Soon we'll be kicking off our 2014 Summer Season, which means it's time for... GREATEST HITS: Macbeth! Fill in the blanks to finish the line, count your points, and see if you score fair or foul :) Organic's Macbeth opens May 28. Tickets on sale NOW via Goldstar!!
2:00 clip: Organic's Artistic Director Alexander Gelman sits down with Jaime Mire to talk shop about Macbeth. Are we capable of telling the truth? What qualities do we look for in a person, a leader, or a nation? Do we celebrate those who fight for what they deserve? What do YOU think? Post your answer below!
As we kick off rehearsals this week for our second show running in rep this summer, Macbeth, it's only fitting for us to announce that two of its hardest-working individuals behind-the-scenes have accepted positions as Core Company members with Organic! Our new Resident Costume Designer Angela Enos has been busy at work in Chicago with several projects - that is, when she's not busy traveling! In addition to several Organic productions (see: Caligula and The Diviners), Angela's regional credits include productions for California Musical Theatre, River Stage, The Cosmopolitan Cabaret and Central City Opera. We're excited to see her work for Macbeth! Hailing from Ottawa, IL, this next artist is no stranger to Organic. While he's our new Resident Technical Director, Jose Ochoa worked on Caligula, The Diviners, and The Emigrants - AND is on Team Mackers as well! A recent BFA graduate from Northern Illinois University with a focus on Scenery and Costume Design, Jose's work spans the technical spectrum. We're thrilled to have him in our Core Company! With the added talents of these two phenomenal artists, we're even more excited going into our 34th Summer Season. Check out more information about our Core ensemble and the upcoming season here!
If you're enjoying Chicago's warm weather now, just wait 'til May 28! The Director of Macbeth has officially released that the Organic's rendition of Shakespeare's vengeful tragedy will take place on the Seven-Mile Beach of the Grand Cayman Islands. However, this decision was not so much inspired by the 60-degree days we're experiencing in Chicago now - but in spite of it. "I thought winter would never end," said the Director. "When we first decided to direct Macbeth in November, it was already 20 below - and after the first few production meetings, I found myself subconsciously resolved that the sun had left Chicago forever. And I wanted to do something about it." Now that the sunny weather has returned, how does the Organic feel about this decision? "Well, the atmosphere of Macbeth is traditionally so grim and bloody," says the Director. "I think a vacation landscape will provide an extra challenge for our actors & our audience to embrace the ambitious forces at play." "Plus," he adds, "The press release is already out." Costume renderings reveal an adherence to the Cayman Island's more conservative tradition, while allowing some of the characters to challenge the norm. Clothing for Macbeth and Lady Macbeth includes a variety of T-shirts, shorts, and lightweight 'breathable' fabrics; a variety of messengers in the play don Hotel Bellhop blazers; the Witches will be sporting sunglasses and string bikinis. The creative team behind Macbeth can't wait to get started on this production. Particularly those working on set construction - as they anticipate needing more time than usual to construct a twelve-foot palm tree that converts into a kayak. What's sure to be a steamy show begins rehearsing next week, and opens May 28. Also, happy APRIL FOOL'S from your friends at Organic!!! We'll be back next week with some REAL updates from behind the scenes of Macbeth. :)
In this series, we ask one of our Company Members to share a piece of their artistic growth, highlighting creative influences which continue to nurture the artist they are today.
Without a doubt, one of my top five artistic influences was our production of Bartleby. It was the Organic's organic creation of a vaudevillian clown drama. That's right, clown drama.
Don't get me wrong, there have been so many influences to my artistry, most of which I'm only subconsciously aware. But Bartleby stands out not because of the work that was done -- it was brilliant, mind you (or so I'm told) -- but because of the process we found to tell this incredible story: a process that has influenced and shaped every piece of work I've done since.
In the production, my character, The Master in Chancery, hires a new Scrivener to assist with the books after a recent promotion quadruples the workload of the office. Choosing only to respond with the words "I prefer not to," Bartleby slowly prefers not to check his work, then do his work, then to be fired, and eventually prefers not to be alive. The original story by Herman Melville, in a beautifully omnipotent way, explores how the addition of this stubborn obelisk in the corner slowly erodes the sanity of those around him. But how to put that on stage....
So. If you've ever read Melville, he is a man of many words. Many, many words. Thick, over-wrought, molasses-like diatribes, where he artfully uses as many words containing eight or more syllables where and whenever possible. In an effort to contain this show into an hour and a half, we had to tweak this story a bit. We also had to find a way to tell a story so dry and heavily narrated that at times, little was left to the imagination. While Bartleby remains one of the most sincere and touching short stories I've ever read, the idea of putting it on stage in an interesting and engaging way struck me as problematic.
Over the six month rehearsal period (or was it nine...?), under the direction of our Artistic Director Alex Gelman, we tried everything. Perhaps even a kitchen sink was involved. Eventually, some very clear rules began to rise out of the process, which I wrote down for myself, lovingly titled "The Organic Process," and have used in every production since. This is in no way some doctrine that dictates my work, nor are the ideas contained in any way original. But as a core to a process with no answers (as it is every time an actor approaches a new role or a company approaches a new work), these guidelines have been indispensable.
1. Never, ever, ever. Ever. Never ever try to be interesting. What is interesting to you is probably only that.
2. If your character says you did something or you are doing something, do something else. Striking at the very heart of indication-sauce (the ectoplasm sprayed all over the acting studio or audience when an actor completes an action, which they are simultaneously doing that action while winking at the audience through the fourth wall), this single point can allow an actor to tell a far more complicated story.
3. If you absolutely must physically do something described on the page, then cut the text! We all know you can't rewrite a script. But believe me when I share this with you--Shakespeare never wrote the line "I walked down the street" while the actor must also show the audience on the stage how he or she walked down that street (see point #2 above). Just say the text. But in the case of the short story translation, since I probably have to walk down that street anyway, I don't also explain the action to the audience.
4. There is no such thing as a bad idea. Only ideas that seem like a good idea on Monday and you can't remember how it worked on Wednesday. We rehearsed and cut and trimmed "Bartleby" for the better part of six months, maybe as much as nine. During that period, ideas were thrown out about everything from puppet pirate ships, to ultra-realist silent film, to Rat-Fink-style sets. Every idea was tested; the ones that we felt told the story were developed to find continuity in the story, after which we moved on. When we revisited the section again later in the week, if it was no longer congruent with the rest of the story, we couldn't piece it together with the multitude of notes taken by everyone in the room, or we simply couldn't remember what we did, then we threw out the idea and started that beat over.
5. Don't sigh. This one is more of a personal note to myself than anything. Whenever an actor sighs, they sit down, take in a big breath of air, and release all tension, thought, and momentum from the play. Don't reset the action by clearing your head. As it pertains to Bartleby, this was a repeated offense every time a new chapter was reached.
6. The truth of the moment and how it is connected to the theme is king. Don't ever lose sight of the story you're trying to tell. If what I'm saying does nothing to move the story forward, then what I'm doing is wrong. And we all might absolutely love the puppet pirate ships that appear out of nowhere and sink the island represented by a bowler hat, but if no one can tell you what purpose that vignette serves, then all that moment is is interesting. And in the context of the play, probably isn't interesting. It's probably confusing, frustrating, and successfully ejects the audience from whatever story you were trying to tell.
What we discovered through this process was our production of Bartleby: a vaudevillian clownish romp in the style of the Magritte's The Son of Man, which told the story of what happens when an innocuous response becomes an insurmountable obstacle. But most of all, we found a way for our theater company, our family, to develop a piece of absurdist truism, to "organically" develop any piece that speaks to us on the deepest level and find some way to share that message with the rest of our family: the audience that comes out to see us every year.
For more information about Bryan, you can read his bio here.
Here are some production photos from last week's run in Naperville! Like what you see? May & June offer many more opportunities to see The Diviners in Chicago, running in repertory with Organic's next summer season show: Macbeth.
There's something magical about Tech Week in the theater. After rehearsing for weeks, a rush of energy buzzes about the room. Most often, it's the first time the company is actually IN the performance space, and they have just a few days to get the set, lights, wardrobe & props in place; artistic adrenaline is at an all-time high! Actors don their costumes for the first time...
...and find new ways to get into character.
There's always a bit of rushing about, and standing around, at the same time.
Luckily, the Director guides the cast & crew every step of the way,
The result? We get a glimpse of what happens when everyone's hard work comes together:
Magic. We hope you'll join us for The Diviners this Thursday through Sunday, March 6-9 at Meilly-Swallow Hall in Naperville! Get your tickets here, and check out the Facebook Page for a promo code!
Organic’s Blog Manager Jaime Mire weighs in on why you should catch our upcoming show in Naperville. Take a look!
Found out about this show from your Newsfeed, but not sure if you should go?
Here’s a short list of the best reasons to go see The Diviners next week!
1. Start thinking about summer.
Yeah, feel that warmth? Feels good, right?
The Diviners will open for its traditional one-week run March 6-9 in Naperville, before it goes back under wraps until Organic’s summer Chicago season - so the next time you see the show, it’ll be June. Don’t wait for the sun to come back; let us bring you one step closer to temps above freezing, blue skies, sunscreen, Ollie’s custard?! Such stuff as dreams are made on.
Plus, taking a trip back to the Dust Bowl era might just do the trick.
2. It’ll be music to your ears.
The Diviners has a musical life all on its own, featuring familiar hymns and traditional gospel music. Here’s my favorite version of at least one song you can expect to hear.
3. Familiar faces taking on new roles.
And I don’t necessarily mean performing. Well, Joel Moses and Philena Gilmer will play opposite each other in leading roles for this show (more on these two next week!), but Core Company member Colin Jackson, an actor with Organic since 2009, will step up as this show’s Assistant Director! Colin was recently featured in our “Organic Roots” profile series, which you can read here.
4. …and more new faces than ever before!
Organic traditionally casts from within its core company of actors, but occasionally works with a guest actor or two; The Diviners features a grand total of nine Guest Players from all over Chicago! Check out last week’s post introducing them.
5. Tales of an unlikely friendship are endlessly endearing.
Need I say more?
6. Free tickets for students!
Organic’s 2014 Season will officially kick off the Seats for Students program: for each group of tickets purchased by participating businesses, Organic will donate the same number of tickets to a local high school. Interested in participating? Click here!
7. What are you searching for?
Divining means “to discover something by guesswork or intuition.” Director Josh Anderson speaks about how we’re all searching for something. If this rings true for you, there might be something waiting for you in the world of The Diviners.
The show runs March 6-9 at Meilley-Swallow Hall in Naperville. We hope you’ll join us for the first week of what’s shaping up to be a sensational 2014 Season! Buy your tickets here, and follow us on Facebook to keep up with all things Organic!
Opening March 6, The Diviners showcases some talent from Organic's core company - but the ensemble is largely comprised of new faces! Here's the "who's who" for this show's group of Guest Players:
ADAM SHALZI - Buddy Layman
Though he's making his Organic debut this Spring, Adam Shalzi is no stranger to Chicago's theater scene. His local credits include work at Steppenwolf TYA, Profiles Theater Company, Strawdog Theater Company, Redmoon and The Runaways - to name a few. You may also recognize him from ABC's Betrayal. Busy bee! This is Adam's second time playing the title role of Buddy in The Diviners - we can't wait to see what's in store.
ANDY GWYNN - Ferris Layman
As a proud Chicagoan since 1996, Andy has worked in TV, Film, and Theater regionally and nationally; locally, he's graced the stages of Steppenwolf, Circle Theatre, and Shattered Globe Theatre. Andy has also written and performed music for several commercials for radio and television. A man of all trades! We're excited to see the life he brings to Ferris.
KERRY PERRELLA - Luella Bennett
This production marks Kerry’s debut with Organic & the Chicago theater scene! Originally from Aurora, Colorado, Kerry moved to the Midwest to attend Northern Illinois University, where she received her M.F.A. in Acting.
MICHAEL LEWIS - Basil Bennett
This is Michael's 2nd Organic show, previously seen in The Naked King in 2011. Michael is currently performing in a show he co-wrote for the Music Improv conservatory at Second City, called 'Sing In The New Year: A Musical Sketch Revue' - only running thru Feb 23, so check it out if you can!
ALEX FISHER - Goldie Short
Alex is not only a Chicago theater veteran, but also a student at the Second City Conservatory! This talented lady has previously performed with Profiles Theatre, The Poor Theatre, Polarity Ensemble, and Idle Muse Theatre - and we're excited to work with Alex for her first Organic production.
AMY POWELL - Darlene Henshaw
Returning to Organic, Amy is a B.F.A. in Acting graduate from Northern Illinois University, most recently seen in Organic’s production of Jacob Marley's Christmas Carol. Amy has worked on a number of film and print projects in Chicago, such as the photo-novella series The Francis Ellis Mysteries.
ANN JAMES - Norma Henshaw
While this is Ann's first show with Organic, Ann has worked all around Chicago - with the 16th Street, The Goodman, Lifeline, Profiles, Shattered Globe, Sideshow, Stage Left, and Collaboraction theaters. Ann is also the founding director of Chicspeare Production Company.
MICHAEL HOLDING - Dewey Maples
Michael holds a B.F.A. in Acting from Illinois Wesleyan University, and recently worked regionally with TheatreSquared. Michael has also performed with First Folio Theatre and Adapt Theatre in Chicago. This production is Michael's Organic debut!
BILL GORDON - Melvin Wilder
This will be Bill's 2nd show with Organic, previously seen in 2013's Caligula. An M.F.A. graduate from Northern Illinois University and a recent Chicagoan, Bill has already performed in several shows with Theatre Y and Oak Park Festival Theatre. We're glad to welcome him back!
What a handsome group of talented people. This show is already looking promising! The Diviners runs March 6 - 9 in Naperville, and will be part of our Summer Season. Get your tickets now!
Here we have the first photo roll to introduce us to the world of The Diviners! Click through the photos for a few details about the world of the play, opening March 6. Get your tickets here!
With rehearsals officially underway for Organic’s next production, I caught up with director Josh Anderson last weekend for a few thoughts on the upcoming show. Take a look!
What first drew you to this play?
I was first exposed to The Diviners in my Junior year of college, when I was cast as Ferris in a studio production. Looking back, there’s no doubt I was drawn to the piece, though I didn’t really understand why. On the surface the play is full of engaging characters and dialogue, with a lot of humor and pathos written in; on closer examination, I find a universality to the piece that makes it continually relevant. That’s probably the reason I never really stopped thinking about the play, and why decided to revisit it now.
What about this show engages you creatively, spiritually, or emotionally?
The playwright Jim Leonard Jr.’s aesthetic encourages expression through theatricality as opposed to realism, which I love. On stage I find theatricality to be more meaningful than realism; it always hits harder. (If you want realism, make a movie.) The Diviners is set during the Great Depression, which I also find compelling. There’s something about the desperation of the Dust Bowl era that speaks to me: when every second of life is a struggle, everything is sharper in focus. And I’m drawn to the intrinsic nature of the piece, the notion of searching. “The Diviners” – divining – it’s all about the struggle to find. Find what? That’s a really good question. The essence of the work is examining that question. What are we searching for? What happens if we find it, or if we don’t?
What are three words you’d use to describe the world of the play?
Full of contradictions.
What is one challenge you will face in directing this production?
I love this play. I love the characters, I love the humor and the heart of the piece - but therein lies the trap: allowing the production to become sentimental. To avoid that, we’ll need to keep our focus on the conflicts in the play and how those conflicts help us examine questions the play poses. Each character is desperately searching for something; by focusing on that struggle, the humor and heart of the play will emerge.
If you could be involved in the production in a role other than the Director, what would you like to do?
I think I would make a really cute Jennie Mae.
Why this play? Why Organic? Why now?
It keeps me up at night. The same questions that drive this play drive my daily life. Who out there doesn’t continually question what they are doing and the choices they have made? Who doesn’t know what it feels like to be lost? Who isn’t searching for an answer, for a reason to go on? I find myself in the extremely lucky position of being able to work on a piece that I am passionate about with a group of people who are equally passionate. I can’t wait to start.
Thanks Josh! Soon, we'll get a peek into the visual world of Organic's Diviners - so keep an eye out for some photos. Be sure to check out our Facebook page in the meantime for more updates about this show & other upcoming Organic events!
Organic is delighted to introduce a student outreach program, giving local groups, organizations, and businesses a front row seat to improved arts education in their community. Join us!
Learn about Seats for Students and how to help at: www.organictheater.info/S4S
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