatre Ensemble is supported by generous grants from: SIF Fund at The Chicago Community Trust; TERRA Foundation for American Art, Paul M. Angell Family Foundation; Shubert Foundation; Illinois Arts Council Agency; The Gaylord and Dorothy Donnelley Foundation; Sarah and the 2 C Dogs and Amazing Edibles.

Something Clean, directed by Lauren Shouse, gives us a compelling story, very well acted, and with that touch of magic that comes from a great chemistry in the performers.

The script (by Selina Fillinger) is notable for the way it depicts real human beings who develop and change in the course of the action. Fillinger is an actor, and it shows in the dynamic, truly living characters she places onstage.

It is a story for our times, and tells of three people whose lives have been impacted by a sexual assault. One, whom we meet later in the action, is Joey (Patrick Agada), a tall, strapping, charming, perpetually upbeat counselor at a downtown assault crisis center. 

But first we meet Charlotte (Mary Cross) and Doug (Guy Massey) whose 19-year-old son Kai was involved in an assault. Gradually we learn that he was not a victim (we never meet him), but was the perpetrator. Until Kai was convicted and imprisoned, his parents lived humdrum lives, pretty much on autopilot socially and domestically. Now, they visit their son in jail each week, and their angst festers and threatens their relationship. They are unsuccessful finding couples counseling, with Doug rejecting therapists weekly after a single visit.

As we get to know these two, we sense they are estranged from each other, physically aloof, and alienated from their social circle by the shame of their son’s crime. Charlotte cleans compulsively, and Doug buries himself in his work.

Eventually, Charlotte volunteers at the sexual assault crisis center – and her process of healing commences when she meets Joey. Agada’s performance is deft, and striking. His effusive personality (he is Joey with a "Y" because "I like to end my name with a smile!") makes these two seem an unlikely pair, but they develop a completely convincing bond that seems to draw energy from their work together as actors – informing their portrayals as emotionally connected workers at the center. This relationship and performances are what sustains Something Clean. It is hard to imagine it working without this level of excellence in the roles of Charlotte and Joey. 

Under Joey's nurturance, Charlotte emerges from her protective shell to become a sweet, charming and vulnerable woman. Charlotte’s emotional recovery contributes to Doug’s healing as well – something we see in real life when one person’s therapy ends up addressing their partner’s problems, too. The neutral gray set (Arnel Sanciano) is noteworthy, as is one of the props (which are byJonathan Berg-Einhorn): a book by Jennifer Weiner, I think it was Who Do You Love, a tale that mirrors the emotional dynamics of this show. 

I have to admit I sometimes approach Rivendell Theatre Ensemble’s productions with trepidation that I will end up being more edified than entertained. Something Clean does both, and in no small part because of Mary Cross ‘s great performance – she has her craft nailed, and watching her crawl out of her shell is a delight. Produced in partnership with Sideshow Theatre, (it received funding from The Eliabeth Cheney Foundation) which commissioned the work, Something Clean played to acclaim after premiering at New York’s Roundabout Theatre last month. It runs through July 21 at Victory Gardens Theater (the old Biograph Theater building).