T H E AT E R O N T H E L A K E Hello friend! Are you sitting down? Good. Because you’re about to experience the 2012 season of Theater on The Lake, for the first time selected through a process involving two artistic curators. We thought curators only worked in gardens and museums, but there you have it. We’re curators. Seriously, though, we love being working artists in Chicago, a city so rich with imaginative and emotional theater that it makes choosing only eight plays for you a hair-graying, heartbreaking, but ultimately exciting, proud-parents moment. Here, you will encounter world premieres and Chicago premieres; scripts written out of necessity, scripts written through workshopping with an ensemble, scripts adapted from great works, and scripts written right before your very eyes—carved out of the air and the summer moment. The shows you’ll experience this summer have stopped us in our tracks, made us think, laugh, and cry. But perhaps most importantly, they’ve made us dream. Someone once said that a play never really closes until every single person who saw it stops dreaming about it. These plays have been running in our dreams for quite some time. Perhaps because of you, they will remain open forever. Your Artistic Curators, Meghan Beals McCarthy & Michael Patrick Thornton Special thanks to the League of Chicago Theatres for being not only a tremendous resource to the Chicago theatre community but also for partnering with Theater on the Lake to make our 2012 season unforgettable. FROM THE SUPERINTENDENT June 13, 2012 Thank you for joining us for the 60th anniversary season of Theater on the Lake: The Chicago Summer Theater Festival. As part of this landmark year, we’ve brought Michael Patrick Thornton and Meghan Beals McCarthy from the local theater community on board as our new co-artistic curators. Together they have planned eight weeks of the best theatrical productions the city has to offer on our unique open-air stage. In addition, you’ll find pre and post-show programming at Theater on the Lake this season to round out our celebration of the city’s rich cultural heritage. The Chicago Park District is dedicated to showcasing premier theatrical productions and providing high quality, affordable cultural programming to patrons throughout our neighborhood parks no matter where they live. We value your support of our parks and programs and encourage you to enjoy the lake breeze, the skyline view and the wonderful performances. Here’s to another successful season, and we invite you to join us for additional cultural programming in our parks.
Michael P. Kelly General Superintendent & CEO Chicago Park District
Theater on the Lake 1
SiNNERMAN Ensemble presents
Sweet Confinement by Anna Carini Directed by Brea Hayes PRODUCTION TEA M John Wilson.....................................................................................................................................Scenic Design Stefin Steberl*............................................................................................................... Costume/Props Design Tim Schoen....................................................................................................................... Co-Lighting Designer Janna Webber.................................................................................................................. Co-Lighting Designer Jeff Kelley........................................................................................................................................ Sound Design Mary Krupka.................................................................................................................................Stage Manager Cyd Blakewell*.................................................................................................................. Production Manager Josh Lambert..........................................................................................................................Technical Director
CAST (in
or der of appe ar ance)
Calliope Porter*...........................................................................................................................................Amelia Cyd Blakewell*................................................................................................................................................. Amy Anna Carini*................................................................................................................................................. Ginger Howie Johnson*............................................................................................................................................ Caleb Levi Petree*....................................................................................................................................................... Josh
SET TING Present day. A college town on the East Coast. The play runs 80 minutes with no intermission.
PROFILES CYD BLAKEWELL* (Amy) is a founding member of SiNNERMAN Ensemble and is thrilled to reprise this role for the third time! Cyd is also an Artistic Associate with Pavement Group where she has been seen in Girl, You Know It’s True, MilkMilkLemonade, Fracture/ Mechanics and Arrangements. She has also had the pleasure of working with: The Gift, Theatre Seven of Chicago, Griffin Theatre, Signal Ensemble and The Side Project. Thanks very much to MPT for making this happen, and to Neagle for being so dreamy.
many others. Sweet Confinement is the first play that she’s written. SiNNERMAN produced it in the spring of 2008, and the production won four After Dark Awards including Outstanding New Work. She is honored and excited that the company wanted to produce it again and is elated that Theater on the Lake invited us to perform it one more time this summer! Thank you to Dru for your tireless support and my parents Richard and Marianna Carini for everything.
ANNA CARINI* (Ginger) is the Co-Artistic Director of SiNNERMAN Ensemble, which formed by graduates of the School at Steppenwolf. She is an Associate Artist at Chicago Dramatists, her most recent performance there being Marisa Wegrzyn’s Ten Cent Night. As an actress she has performed around town at other theaters such as Steppenwolf, The Gift Theater, Chicago Jewish Theater, Raven Theater and
HOWIE JOHNSON* (Caleb) was born and raised on the south side of Chicago. He is a proud member of the SiNNERMAN Ensemble with which he has done Bible B-Sides, Ivanov, Too Much Memory, and Sweet Confinement. He is very happy Theater on the Lake has invited the SiNNERS to open their season. He has played with many Chicago theater companies including Steppenwolf, Profiles, Eclipse, Mary-Arrchie,
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P R O F I L E S ( c o n t .) EP, Illinois Theater, Trapdoor, Pegasus Players, Northlight, Buffalo Theatre, and The Boxer Rebellion where he was a company member. He also toured with Leaving Iowa for almost two years. His films include The Express with Dennis Quaid and the Steven Soderbergh films The Informant and Contagion with Matt Damon, as well as the independent movies The Site, Pyrite, One Small Hitch, Roundabout American, The Group, Our Fathers, and The Door. His T.V. credits include ER, Prison Break, The Chicago Code, Shameless, Matadors, Boss, and the web series Pillowtalks. Thanks to Susie for bringing home the bacon and allowing him more than his share. LEVI PETREE* (Josh) When I lived in Chicago, I ran the Lake Shore path regularly and often daydreamed about taking this stage as I passed Theater on the Lake. It is an honor and dream come true, then, that they’ve chosen our play as one they wanted to make sure their audience experienced and I thank them for it profusely. After a four-year absence, it is nothing less than a privilege to return to this great city and reunite with my fellow SiNNER’s. I have genuine regard for our company, especially our ladies, as some of the best actors I’ve ever worked with, or watched, and I could not be more grateful they’ve asked me to share this honor with them. I’d like to dedicate this to Marisa, Johnny, Ebs, Dommers, Ryan, Sue, and most of all, Jeremy Fisher. Thanks for having me back, Chicago. ”You gotta love it . . . a gift, you just do.” www.reverbnation.com/LeviPetree CALLIOPE PORTER* (Amelia) is mostly from Asheville, NC, a graduate of UNC-CH and the Steppenwolf School, and currently divides her time between Chicago and Los Angeles. A founder of SiNNERMAN, she has also acted with companies such as The Gift, Barrel of Monkeys, Second City, Theatre Seven, Collaboraction, Live Wire and Steppenwolf Garage, as well as various on camera projects. See Calliope next in festival screenings of Fitting, and the web series Jobless. Special thanks to Theatre On The Lake for this fantastic program, and to our audiences, who make it all possible. Calliope is lucky to have fantastic and supportive friends and family, especially the running Finnish physicist one. BREA HAYES (Director) loves the SiNNERs and is honored to be remounting this show with them at TOTL. A Kansas native, she holds a BFA in Theatre: Directing from Columbia College: Chicago. She is the current director of Catharsis Productions’
Sex Signals, the nation’s largest touring program on sexual assault prevention on college campuses and military bases. She also works at a fantastic vegan coffeeshop, DELICIOUS. Come visit. She has directed Resident Alien, Effie, and What you Wanted with The Neapolitans. She has also worked with Jackalope, Sideshow, Strangetree, Remy Bumppo, Point of Contention and Polarity in various play festival and assistant directing capacities. Thanks for all of your love and support (ya’ll know who you are). MARY KRUPKA (Stage Manager) holds a BFA in Production Management from Emerson College, where she worked at the Boston Opera House, Wilbur & Colonial Theatres, and with the 2005 Broadway revival of Who’s Afraid of Virginia Woolf. In Chicago, Mary has worked with The Gift Theatre, SiNNERMAN Ensemble, Theatre Seven, & Pavement Group. She is the Producing Director at Pavement Group and will be production managing PG’s Breaks & Bikes in the fall of 2012. JOHN WILSON (Set Designer) is happy to be back with SiNNERMAN. He has been scenic designing in Chicago for over ten years. His next designs are Exit, Pursued by a Bear (Theatre Seven), Sketchbook 12 (Collaboraction), Ren Faire! A Fistfull of Ducats (Factory), Yo Solo Festival (Collaboraction/ Teatro Vista), and The Life of Death (WildClaw). John is a company member with Collaboraction and The Mammals, a teacher with Lifeline, American Theater Company, and Steppenwolf, he is also a graduate of the school at Steppenwolf. He will next be writing, designing and directing Rust for The Mammals this summer and is building a theater in his backyard…because he is a crazy person. Thanks go out to Brea, this talented cast and crew, and of course Katy. STEFIN STEBERL* (Costume Designer/Props Designer) recent Chicago credits include: MaryArrchie’s production of Superior Donuts. Other regional credits include: Bible B-sides, Too Much Memory, Days of Late (SiNNERMAN Ensemble) Our Bad Magnet, Mud People, Riff Raff, Red Light Winter (Mary-Arrchie) Long Days Journey..., The White Airplane (Polarity Ensemble) The Scarlet Ibis, Pull of the Moon (16th street theater) La Cage Aux Follies (Bohemian Ensemble) Summer and Smoke, Bus Stop (The Den). Other costume design credits include: Endgame, Marisol, Night of the Iguana and The Wild Party. Mr Steberl was previously the resident designer for Columbia College’s Spectacle Fortuna and studied under Frances Maggio in Columbia College Chicago’s Theatrical Design Program. Sweet Confinement 3
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P R O F I L E S ( c o n t .) TIM SCHOEN (Co-Lighting Designer) is a founding member of Pavement Group, an associate member of XIII Pocket and is a Chicago based lighting and multi-media projection designer. A few local design credits include Perks of Nudity, 365 Days/ 365 Plays, Lipstick Traces, Arrangements, Fracture/Mechanics, Punk Play, and Girl You Know it’s True for Pavement Group, Adore, Cash and Dead Pile for XIII Pocket, and Sweet Confinement for SiNNERMAN Ensemble. He has also designed for several other local theatre and dance companies as well as a number of local bands here in Chicago and in his hometown Cleveland, Ohio. Tim can be currently found running around Mayne Stage in Rogers Park as their Production Manager and is a former student of the late Robert Stegmiller. Thank you all for giving us this opportunity and a special thanks to Janna for putting up with me thru another tech! JANNA WEBBER (Co- Lighting Designer) is happy to be remounting Sweet Confinement with SiNNERMAN this spring. Other lighting designs this spring include, Girl You Know It’s True (Pavement Group), Take Her to See the Maco Lights (Prologue Theatre), Common Hatred (The Ruckus), and Jamaica, Farewell (Meadowbrook Entertainment). Some recent productions include,
MilkMilkLemonade (Pavement Group), CASH, DeadPile (XIII Pocket), Fifth of July (Infamous Commonwealth), Skylight (Appetite Theatre), 15 Minutes, and Little Triggers (The Ruckus). Originally from Tacoma, WA, she holds a B.A. in Theatre from Loyola University. JEFF KELLEY (Sound Deisgner) is a composer, sound designer, and a proud company member of Pavement Group. Recent shows he’s designed for include Girl You Know It’s True and MilkMilkLemonade with PG, as well as Exit, Pursued By A Bear and We Live Here with Theatre Seven. Outside of the theater world, he is lead singer and guitarist in the experimental pop trio Dick Wolf!, an intern at Experimental Sound Studio, and a graduate of Berklee College of Music. jeff-kelley.com JOSH LAMBERT (Technical Director) hails from the southeast Detroit area. Since moving to Chicago, he has been fortunate enough to find work in the world of theater, along with performing shows with his two bands Vamos and Bring Your Ray Gun. Josh thanks SiNNERMAN Ensemble for giving him this new opportunity to express his love for the stage by collaborating with them on this great production! *Denotes member of SiNNERMAN Ensemble
SINNER M AN ENSEMBLE IS: Co-Artistic Director .........................................................................................................................Anna Carini Co-Artistic Director...................................................................................................................... Stefin Steberl Executive Director......................................................................................................................Calliope Porter Managing Director..................................................................................................................... Cyd Blakewell Financial Director.................................................................................................................... Howie Johnson Literary Manager.............................................................................................................................Sue Redman Member Emeritus................................................................................................................................ Levi Petree Associate Artists.................................................................................................Jeremy Fisher, Ryan Martin, Johnny Russell & Ebony Wimbs
A B O U T T H E C O M PA N Y SiNNERMAN Ensemble began as 10 actors who met at the School at Steppenwolf, and has since expanded into a company of creative artists who share the same lofty ideals about what theatre should be: ambitious, high-quality, evocative, fun. SiNNERMAN is about creating extraordinary, compelling, relevant theatre. The name SiNNERMAN comes from a Nina Simone song that jump-started our training every morning at the School at Steppenwolf. We’re quite fond of it, and there’s something about the idea of being a sinner that we all connect to. Sinners are unpredictable. They take risks. They make mistakes. They are fallible. These are the kinds of people that make theatre worth watching. Learn more about us at www.sinnermanensemble.org! For every production that we embark on, we partner with a local charity organization whose work relates to a theme in the play with the goal of leaving an impact that reaches beyond the stage. This partnership, we hope, illuminates for our audience the immediate relevancy of our work. SiNNERMAN is proud to be partnering with NoStigmas for this production of Sweet Confinement. Sweet Confinement 5
NO STIGM AS NoStigmas is a non-profit grassroots movement whose primary purpose is to change the public’s generally negative perception of individuals afflicted by suicide and mental illness. NoStigmas strives to replace the archaic thinking of suicide and mental illness as character weakness with the understanding that a mental illness is a treatable disease and suicide may be prevented with early detection and proper care. Our goal is to facilitate the growth of this understanding and foster a community environment in which individuals with mental illness are able seek treatment with the support of those near to them. We understand that this general shift in thinking regarding mental health begins with a change of perspective on the individual level. Therefore, our methodology is to recruit and educate individuals, known as Stigma Erasers, who become advocates for understanding through their day-to-day interactions within the public. We aim to further break down stereotypes by means of a public forum in which Stigma Erasers share their stories of hope and recovery in order to promote understanding and inspire those who are struggling to find their own path of healing. www.nostigmas.com The mission of NoStigmas is to raise awareness and erase the stigmas of suicide and mental illness by sharing stories of hope and inspiration from those touched by suicide and mental illness and educating the general public about mental health issues. Everyone has a story. What’s yours?
SPECIAL THANKS The process of bringing Sweet Confinement to Theatre on the Lake has included quite a few folks. We’d like to gratefully acknowledge the help and support we have received from the following: Anna Bahow, Ben Chandler Still & Moving Pictures, David Perez, Pavement Group, Benjamin Porter Photography, Dylan Evans, The Brown Elephant – Oak Park, Chicago Cubs, Chipotle, The Court Theatre, Doug Tyler, Dick Wolf!, Goose Island Beer, HARK Designs, JetZet, Jon Drake, Jordan Amandes, Morton’s the Steakhouse - Wacker Place, Nick Broste, Russ Tutterow, Brian Loevner, Chicago Dramatists, Ryan Martin, The Den, Sad Brad Smith, The Saints, Susan Padveen, Suzy Bottando, Tara Malpass, Bill Paton, Amanda Rozmiarek, AJ Ware, Amelia Lorenz, Gavin Robinson & Suzy Johnson., Joe Zarrow, Darcy McGill, Eric Ziegenhagen, Peter Handler & the Driehaus Foundation, and Michael Patrick Thornton & everyone at Theatre on the Lake
OUR GENEROUS DONORS Producer ($1,000+) Bob & Suzy Blakewell Marianna Carini Director ($250-$999) Nick Gabrion Dru Harris Monte Redman Ensemble ($100-$249) Eric Baden Jean Cortner Marion & John Crane Bill & Eileen Halperin Mr. & Mrs. Hayes John Kalnai Lisa Lewis
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Sheldon Patinkin David Perez Helen Robinson Bill & Bonnie Trice
Richard Shavzin Doug Tyler Kathy Vigardt Cecilia Waddey
Player ($50-$100) Randy K. Austen Sara Bradley Charles Collett Karen DeWitt Lori Dowd Linda J. Johns Jean J. Johnson Grace McPhillips Peggy Murphy Keith Neagle Alex & Amy Porter
Friend ($1-$50) Brittany Barnes D. Butterfield Kristin Collins Cary Cronholm Paul D’Addario J. Huyler Mary Krupka Heather Shannon Brian Stojak Michelle Underwood
Jason Beck, Producing Artistic Director presents
Director – Catherine Weidner Assistant Director - Kristin Idaszak Scenic Designer - Stephen H. Carmody* Costume Designer - Alarie Hammock Lighting Designer – Nick Belley Sound Designer - Christian Gero Stage Manager – Brent Eugene Beavers Dramaturg - Louise Edwards Technical Director - Shane Kelly* Vocal/Dialect Coach – Christine Adaire Cast: Edward Karch, Megan Kohl, and Kay Kron *Caffeine Theatre Artistic Associate This project is partially supported by a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events, the Illinois Arts Council, a State agency, the Gaylord and Dorothy Donnelley Foundation, and the Richard H. Driehaus Foundation.
Or, 7
CAST Aphra Behn.........................................................................................................................................Megan Kohl Nell Gwynne (and others)................................................................................................................... Kay Kron Charles II/William Scot................................................................................................................ Edward Karch This play is performed without an intermission. Originally produced in New York City by Women’s Project (Julie Crosby, Producing Artistic Director). Or, is presented by special arrangement with Dramatists Play Service, Inc., New York.
P R O D U C T I O N S TA F F Director..................................................................................................................................Catherine Weidner Assistant Director........................................................................................................................Kristin Idaszak Dramaturg...................................................................................................................................Louise Edwards Vocal/Dialect Coach............................................................................................................. Christine Adaire* Scenic Designer............................................................................................................Stephen H. Carmody* Costume Designer.................................................................................................................Alarie Hammock Lighting Designer............................................................................................................................. Nick Belley Sound Designer.......................................................................................................................... Christian Gero Stage Manager ............................................................................................................ Brent Eugene Beavers Technical Director.......................................................................................................................... Shane Kelly* Assistant Stage Manager..........................................................................................................Becca Rowlett Assistant Lighting Designer...................................................................................................Garvin Jellison Associate Sound Designer......................................................................................................Daniel Carlyon Charge Artist................................................................................................................................. Tierra G. Novy Casting Coordinator................................................................................................................... Maggie Carlin Promotional Design for Caffeine Theatre................................................................................. Jason Beck *Caffeine Theatre Artistic Associate
SPECIAL THANKS This production owes special thanks to numerous individuals and organizations for their time, talent and support, including: Theatre on the Lake, Samantha Chavis, Maude Graham-Nieds, Michael Patrick Thornton, The Theatre School at DePaul University, Jeanne Williams, Wayne Smith, Gerry Reynolds, Tim Combs, Samantha Umstead, Cameron Henneke, Quentin Brown, DePaul University School of Music, Steppenwolf Theatre, USITT Midwest, Bowmanville Brewery, Sarah Price, Brian Crawford, Pamela Davis, Rose Streit, Meghan Beals McCarthy, Mitsu Beck, and Kevin McGuire!
D R A M AT U R G Y N O T E The dramatic events taking place in England throughout the seventeenth century may be more or less familiar to the members of our audience. A brief timeline highlights some of the key events that provide the background for the action of the play and the conflicts of its characters. 1642 1649 1650 1651 1652-4 1653 1658 1659 1660 1661 1662 1664 1665 1665-7
Outbreak of English Civil War Trial and Execution of Charles I Coronation of Charles Stuart in Scotland Defeat of Scottish army at the Battle of Worcester First Anglo-Dutch War Oliver Cromwell named Lord Protector of English Commonwealth Death of Cromwell Restoration of Rump Parliament Restoration of English Monarchy Coronation of Charles II in London Marriage of Charles II to the Portuguese, Catholic Catherine of Braganza English capture New Amsterdam (aka New York) The Great Plague kills thousands in and around London Second Anglo-Dutch War
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D R A M AT U R G Y N O T E ( c o n t .) 1666 1672-4 1678 1679 1681 1685
The Great Fire of London destroys much of the old city Third Anglo-Dutch War The Popish Plot fabricated by Titus Oates The Exclusion Bill proposed by Parliament Dissolution of Parliament by Charles II Death of Charles II without a legitimate heir. Ascension of the Catholic James II
These historical events help to define what playwright Liz Duffy Adams calls “this, our time of mingled hope and fear,” a time that might easily be then OR now. When Aphra attempts to deconstruct the plot that threatens her theatrical career and the life of the king, she considers how easy it is to assume the obvious “when people are grumpy about the war dragging on and the economy going to shit.” If only we had her dramaturgical insight, we too might be able to see past the “too obvious” and work to create the world that we desire. This play, though it draws its characters from history, does not attempt to stage that history with perfect accuracy. Indeed, the prologue begs our understanding of a playwright’s artistic license, “To have her way with people and events / Too far long gone for most of you to know.” Aphra Behn herself, in her dedication to Nell Gwyn, regretfully acknowledges what will be lost in the future: … succeeding ages who shall with joy survey your History shall Envy us who lived in this, and saw those charming wonders which they can only read of, and whom we ought in charity to pity, since all the Pictures, pens or pencils can draw, will give ‘em but a faint Idea of what we have the honour to see in such absolute Perfection, they can only guess She was infinitely fair, witty, and deserving, but to what Vast degrees in all, they can only Judge who liv’d to Gaze and Listen … The Feign’d Curtizans, 1679 Perhaps this play provides us with such an opportunity to “gaze and listen” as these historical figures take the stage. Perhaps performance does provide us with a chance to encounter historical figures as something more than what may be conveyed by pens or pencils. Perhaps what is lost on the page may be regained on the stage as we use performance to play with history, consider the present, and look toward the future.
BIOGR APHIES EDWARD KARCH (Charles II) is really excited to have been given the chance to get another crack at this wonderful production. Since the closing last December, he has been working all around the Chicago theatre scene. Most recently he was seen as the abusive Guard 1 in Joan’s Laughter for the side project’s spring rep series. He also appeared as Julie in The Agency’s production of Paradise Lost, and as the Captain in Cock and Bull Theatre’s Titanic. He received a BA from Southeastern Oklahoma State University, and graduated with an MFA from The Theatre School at DePaul University. MEGAN KOHL (Aphra) is proud to be working with Caffeine Theatre again. Recent Chicago theatre credits include The Vox Theatre’s Wild Women XXX (Woman 1), Arc Theatre’s Merry Wives of Windsor (Mistress Ford), Theatre Mir’s Beautiful City (Dian Black) and Griffin Theatre’s Frindle (Ensemble/Mom/ Judy Morgan). She has also worked with Remy Bumppo Theatre Company and American Theatre Company and Court Theatre. Originally from Washington State, Megan
earned her BA in Biology before moving to Chicago to study theater. She attended The Theatre School at DePaul University where she earned her MFA in Acting. You can learn more about Megan’s work and upcoming projects at megankohl.com KAY KRON (Nell) is thrilled to return to Caffeine! Other theatre companies she has worked with include Lookingglass, ATC, Redmoon, Vintage, Quixotic and Happy Vertigo. She is the proud coach of poetry slam team Perspective from Perspectives High School of Technology. Recently she was a finalist in the 2012 Women of the World Poetry Slam. This show has rocked to work on and she would like to thank everyone involved. LIZ DUFFY ADAMS (Playwright) is a New Dramatists alumna and a recipient of a New York Foundation for the Arts Fellowship Award, a Will Glickman Playwright Award, a Frederick Loewe Award in Music Theatre, a Weston Playhouse Music Theater Award, and a commission from Children’s Theater Company, Minneapolis. Her work has been Or, 9
B I O G R A P H I E S ( c o n t .) written, produced, or developed at the Humana Festival, The Women’s Project, Portland Center Stage, Portland Stage Company, Syracuse Stage, Bay Area Playwrights Festival, MacDowell Colony, Djerassi Resident Artists Program, Millay Colony for the Arts, New Georges, Shotgun Players, Moxie Theater, Clubbed Thumb, and Crowded Fire Theater, among other places. CATHERINE WEIDNER (Director) recently directed Taming of the Shrew, Titus Andronicus, and Merry Wives of Windsor for the Illinois Shakespeare Festival. In 2009, she directed a one-man version of Henry V in Austin, Texas for Rude Mechanicals/Red Then Productions. She has worked at The Kennedy Center, Center Stage, Arena Stage, The Guthrie Theater, Theatre de la Jeune Lune, the La Jolla Playhouse, and Bread & Puppet. She holds a BFA in Acting from Ithaca College and an MFA in Directing from the University of Minnesota, and has also trained at The Second City in Chicago and The Neighborhood Playhouse in New York. For ten years she was the Program Director of The Shakespeare Theatre Company Academy for Classical Acting at the George Washington University. She teaches Classical Acting and Heightened Text at The Theatre School at DePaul University, where she has been an Associate Professor since 2007. KRISTIN IDASZAK (Assistant Director) is the Associate Artistic Director/Literary Manager of Caffeine Theatre and co-curates Caffeine’s Coffeehouse Series. Currently, Kristin’s plays The Invention of Falling and Nyotaimori can’t unbreak her heart can be seen at Collaboraction’s SKETCHBOOK festival and LiveWire’s Vision Fest respectively, and she is dramaturging Rasaka’s upcoming production of Gruesome Playground Injuries by Rajiv Joseph. She will attend the MFA Playwriting program at the University of California, San Diego in the fall. LOUISE EDWARDS (Dramaturg) is a doctoral candidate in the Interdisciplinary Ph.D. in Theatre and Drama at Northwestern University. Her dissertation focuses on plays about the professional English actress in the nineteenth and twentieth centuries. She especially is interested in how the theatre reimagines the Restoration actress for contemporary audiences. Louise received an M.A. in Drama from Washington University in St. Louis and a B.A. in Theatre and English from the University of Notre Dame. Dramaturgy credits include On the Verge (Northwestern University) and In the Blood (Washington University). 10 Theater On The Lake
BRENT EUGENE BEAVERS (Stage Manager). Brent is thrilled to be reunited with the company of Or, for this remount. He is a proud recent graduate of The Theatre School at DePaul University and will be spending the 2012-2013 season at CENTERSTAGE Baltimore as a Stage Management Intern. His regional credits include Robin and the Seven Hoods, Jane Austen’s Emma, Engaging Shaw, and Allegiance (NYC Workshop) at The Old Globe in San Diego. His Chicago credits include Immediate Family at the Owen Theatre and productions with Caffeine Theatre, DePaul Opera Theatre, Collaboraction, and Cock and Bull Theatre. CHRISTINE ADAIRE (Vocal/Dialect Coach) is pleased to be an Artistic Associate with Caffeine Theatre. She has coached dialects for many Caffeine shows, including: The Oxford Roof Climber’s Rebellion, Under Milk Wood, Translations, Boojum! and Sailing To Byzantium. She has worked as an actor, voice coach and director in regional theatres, including: The Guthrie Theatre, Oregon Shakespeare Festival, Milwaukee Repertory Theatre, Chicago Shakespeare, Goodman Theatre, Court Theatre, Theatre for a New Audience (NYC), Shakespeare Santa Cruz, American Shakespeare Theatre, Shakespeare & Company and Illinois Shakespeare Festival. She also coached the first national tour of MARY POPPINS. Ms. Adaire has served on the faculties of DePaul University, The National Theatre School of Canada, the University of Massachusetts-Amherst and the University of Wisconsin-Milwaukee. Currently, she is an Associate Professor at Roosevelt University and teaches in the Theatre Conservatory of the Chicago College of Performing Arts. STEPHEN H. CARMODY (Set Designer) Scenic design credits include: Pippin for The Music Theatre Company, The Receptionist for Steep, Changes of Heart for Remy Bumppo, Around the World in 80 Days and Bad Dates for Fox Valley Rep, A Twist of Water for Route 66, Becky Shaw for A Red Orchid Theatre, Five Flights for Immediate Theatre, The Shadow of a Gunman for Seanachai, Man from Nebraska for Redtwist, and Kingsville for Stage Left. Stephen has worked in the scenic design studio of Todd Rosenthal, Jack Magaw and Kevin Depinet, interned with Tony Award winning designer Derek McLane in New York, and is currently assisting scenic designer Walt Spangler in Chicago. Stephen is an artistic associate for Caffeine Theatre with whom he has designed Wild Nights with Emily and last season’s rep, Wreckage and Brutal Imagination. A graduate from The Theatre
B I O G R A P H I E S ( c o n t .) School at DePaul University, Stephen received The John Murbach Scholarship for Collaborative Design, presented at The 2009 Michael Merritt Awards. www.stephenHC.com ALARIE HAMMOCK (Costume Designer) is happy to be returning to Caffeine Theatre for Or,. For Caffeine, she previously designed the rep of Brutal Imagination and Wreckage, and co-designed Wild Nights with Emily. Currently she works as overhire in Steppenwolf’s costume shop where she has been involved with many Steppenwolf productions as well as outside contracts including Lookingglass’ Peter Pan and Ethan Frome, The Court’s Orlando and the Lyric Opera’s Damnation of Faust and Hercules. Alarie is also the Wardrobe Supervisor for Chicago Opera Theater’s 2011 season, and is a wardrobe sub for Million Dollar Quartet. Alarie Hammock is a graduate of The Theatre School at DePaul University. NICK BELLEY (Lighting Designer) Previous Caffeine Theatre designs: The Oxford Roof Climber’s Rebellion. Chicago design credits include: Tartuffe, Aci, Galatea e Polifemo, The Factory That Makes Devils, Spring Awakening, The Coral King, Synergy, The Lonely Soldier Monologues, and Normal. Assistant: [Title of Show], Pippin, Falling: A Wake, Snapshots, Precious Little, Working, The Rivals, and Pinkalicious. Nick is currently working to complete his BFA in Lighting Design from The Theatre School at DePaul University. www.nickbelley.com CHRISTIAN E. GERO (Sound Designer) is excited to return with Caffeine Theatre. Chicago design credits include shows with The
Court Theatre, Griffin, and Emerald City Theatre Companies. When not designing sound for theatre, Gero is the Production Manager and in-house Engineer for the Chicagobased live recording company, MunckMix. He tours with The Allman Brothers Band as the live recording engineer, and has worked with many other music acts including The Black Crowes, Arlo Guthrie, Widespread Panic, and Michael Franti. SHANE KELLY (Technical Director) is the Head of Theatre Technology at The Theatre School at DePaul University. He has worked in a variety of technical and design positions around the country including Chicago Symphony Orchestra, Prague Quadrennial, The Second City, Chicago Spotlight, Chicago Scenic Studios, University of Northern Colorado, American Repertory Theatre, the Guthrie Theatre, Colorado Shakespeare Festival, Surflight Theatre in New Jersey, Little Theatre of the Rockies, and for Vee Corporation at the NBA All-Star Jam Session. He has an M.F.A. in Theatre Technical Production from the Professional Theatre Training Program (P.T.T.P.) at the University of Delaware. Shane is a member of USITT, the Vice-Chair for Programming of the USITT Midwest Regional Section, and an ETCP Certified Rigger-Arena and Theatre. GARVIN JELLISON (Assistant Lighting Designer) returns to Caffeine Theatre after serving as the Master Electrician for The Oxford Roof Climber’s Rebellion this spring. Garvin is a freelance lighting designer, technician and production manager. For more information see http://garvinjellison.info
C A F F E I N E T H E AT R E P R O D U C T I O N T H E AT R E 2011-2012 Or,* The Oxford Roof Climber’s Rebellion*
2008-2009 Many Loves The Changeling Tallgrass Gothic
2005-2006 Doña Rosita, or The Language of Flowers+ The Cocktail Party
2010-2011 Boojum! Nonsense, Truth & Lewis Carroll* Brutal Imagination* Wreckage*
2007-2008 Translations Like the Moon Behind the Clouds** The Antigone Coffeehouse
2004-2005 Sailing to Byzantium* Silva: A Poetry Collage*
2009-2010 Under Milk Wood Wild Nights with Emily*
2006-2007 The Cure at Troy Ion
*Chicago Premiere **World Premiere +World Premiere Adaptation
Or, 11
M I S S I O N S TAT E M E N T With language-intense, idea-driven productions, Caffeine reclaims theatre’s roots as a public forum with the idealism of the coffeehouse community, and a return to the radical tradition of poetry to pose questions of social conscience and of dramaturgical form. Connecting the mind to the ear to the heart to the voice and body, we will create, discover, uncover, and produce theatre that embraces and explores language—work that speaks—and that sparks conversation. “It is difficult to get the news from poems Yet men die miserably every day For lack of what is found there.” -William Carlos Williams
S TA F F Jason Beck.............................................................................................................Producing Artistic Director Kristin Idaszak....................................................................Associate Artistic Director/Literary Manager Dan Smith.................................................................... Associate Artistic Director/Resident Dramaturg Maggie Carlin.............................................................Casting Coordinator/Communications Manager Artistic Associates Christine Adaire Dana Black Carey Lee Burton Stephen H. Carmody Casey Diers Thomas Dixon
Donald Gecewicz Shane Kelly Ian Randall Erik Schnitger Eric Sisco Ruthanne Swanson Board of Trustees
Colleen Coyne David Dastmalchian Stacy Gonzalez Cameron Henneke Jeff Holland Michael Lawrence
Meghan Beals McCarthy William McCracken Scott Olson Stefanie Rivera Rebecca Roth Jennifer Shook
DONORS Caffeine Theatre wishes to express our sincere thanks and appreciation to our generous supporters. This list includes donations received during the past year, through May 1, 2012. Espresso Klatch ($1,000 and above) Jason & Mitsu Beck City of Chicago Department of Cultural Affairs and Special Events Gaylord and Dorothy Donnelly Foundation Illinois Arts Council Cameron Henneke Jeff Holland Michael Lawrence & John Jordan Meghan Beals McCarthy The Richard H. Driehaus Foundation Boyd Shook Jennifer Shook Dan Smith 12 Theater On The Lake
Cappuccino Klatch ($500 to $999) Ed & Judy Burton William D. McCracken Latte Klatch ($100 to $499) Carey Burton & Mitchell Powers David Dastmalchian Donald J. Gecewicz Mandy Ratliff Roche Schulfer Ruthanne Swanson
Coffee Klatch (up to $99) Friends of Caffeine Theatre John Bridges John Culbert Sydney Daniels Gilbert & Stacy Gonzalez Chloé Hughes John Hughes Ed Schultz Judy Shook Craig Steadman
presents
Broke-ology by Nathan Louis Jackson Directed by Runako Jahi
CAST William King.................................................................................................................KENNETH D. JOHNSON Ennis King..........................................................................................................................RANDLE O. MICHAEL Malcolm King.......................................................................................................................ANDRE ROBINSON Sonia King........................................................................................................................ CYNTHIA CHAMBERS
e t a C R E AT I V E A R T S F O U N DAT I O N eta CREATIVE ARTS FOUNDATION seeks to be a major cultural resource institution for the preservation, perpetuation and promulgation of the African American aesthetic in the City of Chicago, the State of Illinois and the Nation. In a colloquial sense,“to tell our story in the first voice.” Toward this end, eta Creative Arts Foundation shall provide professional opportunities by way of training and performance for the development of both youth and adults as artists and technicians; arts-in-education, sales for visual artists through the gallery and exposure for the general public to authentic, valid projections of African American life styles, experiences and aspirations. eta Creative Arts Foundation was incorporated in April, 1971, as a non-profit, tax exempt organization to provide professional training and performance opportunities for youth and adults on Chicago’s South Side. The mission, as expanded, incorporates all that eta currently does in the program. Over the past 41 years, eta has become one of Chicago’s leading performing arts organizations with a commitment to the production of new works and the development of individual artists. The Foundation emphasizes and gives a sense of direction and hope as reinforcement that black people can control their own destinies within the context of community. In 1979, after years of “vagabonding,” eta took the first step in establishing a permanent center when it purchased the 15,565 square-foot facility at 7558 So. South Chicago Avenue (with a 200-seat theater, a library, art gallery, office spaces, and classrooms). In addition to housing eta’s various programs, the facility also accommodates the physical needs of other arts groups. Thus, eta contributes to the overall cultural life of the community. At the same time, this facility provides jobs for staff and faculty, work for both emerging and professional performers (as well as technicians in the arts), in addition to the sale of the works of visual artists. For 41 years, eta has conducted a full schedule of classes in the performing arts (drama, music, dance, playwriting, directing, lighting, stage management and sound); plus daytime performances, Music Mondays, book signings, Storytelling Nights, Arts In Education and many special events. Broke-ology 13
TA L K I N G TO T H E P L A Y W R I G H T Aug 19, 2009 Broke-ology had its professional premiere last year in Williamstown, Massachusetts, but its author, Nathan Louis Jackson, says that “the story has been in my heart for a long time.” Sitting in one of LCT’s rehearsal rooms at the beginning of a workday earlier this week, Jackson elaborated. “The father figure in Broke-ology suffers from MS, and so did my father, who passed in 2001. He was a big inspiration for me when it came time to write the play.” That character, called William in the drama, shares other qualities with Jackson’s father. “My dad used to fix air conditioners in our neighborhood when I was growing up, just like William.” And just as the sons in the play - Ennis and Malcolm - remember their father being around frequently during their childhood, so does Jackson remember the good times with his dad. “He worked hard, but somehow he was always there.” Jackson’s play is much too good to be reduced to autobiography, but I will point out one more similarity: Kansas City. That’s the play’s locale, and the place where the dramatist grew up. “Yes, I grew up in Kansas City, Kansas,” Jackson confesses. “I was a good student in grade school, but I didn’t like high school at first. There wasn’t an outlet for my creativity. Then in junior year I got involved in theater, which made a big difference.” Jackson also excelled in forensics. He headed for Kansas State with a group of friends. “They have a decent, small theater department,” Jackson says, adding that he also got involved in the school’s Ebony Theater. “That was a small, student-run theater troupe, whose mission is to do African-American work, by both new and existing writers.” Two of Jackson’s undergraduate plays were performed in Washington, D.C., one of them at the Kennedy Center. Jackson’s talent, in other words, was being recognized. That gift took him to Juilliard, from which he received a playwriting degree earlier this year. (He received his Kansas State degree in theater in 2003, and is six credits short of a second degree, in environmental science.) “I did a first draft of Broke-ology, Jackson says, “during my first semester at Juilliard. I did a version of the story earlier than that, but 90 percent of it is different - that’s why I call the Juilliard version the first one. “ At Juilliard, Jackson also received a commission from LCT3, the part of Lincoln Center Theater that presents the work of exciting young playwrights. The commission resulted in When I Come To Die, a drama about a prisoner on death row in Texas, which is scheduled to be produced by LCT3 the season after this. “I’ve had family members who have been in and out of prison,” Jackson says, “so that may be one of the things that inspired me to write something set in prison. Writing something about somebody on death row was a real technical challenge, since somebody like that is in a cell for 23 hours a day.” Jackson’s work is taking him beyond the “cell” of a theater. “Earlier this summer,” he says, “I got a gig to work an NBC program called ‘Southland.’ It’s a cop show, but it isn’t a procedural. It’s character-based, which is great for a playwright.” Jackson plans to return to that assignment when Broke-ology is finished. BRENDAN LEMON is the American theater critic for the Financial Times and the editor of lemonwade.com.
14 Theater On The Lake
D I R E C TO R ’ S S TAT E M E N T Immediately after reading the script, I smiled. There was something very authentic about the dialogue, a natural looseness that had the rhythm of reality. Nathan’s characters are complex in the way that individuals are. I understand the family dynamic, particularly the relationship between a father with two sons. Even though things can get unpleasant, the strong thread of love is always apparent. Within that “love” there is a tendency to be brutally frank when need be. The King family is one that resonates as identifiable in most households. William King, once strong and robust, suffers from multiple sclerosis and gradually deteriorates as the story unfolds. Ennis is overwhelmed by not only his duties as caretaker for his father, but also by the demands of his intimate life and job; Malcolm has a brighter future and wants to rise to his potential. Together they are at odds over “what to do with Dad.” With theater being a reflection of life, we challenge you to look into the mirror. RUNAKO JAHI, Director
P R O D U C T I O N S TA F F Producer...................................................................................................................................PHILLIP THOMAS Artistic Director/Director.......................................................................................................... RUNAKO JAHI Producing Director..............................................................................................................KEMATI J. PORTER Playwright................................................................................................................NATHAN LOUIS JACKSON Technical Director................................................................................................... DARRYL GOODMAN, SR. Stage Manager/Sound Tech............................................................................EDWARD D. RICHARDSON Light Tech..........................................................................................................................WALLACE HEARD, JR. Set Design...................................................................................................................................... RUNAKO JAHI Costume Design................................................................................................................ SAMANTHA JONES Sound Design..............................................................................................................................RUNAKO JAHI/ DARRYL GOODMAN, SR. Light Design......................................................................................................................EUREL “EJ” JACKSON Master Carpenter............................................................................................................ DARIUS WOOLFOLK Light Operator/Tech......................................................................................................WALLACE HEARD, JR. Set Construction.........................................................................DARIUS WOOLWOLK, DARRYL TURNER Photography.....................................................................................................................KENNETH SIMMONS
BIOGR APHIES NATHAN LOUIS JACKSON (Playwright) Plays include: Broke-ology (LCT and Williamstown Theatre Festival), The Mancherios, The Last Black Play. Participated in The Kennedy Center Summer Playwriting Intensive, William Inge 24 Hour Play Festival, Ebony Theater’s The Word (monthly poetry slam), Kansas State Speech Team. Mr. Jackson’s directing vehicles include: The Colored Museum, The Island (Ebony Theatre). His numerous awards include: Two-time AFA Prose Interpretation Champion, two-time Lorraine Hansberry Playwriting Award Winner, Mark Twain Comedy Playwriting Award, ACTF Region V Best Acting Partner, President of the Ebony Theatre, Recipient of the Kennedy Center’s Gold Medallion. His television work includes: Shameless (ShowTime), Lights Out (FX), Southland (NBC). Education: BS, Kansas State University; The Juilliard School.
PHILLIP THOMAS (eta President/CEO/ Producer) previously served as eta Creative Arts Foundation’s development director from 1996-2000. Most recently Mr. Thomas was Senior Program Officer of Community Development at The Chicago Community Trust. In that capacity, he focused on developing program priorities, managing the budget and conducting grant application reviews and evaluations. Well regarded in the funding community, Mr. Thomas was a program officer at the Woods Fund of Chicago prior to joining the Trust. He was director of development and public relations at Suburban Job Link Corporation, and a research analyst for Berkeley Planning Associates. Mr. Thomas has served on the boards of directors for the Chicago Chapter of the Association of Fundraising Professionals, Chicago Art Partnerships in Education, the American Civil Liberties Union, Illinois Chapter, and the National Runaway Switchboard. Mr. Thomas earned a BA degree in Public Policy Studies at the University of Chicago. He was awarded the Connecting Broke-ology 15
B I O G R A P H I E S ( c o n t .) Leaders Fellowship from the Association of Black Fundraising Executives (ABFE) in 2005; received ABFE’s Emerging Leader of the Year Award in 2007 and currently serves on its board of directors. “This is a full circle moment for me” said Thomas. “eta is where it began. I’m honored to have been selected to serve as president and CEO and will do all that’s possible to lead its continued growth.” RUNAKO JAHI (Director/Artistic Director/ Set Design/Co-sound Design) is an award-winning director, playwright and actor. In 1986, Mr. Jahi wrote the Emmynominated NBC special, Martin Luther King Suite (based on an original concept by Abena Joan Brown). Mr. Jahi credits Oscar Brown, Jr., Okoro Harold Johnson and Ms. Brown for their inspiration and guidance over the years and to the institution of eta Creative Arts Foundation for giving creative people a venue to develop as artists. In 1990, he became the recipient of the Paul Robeson Award from the African American Arts Alliance, the President’s Award from the Boulevard Arts Center (for his contributions to theater for children) and the African American Achievement Award from Columbia College. He received the Best Director of 1995 award from the Black Theatre Alliance for his work on the Crystal Rhodes play, Stoops. Mr. Jahi serves as Vice-President of The African American Arts Alliance of Chicago, working along with Jackie Taylor, Chuck Smith, Joan Gray and a host of other prominent artists in the African American Arts Community. Mr. Jahi is the recipient of numerous accolades, including: the Monarch Award for The Arts from the Monarch Awards Foundation of Alpha Kappa Alpha (AKA) Sorority’s Xi Nu Omega chapter at their 21st annual Tribute To Black Men, the Merit Award from the Black Theater Alliance Awards; also the 2004 “Best Director of a Musical” BTAA award winner for eta’s production of Mari Evans’ Eyes. Recent 2005 Black Excellence Award Best Director nominee for Woman From The Town. He was a 2006 Black Theater Alliance Award nominee for Best Set Design for Willy’s Cut And Shine. Mr. Jahi coached Oscar winner, Jennifer Hudson, for the film audition that evolved into her much-honored performance in Dreamgirls. He is the recipient of two 2006 Black Excellence Awards: Best Director and Best Set Design for HOME: The Musical. In January of 2010, Mr. Jahi was honored and recognized as one of 50 Black Men of 16 Theater On The Lake
Excellence by the Chicago Defender. Mr. Jahi did voice-over work for Deeply Rooted Dance Theater’s 2010 concert, I Am Deeply Rooted;recipient of the 2010 Outstanding Playwright Award from The Black Ensemble Theater’s Black Playwrights Initiative; was recently awarded The Keeper of Tradition Award 2011 from Ashe, The Chicago Association of Black Storytellers; and is a 2011 honoree of NDigo Magazine’s Tribute 2 Men. Mr. Jahi was recently nominated Best Director by the Black Theater Alliance for 2011’s Field Of Souls by Darlette McAlpin; he is also the 2011 recipient of the Nehemiah Award from the West Englewood United Methodist Church. More information: www.runakojahi.com KEMATI J. PORTER (Producing Director) a native of Memphis, TN, and a member of eta Creative Arts Foundation since 1976. eta Producing Director since 2007 show credits include: Pill Hill, From the Mississippi Delta, Talking Bones, Drip, Resurrection, Get Ready, Checkmates, A Fool Such As I, Fathers and Sons, The Man Who Saved New Orleans, Field of Souls, Birthright, The Trip, Tearing Down the Walls, Herbert III and Contributions. Member of the Black Theatre Network and Kennedy King Theatre Advisory committee. Performance instructor, The Theatre School of Depaul University. Previously, Kemati was the Assistant to President/Producer Abena J. Brown, General Chairperson African American Women in the Arts Conference, Coordinator for Playwrights Discovery Development Initiative Panel, Editor of Magic Notes Newsletter, eta Annual Report, and Program Expansion Task Force member. Kemati was the Artistic Director of The Martin Luther King, Jr. Cultural and Performing Arts Complex and The Student Theatre Arts Repertory in Columbus, Ohio. She earned a B.A in Creative Writing and Advertising from Columbia College of Chicago, attended Tisch School of the Arts Summer Intensive Directing Workshop, received her MFA in Directing from The Theatre School of DePaul University where she was the recipient of the Michael Maggio Directing Scholarship. She interned at McCarter Theatre in Princeton, New Jersey and was a recipient of the Theatre Communications Group (TCG) New Generations Fellowship at McCarter Theatre in Princeton, NJ from 2005-2007. Kemati is an artistic affiliate of McCarter Theatre. While in resident at McCarter, Kemati assisted on the productions of Wintertime, A Christmas Carol,
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Broke-ology 17
B I O G R A P H I E S ( c o n t .) Getting Home, and My Fair Lady. She was line producer for The Birthday Party, The Brothers Size, Lookingglass Alice, Translations, Mrs. Packard, Ridiculous Fraud, Gem of the Ocean, A Moon For the Misbegotten, A Midsummer Night’s Dream and Miss Witherspoon. She served as the artistic advisor to Princeton University’s Black Arts Company: Drama productions of Fences, Death of The Last Black Man in the Whole Entire World and Flyin’ West. Her acting credits include: A Candle in the Wind, Good Black Don’t Crack, and Checkmates. Directing credits: Tearing Down The Walls, Gem Of The Ocean, My Juilliard, Sing Sister Sing, Jumpin’ the Broom, Good Black Don’t Crack, Stepper’s Ball, The Brother and The BAP, Dirt, Dr. Watts and The Saints, Hospice, TopDog / UnderDog, A Lesson Before Dying, Three Days of Rain, The Job, Chain, Duck Variations, and String. DARRYL GOODMAN, SR. ( Technical Director/Co-sound design) has been with eta since 1971 and served as Technical Director of Chicago State University. Mr. Goodman’s work has taken him to numerous venues in the United States. His technical assistance has enriched performances on stages from Las Vegas to Chicago. No eta Creative Arts Foundation production has been produced, to date, without the assistance of Mr. Goodman. He is also noted for mentoring students interested in careers in lighting, sound, stage management, and video recording. He is always available to give advice to novice technicians on technical concerns related to the theater. Many of his former students have gone on to work with touring companies of productions such as Wicked, The Lion King, and The Color Purple. His awards include: numerous Black Theater Alliance awards and nominations for the eta productions of Eyes, The Temple, Willie’s Cut and Shine, Stoops, Anchorman, Home the Musical, and others. His work with Chicago State University included numerous productions selected to be featured in an annual Off-Broadway tour to give their students an opportunity to experience theater from a professional perspective. Mr. Goodman has worked with Oscar Brown, Jr., Bernie Mac, The Count Basie Orchestra, Monty Alexander, The Piney Woods Gospel Choir, Avery Brooks, Jim Moody and Stanley Turrentine. He has served as Master Technician at The National Black Arts Festival for many years. He acknowledges the guidance of his 18 Theater On The Lake
mentors, Abena Joan Brown and the late Okoro Harold Johnson. “I give homage to the Creator, family, friends and students who have lighted my life along the way.” KENNETH JOHNSON (William King) is pleased to be performing at eta Creative Arts Foundation. His eta credits include: Tangled, Good Black; The Trial Of One ShortSighted Black Woman Vs. Mammy Louise and Safreeta Mae, and Kingdom. Mr. Johnson was also seen in the Jeff-award-winning production of 12 Angry Men at The Raven Theatre for Best Ensemble. “I would like to thank my wife who is always very supportive and all praise be to God.” RANDLE O. MICHAEL (Ennis King) is no stranger to the acting world. As a native of New York Mr. Michael spent most of his life in Dallas, Texas honing his craft, landing his first voice work at age 5. While showing an uncanny knack for memorization he catapulted himself to numerous amounts of stage work. He has worked with The Dallas Theatre Center/ Theatre III. Mr. Michael has had the honor of appearing at such venues as The Apollo, The Majestic, and even the legendary Carnegie Hall. He has followed his motto of “never knowing enough” from the East to the West Coast, studying at such schools as California Institute of the Arts and Columbia College. He also works with Fredrick Reed and For His Glory Productions. Mr. Michael is proud to have performed in three eta productions. In addition to The Man Who Saved New Orleans, he was also featured in the Showfolk productions of A Hip-Hop Aesop (both I and II). “To God be the glory!” ANDRE’ ROBINSON (Malcolm King) Mr. Robinson’s acting career was born at eta Creative Arts Foundation. Runako Jahi introduced him to the art of theater when Mr. Robinson was eleven years old. Since then, he has acted throughout the city of Chicago for ten years playing leads in several stage productions, including: A Raisin In the Sun, Ceremonies in Dark Old Men and Ten Square. Aside from his talent as actor, he is also writer. He’s written scripts and comic books and a series of poems. He will continue his acting career and segue into theatrical writing as well. Mr. Robinson was understudy for eta’s production of Darlette McAlpin’s Field Of Souls.
B I O G R A P H I E S ( c o n t .) CYNTHIA CHAMBERS (Sonia King) is happy to return to the eta main stage with this performance. Having received a Bachelors of Arts degree with a focus in Dance from Oakland University, Ms. Chambers has performed in theater and dance productions throughout the greater Chicago area. Her credits include: Death and the King’s Horseman (Fehnity African Theater Ensemble), Good Black (eta), The Yellow Wallpaper; (Chicago Danztheater) Selecting Memories; (Stage Theater) Wine in the Wilderness (Stage Theater); Once on this Island (Fleetwood-Jourdain) and Rituals (Tamboula Haitian Dance Ensemble). Cynthia would like to thank her family and friends for their endless love and support. EDWARD D. RICHARDSON (Stage Manager/ Sound Tech) started his career at the age of eight with the Kuumba Theater Company where he began to learn his craft as an actor. Rich performed in over thirty productions and traveled throughout the Midwest and Canada. In 1985 he received a Midwest Regional Emmy Award for his performance in the WTTW television production of Precious Memories: Strolling 47th Street. That year also saw him appear at the Montreal Jazz Festival in “The House of the Blues”, which was a first of its kind for the prestigious festival. Since then he has gone on to appear at the Goodman Theater, the Music Hall in Detroit & the Fox Theater in Atlanta, to name a few. Mr. Richardson also worked at the Chicago Theater Company, The Black Ensemble Theater Company, and Chocolate Chips Theater Company in various capacities (from performance to Technical). In 2004, he became Technical Director at the Duncan YMCA, and in 2005 he was Production Manager for Congo Square Theatre Co. Recently Rich has turned his talents towards directing and has mounted many successful children’s productions for eta Creative Arts Foundation Thunderstorm, The Black Fairy & the Showfolk (adult actors) daytime Ama & the Magic Toy Box along with a premier main stage production The Break of Day & a remounting of “Good Black” both productions garnered him a best director nomination from the Black Theatre Arts Alliance & The African–American Arts Alliance’s Black Excellence Awards. Good Black did win for best revival of a production (BTAA). Mr.
Richardson returned from the 2011 Black Theatre Festival where he worked as Technical Director for the productions of The Legend Of Buster Neal & Knock Me A Kiss starring Andre’ DeShields. He is also the recent recipient of the 2011 African American Arts Alliance Excellence Award for Lighting Design for the eta production of Tearing Down The Walls. “I’d like to thank God first for all. He also thanks his mother and father for the strength and guidance they gave. LOVE to you always; Dr.’s Lee, Liebowitz and Vassallo; my family at eta who made me take care of myself. And finally to the LOVE of my life, I couldn’t continue without you. I LOVE you CAROLYN. Peace to all Gods Kids.” EUREL “EJ” JACKSON (Lighting Design) Eurel “EJ” Jackson is a man who wears many hats. Literally! The DeVry graduate started his entertainment career at the tender age of 5 at the piano and continues to play today. His stage lighting career started in 1985 with New Addition at the Gary Genesis Center. He has directed and designed lights with Third World Reggae Band on the East Coast, Boogie Down Productions in New York and Paris, Hidden Stages and Deltafiters Productions as well as The New Regal Theater right here in Chicago. In addition he has extensive production management experience. Mr. Jackson is delighted to be back working in the community he was born and raised in. WALLACE HEARD, JR. (Light Tech) holds a B.A. in Theater from Columbia College; there he appeared in several winners of the Ted Ward Playwright’s Festival. Those plays include: North Star, Trees Don’t Bleed In Tuskegee, Black Caesar and Hambone. Other plays include: Ceremonies In Dark Old Men, Cement Ville, Monkeyland, Fires in the Mirror, The Meeting. Mr. Heard is a former member of the Black Theater Workshop at Columbia College (wrote, directed and acted in Ain’t No Sunshine When She’s Gone for Drug Awareness Week. His film credits include: To Sir With Love 2, Love Jones and Spiderman II. Mr. Heard did voice-over work for A Piece Of My Soul: The Anthology of Gospel. He co-directed the Youth Drama Ministry at Trinity United Church of Christ and codirected Only Sixteen for Faye’s Keylight Theatre Company.
Broke-ology 19
e t a B OA R D O F D I R E C TO R S NANCY C. McKEEVER, Chairman, Board of Directors DR. CAROL ADAMS SHELLEY HOYT ANDERSON ROBERT BLACKWELL ABENA JOAN BROWN LUCILLE BURRUS JAMES W. COMPTON MARY ANN DAVIS MARK DURHAM RAULLO M. EANES VELMA FELLINGS DOROTHY ODELL FOSTER
JOHN L. FOSTER DOUGLAS GAINES LISA MARIA JAMES MICHAEL A.LEWIS SABRINA L. MILLER JOE E. MOORE JUANITA PASSMORE USENI EUGENE PERKINS RODERICK SAWYER CATHERINE SMITH DR. GEORGE SMITH, PHILLIP THOMAS
e t a S TA F F President/CEO/Producer PHILLIP THOMAS
Artistic Director RUNAKO JAHI
Business Manager NICHELLE WEATHERS
Producing Director KEMATI J. PORTER
Technical Director DARRYL GOODMAN, SR.
Director of Development TINA SHIELDS
Building Manager/Staff Photographer KENNETH SIMMONS
T H E AT E R O N T H E L A K E 2 012 Managing Director.......................................................................................................... Samantha Chavis Managing Director Emeritus................................................................................. Krista Bryski Richard Artistic Curator...................................................................................................Meghan Beals McCarthy Artistic Curator..................................................................................................Michael Patrick Thornton Production Manager.............................................................................................Maude Graham-Nieds Assistant Production Manager....................................................................................... Cortney Hurley Box Office Manager........................................................................................................... Matthew Pierce Box Office Staff............................................................................................... Erika Geller, Andrea Young House Manager.............................................................................................................................Kitty Baker Master Electrician.............................................................................................................Jacob Snodgrass Technical Director......................................................................................................................Patrick Fries Sound..................................................................................................................... Red Line Event Services Sound Board Operator........................................................................................................... Brian Shader Lighting Board Operator.............................................................................................. Karen Thompson Lighting Crew...............................................................Elizabeth Boros-Kazai, Andrew Glasenhardt, Sarah Lackner, Megan Snowder Press/PR: Chicago Park District..........................................................................................Marta Juaniza Special thanks to Fullerton Beach Grill and Rub BBQ Company for partnering with Theater on the Lake. Thanks also to Pequod’s Pizza for sponsoring Moby-Dick’s Theater Thursday at Theater on the Lake.
20 Theater On The Lake