The Value of Theatre

Quick note before I begin ... I emailed most of our current and past collaborators to see what they thought about the questions being asked today. I only received three responses. I can think of a myriad of reasons why people didn't respond, but one thing that always interests me is the lack of input that comes through from people. Are they bored with theatre even though they do it? Are they really not interested in the conversation? Are they doers and not talkers? Are they afraid of what others may think? Are they indifferent to the questions? Are they just too busy with their work day to form cohesive thoughts on the subject? Do they think I'm a dork for just asking the question? Just food for thought ... though I know I'm a dork. (Edited at 5:27pm ... more feedback to the questions asked are coming on in ... please check the comments for additional thoughts. Peeps are busy with their day jobs, as I suspected or working on shows, etc. Great deduction, Holmes. Thank you, my dear Watson.)

So ... here are the questions I asked our peeps:

1. What makes theatre more valuable than other art forms?
2. Is theatre, indeed, more valuable? If not, tell me about it.
3. If you could explain to the average, tv-watching, sports-going Joe, why they should come see a small show over something like Wicked, what would you say to them?

And here are the answers I received ... I'm keeping them anonymous because I wanted to keep it more like a survey.

1. What makes theatre more valuable than other art forms?

- The complete and total process. The process is what makes it so totally superior. One must completely immerse themselves in it for it to fully be valuable. It is not a singular process, but one where you must collaborate and learn from one another. Yes, an artist can take advice from a colleague on the way a certain painting is going or musical arrangement, but theater incorporates every one and every thing. It is a whole living, moving piece of art from the beginning to the end. In the end, what completely dominates other forms is its demand for a breathing audience. It gives its whole life cycle - from the process to the last audience member.

- Theater is not more valuable than other art forms. Only insufferable theatre geeks believe that it is. I choose not to associate with these people.

2. Is theatre, indeed, more valuable? If not, tell me about it.

- If I had a gun to my head, then yes. Why? It needs so many art forms to live. I've seen theater done with poetry, music, dance, visual art, movement, masks, sculpture, puppetry, you name it. As long as the theatre lives, these other forms of art live.

- See Note 1

3. If you could explain to the average, tv-watching, sports-going Joe, why they should come see a small show over something like Wicked, what would you say to them?

- Seeing a show like Wicked....you might as well tune in and turn on the TV. It does not challenge the mind. You have more invested in a sporting game than you would with Big Traveling Broadway. Yes, it's pretty, but so are Steven Spielberg movies. I, myself, would rather pay $9 to see a Steven Spielberg film rather than pay $50-$75 to see a big production from nosebleed seating. Yet with smaller theater, there isn't a flat screen TV big enough to receive the kind of intimate, live entertainment it would provide. It's kind of why I decided to go to a smaller private school for college rather than being just another number at University of Texas. I wanted to get my money's worth. I knew that being in a smaller space, there would be these moments of connection and reflection that I wouldn't have in a larger arena.

- Storefront, blackbox, warehouse theater in Chicago is akin to CBGB rock in the 70's. Wicked, Jersey Boys etc is the American Idol/Celine Dion of stage. I will judge you harshly if you think any of the latter crap has value beyond soulless entertainment. Any theater where you can smell the actors is going to be worthwhile even if it ends up sucking out loud.

- I usually tell people who go see only big house shows like Wicked that smaller theatres have always seemed to have more to offer in the way of story, acting and overall production because it's all being put together by people who do theatre for the love of it. Not the money. Anytime I see a show at a commercial house the first thing I think it, well the acting and the story was sub-par, but at least I got to look at a pretty set for two hours. I rarely feel that way with non-for-profit theatres. They tend to actually move me in ways that big houses have yet to do. There's too much heart in smaller productions to ignore.

OK - here's my spin on the subject. And I'm really taking the audience's point of view, as I understand it.

Why is there value in theatre? Bob pointed out that theatre is dangerous. I agree. It's safe to sit at home and flip through the channels. It's safe to giggle and shout at the screen. It's safe to munch on your popcorn and answer your cell phone during a movie. Ain't so in the theatre. The actors may stop and see you. They know you're there. They could see you after the show. They might ask your opinion. They might solicit you to see something else. I like that. It's like deciding to go on a roller coaster. Once you start, you can't back out. Theatre's for the thrill seekers of the art world. Especially small theatre. If you're sitting in a tiny, blackbox theatre, you're a part of it and there's no turning back. Your yawn might hurt someone's feelings. Your laughter at inappropriate places might make them cry after the show. It's exciting. Other than a live music concert, I can't think of another art form similar to theatre. The faint of heart need not apply.

The beauty and art is temporary, fleeting. I almost think we should charge more because of this fact. The show will never be the same each time you see it. You have live people in front of you and live people taking your tickets and running the lights and taking you to the seats, welcoming you to the show.

The collaboration of so many people in theatre is quite magical and doesn't happen in other art forms ... except live music. There's that live music comparison again. When I see a great live concert, it gives me the same rush as a great live show of theatre. I don't know about you, but it's holy.

Why see, say, a GreyZelda show other than Wicked? I often think of my family members when it comes to presenting the show to the non-theatre people of the world. I have to figure out what our show has in common with things they like. My mom likes moments of hope. She can watch a dark, dreary play but if there's a bit of hope she can walk away with, the show's a success. My dad likes people he can relate with. Are either of them going to want to see The Skriker? I don't think so. The play doesn't fit into those two categories that always seem to entertain them. And that's ok. I don't think less of my family because of that ... I just have to work harder to find the audience that will enjoy it. If an audience member loves Wicked, I'd like to ask them what they like about it and what they're looking forward to when seeing it. The shows we do might not appeal to everyone. Again, that's ok. People aren't idiots if they like big musicals and not small theatre. Cut the loss and look for people who will possibly like the show. You can't please everyone but always continue your enthusiasm and fascination with your own work because that becomes contagious. Keep asking people to come. You might end up producing something that speaks to their interests. Keep up that sense of community.

Someone, maybe Don, mentioned theatre and church. When we were down in Texas recently, we went and visited my in-laws' church. The sense of community within the church and extending outside its walls was so strong. People were volunteering their time, materials and creativity to make beautiful prayer quilts to send to strangers that was in need of spiritual care. They brought in illusionists. They had dinner there almost every night. A built-in theatre. A fun room with a pool table for teens. Retreats for members. Music for members. So many things ... all inspired by Christ and his teachings. People did things without ego, competition, etc. They have faith in their belief system.

It just got me thinking ... so many churches down there. So much money being given each week to keep the church alive. We're a non-profit theatre company. Why can't we and other theatres inspire that type of devotion? I talked about it a little bit with my mother-in-law and she asked if we ever would consider doing biblical plays? I said that we probably would offend most church-going sensibilities with our versions of the Esther story, say. We'd be attracted to the great offenders of the Bible - Judas, The Whore of Babylon, Lilith, etc.

But, doesn't theatre tell the human story, too? That's why people find such truth in the Bible ... so many human stories and experiences to which we all can relate. And people come together to discuss them and praise them ... always with that great sense of fellowship and community.

Which makes it ever so valuable.

This post is inspired by those taking part in a Theatre Think Tank initiative. Please read the related posts by other participants in the effort, including:

Rat Sass
Theatreforté
An Angry White Guy in Chicago
Theatre Ideas
Theatre Is Territory
The Next Stage
Bite and Smile by Joe Janes
A Rhinestone World
That Sounds Cool
On Theatre and Politics - Matthew Freeman
Never Trust Your Pet With the Devil Vet
Theatre For The Future
Jamespeak
Mike Daisey
steve on broadway
Jay Raskolnikov — half hillbilly, Demi-Culture
The Mission Paradox Blog
Parabasis
Adam Thurman
Paul Rekk
Travis Bedard
Dennis Frymire

Ticket Deals for The Skriker

Hey, Bloggers listed to the right of this post .... you'll be able to see the show for free! I'd love to meet and see you all in person and this might be our last show for a spell, so ... I look forward to seeing you at the show!!!!

*If you're a student or a senior citizen, you'll be able to see the show for $10.00 with proof of ID.

*If you're a part of the Theatre Industry, you'll be able to pay what you can on Thursdays and Sundays, with headshot/resume or a business card.

*If you're a return customer to The Skriker and seeing the show for a second time, you'll get to see the show for free IF you bring a paying customer with you.

Spread the word!

The Skriker Photo

Lisa Wilson as the Skriker (Photo by Joey Steakley)

Whatever's happening with the death portent and its peers?

Hi!

So, it's March 10th, which means we have about five weeks before The Skriker opens. You can purchase your tickets online now. They're getting snatched up already, which is wonderful.

We're almost completely blocked.

We ran into a bit of a snaffu last week, however. Erin Ordway, who was playing Lily, had to drop out of the show due to a serious personal situation and we've replaced her with Kelly Yacono, who was playing the Kelpie. Kelly's going to rock and here are just a couple of reasons why:

1. She knows how to play Cat's Cradle.
2. She's funny, game for everything and gets along splendidly with the entire cast, not to mention Lisa and Kat, who are playing The Skriker and Josie, respectively.
3. She rocked her audition and really made the role pop.
4. She's a clever gal and will be able to learn her blocking and lines quickly.

So ... all things happen for a reason. I think this will be an excellent change for the show. Amanda Eaton, who is our Bogle, will be moving into the Kelpie/Yallery Brown role as well, so ... rock and roll.

Robert's written excellent music for the show. Go check out his myspace page he's made for his show compositions and you'll be able to hear his music for the huge Underworld scene midshow as well as other music he's written for us from past productions. His partner, Kristen Strezo, has also done quite a bit with helping us with music, as well.

Jeff Semmerling has completed the masks and he'll be bringing them to one of our ensemble rehearsals to see how they fit the cast and also see how the cast is moving in them.

Joseph has been absolutely amazing with his assistance with the character movement. The cast loves him, I love him and he's been a huge part of the creation of this show, thus far.

Heath talked to me yesterday about his design for the set. You're going to love it, people. I'm quite taken it with it.

Erin Lapham, our lighting designer, is totally on the ball and has been getting ready for moving into the Angel Island space. Speaking of being "totally on the ball" ... I need to email her about scene breakdowns.

And, last but not least, our fearless cast keeps on jumping through these swampy waters with me and we've been having an excellent time. Other than Erin Ordway leaving the show, it's been one of the smoothest rehearsal processes we've had in a long time and I'm incredibly thankful to everyone who has helped so far.

And now, I will share with you a painting that was a source of conversation and inspiration for the Underworld scene we worked on Saturday.

My Kind of Town

A lot of bloggers from our toddlin' town have been causing a bit of a stir over at Theatre Ideas and I was inspired to look up some quotes about Chicago. You may have seen them before, but ... they make me happy to a part of this city.

Chicago is an October sort of city even in spring.
- - - Nelson Algren, Newsweek, August 13, 1984

Perhaps the most typically American place in America.
- - - James Bryce, 1888

Chicago is a city of contradictions, of private visions haphazardly overlaid and linked together. If the city was unhappy with itself yesterday-and invariably it was-it will reinvent itself today.
- - - Pat Colander "A Metropolis of No Little Plans" NY Times 5 May 85

A facade of skyscrapers facing a lake and behind the facade, every type of dubiousness.
- - - E.M. Forster

I have struck a city - a real city - and they call it Chicago. . . . I urgently desire never to see it again. It is inhabited by savages.
- - - Rudyard Kipling, 1891

Chicago was a town where nobody could forget how the money was made. It was picked up from floors still slippery with blood.
- - - Norman Mailer, Miami and the Siege of Chicago, 1968

New York is one of the capitals of the world and Los Angeles is a constellation of plastic, San Francisco is a lady, Boston has become Urban Renewal, Philadelphia and Baltimore and Washington wink like dull diamonds in the smog of Eastern Megalopolis, and New Orleans is unremarkable past the French Quarter. Detroit is a one-trade town, Pittsburgh has lost its golden triangle, St. Louis has become the golden arch of the corporation, and nights in Kansas City close early. The oil depletion allowance makes Houston and Dallas naught but checkerboards for this sort of game. But Chicago is a great American city. Perhaps it is the last of the great American cities.
- - - Norman Mailer, Miami and the Siege of Chicago, 1968

I give you Chicago. It is not London and Harvard. It is not Paris and buttermilk. It is American in every chitling and sparerib. It is alive from snout to tail.
- - - H. L. Mencken

Gigantic, willful, young,
Chicago sitteth at the northwest gates.
- - - William Vaughn Moody "An Ode in Time of Hesitation," 1901

Chicago will give you a chance. The sporting spirit is the spirit of Chicago.
- - - Lincoln Steffens "The Autobiography of Lincoln Steffens," 1931

Chicago is not the most corrupt American city. It's the most theatrically corrupt.
- - - Studs Terkel, 1978

It is hopeless for the occasional visitor to try to keep up with Chicago-she outgrows his prophecies faster than he can make them. She is always a novelty; for she is never the Chicago you saw when you passed through the last time.
- - - Mark Twain "Life On The Mississippi," 1883

The Off Loop Freedom Charter

Check out D. Hall's plans.

I'm in.

I'll write more about how The Skriker's going one of these days, I swear.

RZ

Change the Narrative. Tell a Different Story.

"Art is an act of nature." - Don Hall

Tickets for the Skriker Available Online

Tickets for our upcoming production of Caryl Churchill's The Skriker are now available online.

Please visit www.greyzelda.com to purchase them now.

"We'll be under the bedrock a bye and by ... ready or not here we come quick or dead of night night sleep tightarse."

Dystopian Workshop with the Mammals

For anyone who might be interested ... I most certainly am.

From www.devilvet.blogspot.com

Dystopian Workshop

Starting in the Month of June...The Mammals will be conducting a series of workshops to develop material for a performance based on the notions of dystopia.

We are looking for the following sort of individuals. Writers, Directors, Performance Artists, Self styled DIY innovators, Musicians, Puppeteers...

The goal is to get a group or approximately a dozen artists together to discuss and then create a series of short pieces on the theme of dystopia. Once we accumulated an evenings worth of material, the Mammals will then set out to produce the work as a full event.

Dates of the workshops will be determined once we have a roster of collaborators.

If you are interested in participating please contact Artistic Director Bob Fisher at devilvet@gmail.com

Also, please share this post with any artists you feel would have interest in the project!

Another Good Man Goes Down

Frank Rutledge (1935 - 2008) was one of the most, if not THE most, influential teachers I ever had. He passed away from a heart attack on Tuesday night. I've been remembering him the last couple of days ... my dear friend, Dave Goss, wrote a blog about Frank that took the words right out of my mouth.

Take a second to read it.



Are you back? Cool. You know his The Frog Prince story? The same thing happened to me when I directed Hansel and Gretel. Frank liked that scene so much, that the rest of the semester and the rest of my time at Michigan State University proved tricky for me. He kept on putting me against myself and told me that I had set my own grading pattern. He was the type of man that could have you laughing one minute with one of his myriad of quotes and then have you wanting to slam a door and leave in frustration. Which you wouldn't do. Not to Frank. I can't tell you how many times I felt humiliation in one of his classes, but that feeling started making callouses on my artistic soul that have served me well as I try to navigate this business called theatre. He told me to be my own CEO and that no one would do things for me. There are a lot of people out there waiting to have the world handed to them. Here's a secret: I always think of Frank when I hear those people talking and I'm secretly giggling at you behind my brain hand because I know the real score. Frank was good at teaching that. He called it as he saw it and, several years later, I certainly can't argue with him.

The State News, MSU's newspaper, called me Wednesday afternoon to talk to me about my memories of Frank, which was completely out of the blue, because I never really knew what Frank thought of me. I always sent him our GreyZelda press releases and always invited him to our shows, but I never heard anything back from him. Well, that's not quite true. When I sent the press release for Desire Under the Elms, the original email bounced back, so I forwarded it to Melissa Kuhlmann to send to him because she had always had a close connection to Frank. He wrote this in reply:

"Becky Zellar-who woulda thunk it.
Thank her for me and say hi-also include Tom (Gordon).
Love'
Frank"

I analyzed those few lines to death and wondered why he would be surprised to hear from me as he was one of my favorite teachers ... and then I started overanalyzing it and thought that maybe he thought "What the heck is Zellar doing directing?" Frank was like that ... you craved his admiration but it was really damn hard to get on a consistent basis if at all. And when you did, it meant so much.

I guess Andrea, his daughter, who I never knew, gave the State News my number, so ... he must have kept the info I sent him. It felt like a little nod from under the brim of his Indiana Jones-like hat posthumously.

Rest in Peace, Frank. And give 'em hell.

The Skriker Poster and Cast

Designed by Sarah Stec

Cast:

The Skriker - Lisa Wilson
Josie - Kathryn Daniels
Lily - Erin Ordway

Passerby - Jana Liles
Kelpie/Yallery Brown - Kelly Yacono
Dark Fairy/Black Dog - Annie Passinisi
Fair Fairy - Taylor Mauch
Green Lady - Kate Froehlich
Jennie Greenteeth/Rawheadandbloodybones - Dani Bryant
Girl with Telescope/Lost Girl - Morgan Christiansen
Hag - Jamie DesRocher
Bogle - Amanda Eaton
Brownie - Karen Gollrad
Man with Bucket - Brian Bell
Spriggan/Granddaughter - Jill Thiel
Black Annis/Dead Child/Great-Great-Granddaughter - Rebecca Mauldin

Blue Blood Blad Blood Blah Blah Blah

Rehearsals for The Skriker are going well .... we have an excellent, enthusiastic, smart cast. Our movement guru, Joseph Ravens, is a pleasure to work with. The members of the Underworld ensemble have a handful of lines, if any, but they get to work closely with Joseph, so ... they're very lucky. Robert is down in Hotlanta working on the music ... he's going to send me a few MP3s one of these days so I can hear what he's come up with. I'm pretty sure I'll like it. I'm going to be speaking with Jeff Semmerling on Thursday about original masks for the cast. Heath is working on the set design and I'm very excited to see what he comes up with. I'll also be meeting with Erin Lapham, our lighting designer, soon as well.

I'm sitting here wondering what else I'd like to share ... this directing process has proven to be a little bit different than normal ... and I like it. How is it different? Small ways ... when rehearsal's done, I speak with Chris about it, but after a half hour or so, I put it away and don't bring it out again until about a half hour before we start the next day. Because I've directed the show before, I'm allowing room for the actors to play, but I'm able to reign the composition in a little more quickly. Shaping the scene up is coming easily and I don't think that we need to have tons of discussion on the given circumstances because Caryl Churchill has written everything in very clearly. The actors I'm working with are interested in the production and motivated to do their own research, so they're coming in to rehearsal with a lot and I don't have to pull any teeth to get a performance out of anyone. Everyone gets here on time, lines are already being learned and questions are being asked, so .... the show has been stress free so far and I'm going to continue to keep it that way. You would think that the descriptions stated above would be in every show because most of those things are the "actor's job", but .... every production and cast are different. I'm thankful to work with this group of people on the show because it might be a while before we put another show up.

I'll write more later .... I haven't too much to say right now. I've been reading the bloggy blogs about About Face and dicks or lack of dicks and non-equity awards vs. citations and the eternal outcry of how hard theatre is and why, whaa whaa whaa ... but I'm focusing on the work of the thing right now. Chris gets to hear my rants on these subjects, but I haven't shared them here. Again, it might be the instinct to keep a calm environment these days.

Hope you're all well. Catch you later.

RZ

On to the Next Show

Hi.

Our final two performances of A View from the Bridge were sold out. But we didn't get to put it on because our Beatrice was hospitalized with the Whooping Cough. She was released yesterday, thank goodness, and hopefully is doing better.

Not the most uplifting way to close a show to be sure. If we had known that Thursday night would be our last show, we certainly would have gone out with a bang. There was a brief talk about me going in for Nicolle with script in hand and reducing the audience's ticket price but we chose not to go that route because of the sickness I've been fighting and the fact that I'm pregnant and can't overdo it. I know myself and I probably would have overdone it because I would have lost myself in the excellent acting going on and ... that's not the best thing for me right now and I have to start thinking selfishly for the little creature that's developing. Creature trumps theatre. Theatre's been number one for many, many years ... but this new life wins.

Thank you to the cast and crew that came to help out Saturday night and Sunday morning. We really appreciated it and Strike flew by at record speeds. Thank you to Bob Fisher for coming by on Saturday night as well. We enjoyed seeing and talking with ye.

We have our first Ensemble rehearsal tonight for The Skriker and I'm looking forward to it. We had a brief moment of despair on Friday night, as you read, but fortunately perspective came knocking and I'm feeling ever so positive and excited to work with our collaborators on this show, which might be our last show for a while now that we've got another personal production on its way.

Have a great Monday.

RZ

A View from the Bridge - Important Update

Whooping cough is in our midst ... the show tonight will be canceled because one of the cast members was hospitalized with the Whooping cough. She wants to do the show tomorrow but we want her to doublecheck with her doc because, well ... it's the Whooping Cough.

It's been a wild and crappy day all around.

I'm sick with similar symptoms and have been for two weeks. For those of you who don't know ... I'm also 11 weeks pregnant. It's been tough going so far so I'm hoping I don't have the disease. I see the doctor tomorrow.

To my fellow theatre companies ... do you ever feel the world crashing around you, production wise, and you wonder how to find the motivation to keep going? We're closing tomorrow with View, but the today has been a doozy on all fronts in regards to the company - I'm not going to get into it here, but I seriously just want to curl up and hide away forever. I'm really feeling that today ... I'm supposed to dive into Skriker rehearsals on Monday and my creativity is nowhere to be seen. I know people are sympathetic towards the pregnancy and want to help with what they can, but there's only so much that can be done and only so much patience they can give ... has anybody out there been in a similar situation? Directing while pregnant? Directing while really sick? How do you do it? How do you strap it on and keep going like normal?

Sorry about such a whiny blog. (Note added at 9:30pm - I'm feeling much better after being able to eat a good supper, take care of patrons, touch base with some of our closest friends and talk with my dearest husband and coartistic director. All is currently well in my world and I can see clear our path of production. Thanks again for reading. RZ)

Girl power. By the power of GreySkull ...er GreyZelda. She-ra.

RZ

Closing Weekend!

A View from the Bridge closes this Saturday so make sure you make your reservations now! You can call 773-427-1935 or visit www.greyzelda.com to reserve them online. Friday and Saturday's tickets have been going fast!

A View from the Bridge - Only Two More Weeks!

We only have two weekends left for you to see Arthur Miller's A View from the Bridge! Please make your reservations now. We're mighty proud of this show and our cast rocks our world. Check it!

JEFF RECOMMENDED

“See this play. Support this company.” ~William Scott, New City

Tickets:

Call 773-427-1935.

OR

Visit http://www.greyzelda.com for online purchasing.

Ticket Specials:

Bloggers Deal- 2 for 1 ... if you have a blog, you can get in, with a friend, for half price. 10 buckaroos each.

Industry Nights- Sundays - also a 2 for 1 deal with a headshot / resume or a business card.

What the People Say:

"(Aris) Tompulis gives one of the best performances you’re likely to to see on a Chicago stage this winter. His mannerisms and delivery were so natural, I actually had to check my script afterwards to make sure he wasn’t ad libbing. Equally outstanding are Dave Goss’s Marco and Tom Gordon’s Rodolpho, both of whom have mastered an Italian accent and every task called for by the text. Finally, Kelly Breheny, playing niece Katherine for a second time, shows remarkable comfort with the role ... GreyZelda has established itself as a theater company to watch ... "

~Ethan Stanislawski, Chicago Maroon

"This young company is many exciting things. They are great actors and a tight ensemble in Miller's superbly crafted script .... Aris Tompulis’ Eddie is a big lug who you want to hug and punch alternately, but he is always human. Nicolle Van Dyke and Kelly Breheny, Beatrice and Catherine respectively, hold their own. They give hard, delicate and beautiful performances. See this play. Support this company. GreyZelda will be well served by continuing to take chances as long as they genuinely support the production."

~William Scott, New City

“The strong cast of GreyZelda Theatre Group's production--including Aris Tompulis as Eddie, Kelly Breheny as the niece, and Tom Gordon as her lover--give their characters gritty intensity.”

~Albert Williams, Chicago Reader

"The acting was excellent with Aris Tompulis’ Eddie, Kelly Breheny’s Catherine and Tom Gordon’s Rodolpho particularly wonderful. The fine Brooklyn accents and truthful emotional rage and genuine angst from Miller’s characters came across effectively in The Grey Zelda Group's production. We see Eddie’s pent-up sexual desire and his homophobia explode into tragedy. His journey unfolds as high drama. This is a worthy production."

~Tom Williams, chicagocritic.com

“The trio that anchors the GreyZelda cast couldn't be better. As Eddie, Aris Tompulis is all tightly coiled torment, a man without the capacity for redemptive self-reflection, a victim of his own obsessive, machismo posturing and bull-headed possessiveness. As Beatrice, Nicolle Van Dyke is endlessly sympathetic as a bitter, world-weary woman whose realization of the death of her marriage comes as a dagger to the heart. And as Catherine, Kelly Breheny is luminous, a young woman whose combination of innocence and sensuality could make a priest kick in a stained-glass window.”

~Catey Sullivan, News-Star

“Nicolle Van Dyke as the long-suffering wife Beatrice, Kelly Breheny as the wide-eyed Catherine, and Tom Gordon as the new-in-town Rodolfo fit perfectly into their roles. With spot-on accents, great sense of timing, and affecting performances.”

~Dennis Mahoney, Centerstage

“Tom Gordon’s dynamic performance as a passionate Italian singer and Kelly Brenehy’s fragile work as the object of his affection.”

~Christopher Piatt

Windy City Times Review by Mary Shen Barnidge

"Arthur Miller's play lends itself to a variety of interpretations: it can be viewed as drama verité, painting a picture of community life amid the Italian population of Red Hook, on the southwestern coast of Brooklyn. Or as a fable of dreams deferred, elders sacrificing so their young may flourish. One can find Freudian overtones in its exploration of blue-collar paternal affection subverted by incestuous impulses stemming from suppressed envy. ( Don't we, today, still see parents resentful of the privileges they shower upon their children? ) And how could the plight of “submarines”—illegal immigrants—seeking economic opportunities in America not resonate with audiences in 2008?

It should come as no surprise that this GreyZelda Theatre Group production does not fit easily into preconceived categories. Where some directors would instruct their actors to delve the possibility of sexual ambiguities in Eddie Carbone's possessive attitude toward his maturing niece and her effeminate ( by 1956 standards, remember ) suitor, Chris Riter never permits his subtext to wallow in sweaty speculation. Likewise, speeches that would, under other guidance, be delivered with operatic majesty are kept well within the vernacular idiom of their milieu.

Indeed, if this rendition of the familiar classroom classic has any prototype, it would be an early television play: the live-action scenes are almost wholly restricted to the Carbone family parlor, with only a suggestion of hall stairway and front stoop, all other exterior scenes being shown in video clips, courtesy of filmmaker Ed French. ( David Lykins' attorney Alfieri never addresses us except before the camera. ) Far from diminishing the story's impact, however, this multimedia approach further intensifies our acquaintance and, thus, our understanding of the social environment that turns fundamentally good men to violence and vengeance.

Opening on a frigid night only three days into the new year, the GreyZelda ensemble couldn't help but fall a bit short of its ambitious goals, emotions kindling too slowly before igniting. But Stage Left's intimate quarters permit the cinematic ambience of the prerecorded sequences to be carried over to the on-site performances—in particular, techniques associated with close-up shots that allow us to see thoughts cross characters' minds unspoken. Ironically, it is just this cozy brand of realism ( as contrasted with the glib repartee of extensively-drilled players confidant of their next words ) that invokes empathy without our being aware of its influence, so that when the inevitable strikes—and we, literally, see it coming—we experience the catharsis due all unnecessary destruction in an imperfect world."

Doesn't Mary write beautifully? I always enjoy her reviews because she's able to spin journalism intelligently and poetically, while still remaining descriptive and accurate.

(*edited 1/17/2007 at 3:49pm* - I've been a long time fan of Mary Shen Barnidge's writing because I think it's good - regardless of whether or not she reviews our shows or not - my comment above was put because I feel the post is well-written and uses really good words and descriptions and quotes that are beautiful to read, to me, from the literary sense. She's got a huge talent and Chicago should be very proud to have such an eloquent writer coming to see their shows. Go read her other reviews - you'll see what I mean.)

RZ

Question about Previews

Why do theatre companies have them?

Rob Kozlowski posted a blog saying that he went to see a preview of Little Dog Laughed. He wrote a little bit about the show as did one of his commenters. Eric Rosen posted a comment in response where he gets on people's cases about criticizing a preview, comparing it to inviting dinner guests over when you're deciding on the menu.

No offense to someone I don't know, but ... that's kind of a dumb analogy. It's more like inviting people over an hour early while you're setting the table. Why would you? I certainly wouldn't, unless they were an out of town guest that was staying over and had nowhere else to go. Or maybe he was saying that he's the type to plan his menu out last minute ... I'm a couple weeks in advance girl, if I'm having a dinner party, but that's just me. Anyway ...

I don't really understand previews and inviting others to see a final dress/tech, especially if you're not ready and there's the chance of someone yelling "Hold!" during the show. If you're at the "Hold!" point, I don't think you're ready to have an audience.

Am I wrong? And, if you're going to invite people to come see the show before it's ready to open and those people have an opinion on the show, then ... why would you have a problem with that? You chose to let them in!!! Our friend, Bob, wanted to come see A View from the Bridge during one of our final dress rehearsals, but we just weren't ready to let the public in. We were figuring out the video stuff, making sure our light board and sound/video ops were good to go, making sure the actors were comfortable in the space, giving last minute notes, etc. Sometimes, we're completely set to go the night before we open, sometimes we just need the closed space. This time, we needed the privacy, even though Bob's a director, peer, friend, etc. We just weren't ready to pull back the curtain.

So ... why do people have previews exactly? How do they normally work? Do people pay to see glitches or are they normally free?

Rebecca

What the People Are Saying ....

From Morgan Manasa, Babes with Blades Member and local Chicago actor:

"Folks,

You must get over to Stage Left to see GreyZelda's production of A View from the Bridge.

This is one of my all time favorite plays and ... I had never seen it performed. It was lovely. Real, raw, charming and heartbreaking. Do yourselves a favor and see it before it's over! RUN. Don't walk."

From Tom Williams, chicagocritic.com:

"The acting was excellent with Aris Tompulis’ Eddie, Kelly Breheny’s Catherine and Tom Gordon’s Rodolpho particularly wonderful. The fine Brooklyn accents and truthful emotional rage and genuine angst from Miller’s characters came across effectively in The Grey Zelda Group's production. We see Eddie’s pent-up sexual desire and his homophobia explode into tragedy. His journey unfolds as high drama. This is a worthy production. "

From Lisa Wilson, GreyZelda company member and Chicago actor:

"The show is f@#*ing phenomenal.... I couldn't believe the tears I had in my eyes. I haven't cried in a theatrical piece as an audience member since I saw a studio workshop of Slaughter City in college. The acting is amazing and I loved every character in it. Plus, there is fighting and film - yeah. I am very proud of them mulch/crows."

From William Scott, New City critic:

"This young company is many exciting things. They are great actors and a tight ensemble in Miller's superbly crafted script .... Aris Tompulis’ Eddie is a big lug who you want to hug and punch alternately, but he is always human. Nicolle Van Dyke and Kelly Breheny, Beatrice and Catherine respectively, hold their own. They give hard, delicate and beautiful performances. See this play. Support this company. GreyZelda will be well served by continuing to take chances as long as they genuinely support the production."

From Dave Lykins, Alfieri in A View from the Bridge, Chicago actor and musician:

"The real treat is watching the live cast live this thing. It's probably the best cast I've ever worked with. Having a great cast means nothing without direction and Chris Riter has done a f#@*ing awesome job here. I'm really proud & lucky to be associated with these guys ... It's normal for an actor to pump up the show he's in but I am not really a self promoting type of guy. This is a great presentation of great play and it is only running until the 2nd of February. You'll be doing yourself a favor if caught this before it goes away."

I'll post more feedback as it come our way ... thank you to everyone who's seen the show so far!!!!

Industry Night for View

Hello, you crazy cats, you.

I just wanted to let you know that Industry Night for A View from the Bridge will be Sundays.

2 for 1. Which means 10 bucks. With a headshot/resume or business card.

It'll be great to see you!

RZ

A View from the Bridge by Arthur Miller
Stage Left Theatre - 3408 N. Sheffield
Thursdays - Sundays through Feb. 2, 2008
8 pm
www.greyzelda.com

A View from the Bridge Opening and Tech

We finished our first week of A View from the Bridge and it went really well. Our audiences are responding positively and we are Jeff Recommended. (I secretly invited the Jeff Committee without telling Chris or the actors ... my thoughts on that were, "If we get recommended, cool. It'll be a nice surprise to share with everyone. If not, no one's the wiser, so nobody will feel bad about it and performances will continue as usual."

I didn't talk much about tech week because it was one of our craziest ... our set designer, Heath, almost killed himself by falling 4 feet flat on his back. It was really scary ... we heard him yell, then we heard a crash, then we heard nothing for a few seconds. He's fine, but he feels like he was in a serious car accident. We also had some trouble getting the film going, which was terrifying to our entire production, but thanks to Gene Van Dyke (Louis), Heath was able to download a universal program that allowed us to see the film perfectly with no glitches. It was one of those last minute saves that turned everything around and we're extremely thankful to the ingenuity of our cast and crew who helped us open the show up without a hitch.

We hope you can come see the show ... it runs Thursdays, Fridays, Saturdays and Sundays until Feb. 2nd. We've got the bloggers 2 for 1 deal. Sundays are also our official industry night, again with a 2 for 1 deal with a headshot or business card.

Have a great week, everyone! See you at Stage Left!

Rebecca

Bloggers Deal

Happy New Year, Chicago Theatre Blogosphere and its surrounding areas all over our fair country!

To bring in '08, we'd like to offer a 2 for 1 deal to people who have blogs. When you come to the box office, tell us your web address, bring a friend and you'll both be able to see the show for $10.00 each.

The show opens tomorrow and we're almost sold out. We're also sold out for Saturday, January 19th as we have a high school from Cincinnati coming, so if you were planning on seeing it that night ... I'm very sorry. Please come back again on Sunday, January 20th. You can call 773-427-1935 or visit www.greyzelda.com to purchase your tickets online.

The show's running just under two hours. It's looking great. Everything is coming together.

Here are a few pictures I took from last night's dress rehearsal:















Aris Tompulis (Eddie) and Kelly Breheny (Catherine)















Dave Goss (Marco), Kelly Breheny (Catherine), Tom Gordon (Rodolpho) and Nicolle VanDyke (Beatrice)




















Nicolle VanDyke (Beatrice)















Beatrice and Eddie

Movin' Day

(Kelly Breheny as Catherine; Nicolle Van Dyke as Beatrice)

Today's the day that we start moving the show into StageLeft .... Chris and Heath (scenic designer) will be meeting Kevin or John there tonight at 6pm and will start constructing the set. Meanwhile, Holly (assistant director) and I will conduct rehearsal at our place with the actors ... it may or may not be an annoying line through where we stop actors, correct their lines, make them write down what needs correcting and carry laboriously on through the end ... it may be a normal run-through ... it has yet to be decided.

Tomorrow, Holly and I will run around town collecting final props and costumes. Tom (Rodolpho) will get his hair dyed blond. Chris and Heath will continue building. Julie (lighting designer) will join the festivities around 3pm and will start hanging her lights. What's very cool this time around is that we're able to move into StageLeft a little bit earlier because of the holidays - no one's doing anything and the space is available for us to start making it our temporary home.

Sunday - more building, painting, adding the furniture. Julie will set her light design into the computer. We'll add the film in ... Heath works for a company that provided video conferencing capabilities and he has editing software on his computer that will help make Ed's HD look incredible on stage. The actors will join us in the evening and we'll figure out their exits, entrances, scenes with the film, etc.

Then ... Monday - Wednesday - Final Dress Rehearsals with added food, costumes, makeup, full lights, full furniture, the works.

Thursday night - we open. The opening night show is almost sold out, which is very cool. Our Saturday, January 19th show is also sold out, so reserve or buy your tickets now!

A View from the Bridge by Arthur Miller, presented by The GreyZelda Theatre Group
StageLeft Theatre - 3408 N. Sheffield Chicago, IL
January 3-February 2, 2008 (Thursdays, Fridays, Saturdays, Sundays)
8pm
Tickets - $20.00
Call 773-427-1935 or visit www.greyzelda.com to purchase tickets online.

Marco Prays - Video scene from A View from the Bridge

Here's a video of Marco (Dave Goss) praying at the church in our upcoming production of Arthur Miller's A View from the Bridge.



The show opens January 3rd. For tickets and more information, please visit www.greyzelda.com or call 773-427-1935.

Director: Chris Riter
Filmmaker: Ed French
Original Music: Robert Filippo and Kristen Strezo

I Like ....

I Like ...

Current mood: excited

I like this time in the rehearsal process.

I like the time where the scenes start getting sewn together. Lines are learned and the word, "Line!" gets called more and more infrequently. I like getting costumes together and making prop lists and seeing what we have and what we need to get. Seeing if we can use our own resources or ask our actors and crews if they have things like phonographs or pencil skirts or hitting stores like Lost Eras or antique markets in Allen, MI. I like talking about having actors dye their hair but not their eyebrows. Please dye the hair first than we'll talk about the eyebrows. I like final rehearsals and knowing that things are getting done on the east coast. Knowing that soon the music will be added, the film will be added, the set will take shape and the light will give illumination.

I like inviting the press and other appropriate figures to the show. I like giving hundreds of the oversized posters to Meg from Streetflyers, knowing that she's going to paint several neighborhoods with them, saving us oodles of time. I like telling people about our progress. I like the process. I like this time.

RZ

The Moronic Child, Intuition - A Friday William Ball Lesson

Remember when I said that I was going to try to post a lesson from William Ball's A Sense of Direction every Friday back in October?

Yeah .... about that ....

Here's another one for you ... just say "yes" to Intuition. And Michigan.

INTUITION

"Intuition is the most important component of the creative process. Intuition is perfect. My intuition is perfect. Your intuition is perfect. All intuition is perfect. Spontaneous right thought and automatic right and appropriate action become manifest through the apparatus of intuition. The intuition is the uncluttered avenue by which perfection makes itself available to human perception. Intuition is the path by which perfect Universe travels into individual human experience. It is the most efficient mechanism by which 'absolute' becomes expressed in the 'relative.'

It is generally agreed that the work of the human brain falls into two major classifications. Under the term 'critical brain' we will include aspects of thought such as rationality, judgment, decision-making, analytical process, exactitude, self-discipline, value, standards, selection, memory, willpower, logic, and discretion. Some psychologists have postulated that these characteristics are housed in the 'left brain.'

Under the term 'intuitive brain' we will include characteristics such as emotion, hunches, flights of fancy, imagination, sensory experience, parapsychological experience, instinct, genius, inspired ideas, dreams, daydreams, aspirations, humor, caprice, playfulness, artistic sensitivity, and illogical responses. These are the aspects that some contemporary psychologists group together as representing the action of the 'right brain.' The intuitive brain is like an oversized retarded child playing with a bauble and mumbling incoherent phrases. It acts like a baby, it wants its own way in everything, it requires perpetual attention, it unreliable and completely unreasonable. But within that moronic child lives the brilliant composer of dreams. Dreams are arrangements of poetically perfect, preciously interlocking, self-referential symbols. There is a quality of perfect creation in a dream. That perfect poetic creativity is the work of the little genius, or the 'little professor,' sitting in the intuitive brain. In other words, the intuitive brain is the home of the amorphic moron who is selfish, moody, and irresponsible, but who, on certain occasions, is inspired with flashes of brilliance and unassailably right thought, flawlessly appropriate action, and sublime clarity of vision. Intuition is capable of inspiring one with instant truth, with absolute and perfect clarity. It is ironic that intuition, the source of inspiration and genius, should spend most of its time behaving 'like a slob.'

Now, critical brain usually attempts to discipline the intuitive brain. Critical brain decides to give up cigarettes and chocolates. Critical brain resolves to do the right thing. Being logical and decisive, it is always trying to persuade intuitive brain to 'behave'. Intuitive brain has bad manners. Intuitive brain laughs in church. It is a common misbelief in Western thought that left brain can achieve everything, especially when it is able to tyrannize right brain. But in the creative process, we seek to encourage the intuitive brain. We have to make friends with intuition. We have to let intuition know that it will be trusted at every moment, and that whenever intuition feeds us something, we are going to respect it and use it no matter what our critical faculties think.

Now, a director gives this message to the actor: 'I will use your creative thoughts no matter what they are. Any thoughts that you give me I will use.' Intuition, the moronic child, hears the message. The wayward right brain will send down some insolent and inappropriate idea just to test the director - to prove the director is a liar. The director patiently uses the idea no matter how clumsy and coarse it may seem. Now, when the actor's intuition realizes that his coarse suggestion has actually been put to use, the intuition mutters, 'I can't believe he used that moronic idea. I'll send him down a worse one and see what he makes of that!' The director unquestioningly uses the second idea that the actor's intuitive process delivers, thus sending the message back to intuition, 'You have suggested two ideas and both ideas have been used.' The intuition falls into careful reflection, mumbling, 'What is this? A game? A trick? Or could there be a pattern here?' When the director uses the third suggestion of the actor's intuition without modifying, questioning, or quibbling, the intuition locks into a very important realization. This realization will significantly affect the work of the director in relation to the actor's creative intuition."

Passion and Stubborn Belief

"If you build it, they may not come, but shouldn't you build it anyway? I mean - a baseball field in the middle of a corn field? That's passion and stubborn belief, baby. That's just badass." - Don Hall

He wrote one of those blogs today that just makes me want to cheer, run around my apartment like a spazz one or two times screaming "Fuck All!" and, well, quote him on our blog. Whenever it comes down to the homegrown, DIY mentality ... I get very excited because I feel that brand of theatre makes very fascinating stuff. You can watch your ginormos like "Phantom of the Opera" until the cows come home (which I'm seeing on Friday for the umpteenth time, I must admit - it's my early birthday present from Chris ... I'm like a pig to slaughter sometimes for the big musicals, but POTO was the show that made me want to do theatre in the first place) or you can sit and watch something a little more dangerous, a little more fresh, a little more fleeting and feel just as energized if not more because you're watching something that is being put on for very little, but the heart size and the commitment is so much more .... I love our storefront Chicago scene, as you well know ... I know that we might rehearse in our apartment, our basement, our backyard, what have you (and I really hope our actors don't mind - we have a very spacious and comfortable apartment which we decided to use because of those very reasons when we were considering whether or not to keep our rehearsal space) ... but I know that our actors' talent and everyone's professionalism are just as great as any other show ... we just don't have the bottom dollar sometimes, but .... we'll try to prove to you otherwise to the best of our ability. Anyway ....

Good stuff, Don.

Here are some more pictures from our filming of A View from the Bridge for those who might not want to join myspace just to see pictures (ahem, ahem Tom Gordon, ahem ahem.)

Chris Riter (Director) and Ed French preparing for a shot.

Dave Goss (Marco)

Holly Micelli (Asst. Director and DePaul Intern) and Ed French in the back of our jeep. Who needs a dollie, yo?

A View from the Bridge Postcard

Poster designed by Sarah Stec.

Filming

Ed French is in town to do the filming for A View from the Bridge.

Lots of creativity is floating through these walls. Lots of inspired ideas. Lots of calculated experimentation. Our actors have been amazing. They've been able to do take after take. Their lines are completely and strongly memorized which makes shooting a joy (they haven't had much rehearsal time, so they really had to get those words down quickly). Their focus has been extraordinary. Dave Lykins, who is playing Alfieri, has been filmed the most and he's put in a lot of hours with us this week. He's been great and looks wonderful on film.

Aris Tompulis (Eddie) has done a couple scenes with him, as well, and has been intensely stewing his juices subtly enough for the camera.

Ed said that it's been a pleasure working with everyone so far ... Chicago is full of incredibly talented actors and we're so happy to work with these chaps. Everyone has been gracious, professional, calm and helpful. It's been awesome.

Dave Goss (Marco) joined us yesterday to film additional scenes at a Catholic church in the Pilson area. It was beautiful and I think the scenes will look great. I wasn't able to take any pictures in the church, unfortunately, but everything has been captured on film, so we'll have that to chronicle our efforts.

We have a few outdoor shots to take today, some exit shots, Alfieri scenes and anything else we may have put aside for a rainy day. Chris finds this all really exciting and could keep going and going and ... he's a film junky so this has been like Christmas for him. Ed is an old friend, as well, so they've been able to catch up and work with each other gracefully and intuitively.

I think you'll enjoy the end results, my friends. I'm so proud of the work that's been accomplished thus far ... after we finish up today, Ed will fly back to Brooklyn, start the editing process and we'll go from there. Hopefully, we can give you a sneak preview online.

I'll try to post some pictures of the work that will be done today, if I get a chance. (Edited 11/12/07 - Added Pictures - Please check out www.myspace.com/greyzelda for more pictures.)

RZ

Halloween Bobbings

Thank you to everyone who came to the GreyZelda Halloween Fundraiser! Here's a partial showing of the characters who made an appearance:








We also saw Magda, the Vampiric Barmaid, The Silver Lining, Gay-des (instead of Hades - heh heh heh!), a Mardi Gras party guest from Eyes Wide Shut, Disco Stu/Indiana Jones/Levon, Crazy Cat Lady and many more.

Brian Vander Ark played. Pryce played. Dave Lykins played. Dave McCaul's band-that-I-can't-quite-remember-the-name-of played and, between you and me and that tree over there, they're going to be really sumthin'. When they get their confirmed name, watch out!!!!

Apples were bobbed for. Kegs were tapped. Wine and Jim Beam were guzzled. Photographs and artwork were silently bidded on. Costumes were judged by a highly secret panel. Money was made for our upcoming season.

Thank you, everyone. We'll do it again.

*****************************************

So vast is art, so narrow human wit. - Alexander Pope

On Art ... A Few Words ... But Not From Me

Without freedom, no art; art lives only on the restraints it imposes on itself, and dies of all others.
Albert Camus

Art is magic delivered from the lie of being truth.
Theodor Adorno

The task of art today is to bring chaos into order.
Theodor Adorno

Every work of art is an uncommitted crime.
Theodor Adorno

Be daring, be different, be impractical, be anything that will assert integrity of purpose and imaginative vision against the play-it-safers, the creatures of the commonplace, the slaves of the ordinary.
Cecil Beaton

Great art picks up where nature ends.
Marc Chagall

The artist one day falls through a hole in the brambles, and from that moment he is following the dark rapids of an underground river which may sometimes flow so near to the surface that the laughing picnic parties are heard above.
Cyril Connolly

Progressive art can assist people to learn not only about the objective forces at work in the society in which they live, but also about the intensely social character of their interior lives. Ultimately, it can propel people toward social emancipation.
Salvador Dali

The artist who aims at perfection in everything achieves it in nothing.
Eugene Delacroix

True art is characterized by an irresistible urge in the creative artist.
Albert Einstein

Love of beauty is taste. The creation of beauty is art.
Ralph Waldo Emerson

Rationalism is the enemy of art, though necessary as a basis for architecture.
Arthur Erickson

Only those who attempt the absurd will achieve the impossible. I think it's in my basement... let me go upstairs and check.
M. C. Escher

To make us feel small in the right way is a function of art; men can only make us feel small in the wrong way.
E. M. Forster

Art is a step from what is obvious and well-known toward what is arcane and concealed.
Kahlil Gibran

The artist alone sees spirits. But after he has told of their appearing to him, everybody sees them.
Johann Wolfgang von Goethe

If you hear a voice within you say "you cannot paint," then by all means paint, and that voice will be silenced.
Vincent Van Gogh

The highest art is always the most religious, and the greatest artist is always a devout person.
Abraham Lincoln

You study, you learn, but you guard the original naivete. It has to be within you, as desire for drink is within the drunkard or love is within the lover.
Henri Matisse

I have been no more than a medium, as it were.
Henri Matisse

An artist is always alone - if he is an artist. No, what the artist needs is loneliness.
Henry Miller

We have art in order not to die of the truth.
Friedrich Nietzsche

If you do not breathe through writing, if you do not cry out in writing, or sing in writing, then don't write, because our culture has no use for it.
Anais Nin

You've gotta be original, because if you're like someone else, what do they need you for?
Bernadette Peters

The purpose of art is washing the dust of daily life off our souls.
Pablo Picasso

Art is the only way to run away without leaving home.
Twyla Tharp

Art is parasitic on life, just as criticism is parasitic on art.
Harry S. Truman

An artist is someone who produces things that people don't need to have but that he - for some reason - thinks it would be a good idea to give them.
Andy Warhol

I'm afraid that if you look at a thing long enough, it loses all of its meaning.
Andy Warhol

No great artist ever sees things as they really are. If he did, he would cease to be an artist.
Oscar Wilde

All art is quite useless.
Oscar Wilde

A work of art is the unique result of a unique temperament.
Oscar Wilde

Art is the most intense mode of individualism that the world has known.
Oscar Wilde

I am an artist... I am here to live out loud.
Emile Zola

GreyZelda's Halloween Party and Fundraiser with Brian Vander Ark!

Come celebrate Halloween GreyZelda style - costumes strongly encouraged! You might even win an amazing prize for your duds!!!! We'll be doing it up ooky and kooky, just the way we like it and we're hoping to raise money for our 2008 season with music, good friends and our favorite holiday of the year!



Brian Vander Ark, lead singer of the Verve Pipe, will be playing at our abode starting at 7pm which we're incredibly excited about! He's going to donate $2.00 of every cd he sells to GreyZelda. He's a hell of a guy. Excellent performer. You're going to love his set. He's playing for an hour and I got to suggest a couple of my favorite tunes. Rock.



Pryce and Dave Lykins, two excellent local performers and friends of GreyZelda (Dave's going to be playing Alfieri in a View from the Bridge), will be playing later in the evening followed by the debut of Dave McCaul's (as in Lisa Wilson and Dave McCaul - both wild and crazy cats) new glam band - well, maybe it isn't a debut, but it'll be a first time at our house.

We'll have silent auctions for artwork donated by our graphic designer Sarah Stec and Steven T. Wirth. Photography donated by Michigander Chris Williams. A kick ass t-shirt designed by Morgan Manasa of Babes with Blades.

There will be apples that will need to be bobbed for, candy, creepies and crawlies. Games. Dance parties. Fog machines. And, of course, booze. Booze of many colors. It'll be grand and we can't wait to see you dressed in your death-defying best!

And .... there's going to be a full moon ... perfect for a Howlin' Hallowin' Halloween party!

Suggested donation is $20.00 or donate what you can.

GreyZelda's a-hostin -
Our season we're toastin'

Location: The GreyZelda Abode - 4725 N. Kilpatrick Ave. First Floor Chicago

When: October 26th, 2007 - 6:30pm until whenever the last ghoul howls.

And, if you don't come, you might have this guy knockin' on your door:

Theatre's Erotic

I'm always coming back to Elvis singing "A little less conversation, a little more action, please."

To quote Anne Bogart:

"Art, like life, is understood through experience, not explanations. As theatre artists, we cannot create an experience for an audience; rather, our job is to set up the circumstances in which an experience might occur."

I'm currently reading her essay on Eroticism and its relation to theatre. My heart is pounding.

One of the main reasons I'm attracted to the world of theatre is the mystery ... the feeling of what's next. I'm in a relationship with the art form that I don't want to leave because it's always exciting me, it keeps answers from me, it flirts with me, it delights me, it destroys me ... it has an energy and a power that can not be trifled with. It doesn't talk too much and when it's getting too heady, I often shut it out because I'm finding it's becoming dull and tedious. I choose to go too shows that keep me quiet afterwards because the experience was so personal, I feel it will cheapen my memory if I burden it down with words.

Here's another quote from the essay that I really like:

"A theatre critic once suggested that the American fear of art is actually a puritanical fear of the sexual encounter. But erotic tension between the stage and the beholder is part of what makes the theatre experience so attractive. The theatre is a place where it is possible to meet one another in an energetic space unmediated by technology. The sensory stimulation allowed in theatre, authorized by its very form, allows the corporeal imagination to exercise itself."

What stops you in your tracks? What makes you gasp in anticipation? What consistently turns you on? What changes you forever? You don't need to answer on your own blog, if you don't want to, nor do you need to answer it here ... again, your words might cheapen your feelings and dull theatre's energy down. For the sake of all things erotic, please don't do that.

As I mentioned a couple of blogs ago, sometimes I need to shut the computer off and reestablish my relationship with my favorite subject, theatre. I don't like the distractions of long-winded blogs trying to pick apart what I like to consider mysterious and exotic. If I wanted to be a scientist where I just had to prove hypotheses over and over again, I would have gone into that field ... but I like the in-between places, the moments that quicken my heart, the moments that warm my brain with images and sensory experiences.

Over analyzing is a major drag and turnoff sometimes.

Keep me in suspense. Keep me in the dark. Keep me asking what's next. Surprise me.

Today is National Dictionary Day

So, look some stuff up already will you?

Just crack that book up ... and read.

I can spend hours with that darn red, worn dictionary book of mine.

Words that you always thought you knew the meaning of, you don't.

Words you didn't know exist, do.

And then there are the dirty words you run into accidentally ... gotta love those. Takes you back to sixth grade. One of my friends, Avery Scoville, read the whole thing in fifth grade. It was the talk of the school yard. If you always had a nose in books. Which I did.

Go crack something up and look up a word you've always wondered about ... go on.

A Friday Lesson from William Ball

William Ball is one of my heroes.

From Wikipedia:

William Ball (29 April 1931 – 30 July 1991) was a stage director and founder of the American Conservatory Theatre (ACT).

He was awarded the Drama Desk Vernon Rice Award in 1959 for his production of Chekhov's Ivanov and was nominated for a Tony Award in 1965 for his production of Molière's Tartuffe, starring Michael O'Sullivan and Rene Auberjonois. He was also a noted director of operas.

Ball founded the American Conservatory Theatre in Pittsburgh in 1965. This was a company of up to 30 full-time paid actors who studied all disciplines of the theatre arts during the day and performed at night. Ball had a falling out with ACT's financial benefactors in Pittsburgh and took the company on the road. His 1966 productions of Albee's Tiny Alice, Pirandello's Six Characters in Search of an Author, and others at the Stanford University Summer Festival led a group of financiers to offer his company a home in San Francisco, which had recently lost The Actor's Workshop to New York's Lincoln Center.

In its first season, Ball's ACT produced twenty-seven full length plays in two theatres over the course of seven months. Some actors would do one role in the early part of a play at the Geary Theatre then run two blocks up the hill to the Marines Memorial to appear in the last part of another. Ball's 1972 production of Cyrano de Bergerac and his 1976 production of The Taming of the Shrew were televised nationally on PBS. In 1979, ACT received the Tony Award for excellence in regional theatre.

Ball was often provocative. His interpretation of Albee's Tiny Alice brought threat of a lawsuit from the playwright, who tried to withhold the performance rights only to discover that they had never been granted in the first place. Some observers thought that Ball's operatic production (with an added aside condemning the Vietnam war) may have solved some problems inherent in the text.

Ball was the author of the 1984 book, A Sense of Direction: Some Observations on the Art of Directing.

William Ball left ACT in 1986 under a cloud of suspicious financial transactions. He appeared in a forgettable Hollywood B-movie, Suburban Commando, and committed suicide in Los Angeles in 1991.

I'm going to start sharing excerpts from A Sense of Direction. If you're a director and haven't read this book ... get thee to a bookstore or amazon.com immediately. It's GreyZelda's Bible and Chris and I swear by it. All directing scenarios are different and you gotta be able to adjust in the moment with your actors, crew and production, but it's an amazing centering tool to touch upon if you're looking for a little guidance.

William Ball on Art:

"The most important characteristic of a work of art is unity ... If it lacks unity, it does not qualify as a work of art. Unity means harmony among the component parts; and the greater the harmony among the component parts, the greater the unity and the greater the art. ...

The second characteristic of a work of art is that it reveals Universe. Show business does not have to reveal Universe. It is not required and not expected. Night club entertainment is not expected to reveal Universe. Vaudeville is not expected to reveal Universe. Theatre or drama is expected to reveal Universe.

A third thing that art does is awaken the Spirit. Commerce is not expected to awaken Spirit and neither is show business. By awakening the Spirit, we mean that somewhere during the course of the performance, the spectator experiences "The Great Aha!" A light goes on within him and the self is illuminated, awakened, enlightened, elevated, and changed. Usually the moment of awakening is very short, and it is an unconscious moment. One is sometimes aware that it took place after it has happened, but while it is happening, one is unaware.

There is something else that the work of art in the theatre is expected to have that show business and television entertainment are not necessarily expected tot have. That has to do with the revelation of the beauty of humankind. That beauty, concealed somewhere within the drama, takes many forms, and the revelation takes many forms, but one may witness and share the author's vision - his admiration, awe, and wonder at the beauty - through a work of art. When it is not art, it lacks a sense of beauty of humankind. These are generalizations, but I do want to separate the discussion of art from show business and entertainment so that no one is misled."

People in the blog world go round and round on the subject of what makes good theatre and what audiences are looking for. I certainly think William Ball had a major clue and while I love reading the active thinking and conversations of my peers, sometimes I like to just switch of the computer, sit in silence and read the book that always seems to get me through most of my questions. Then, I switch that computer back on, read what my friends and fellow theatre creators have to say, and it reaffirms what I've just read most of the time.

Rebecca