Meet Zosia: Actress Irene Kapustina

Where I'm from:
Minsk, Belarus

Education or training:
Loyola University’s Theatre School, Act One Studios, Laura Kessler Agency

What I do when I'm not doing theatre:
Study, study, study and study

One fun fact I would like to share:
When I do not get enough of sleep, or when I am hungry, or cold, my Russian accent gets out of control.


Irene on Mouse in a Jar

When reading Mouse for the first time, what are some of the first images or words that resonated with you?
The basement. It reminded me of a doorway in an apartment building I once lived. I still remember the smell.

Mouse is a new work, has that changed how you approach the script?
The fact that Mouse in a Jar is a new script did not change the approach. The essence of the script, however, shaped that approach a lot.

What feels like the greatest challenge for you in this play?
Stay true to Martyna’s language. It is poetry in verse, with its own rhythm.

How would you characterize the world of the play?
The world of dreams, soaked with sweat and disappointment, coated with fear and love, drowned in misunderstanding, cruelty and indifference, washed in a ray of hope.

Have you learned anything new so far in this process? (about you, about your character about the world)
Mouse made me look at a lot of things in my past: choices I made, people I met, my immigration to the States and how much it changed me. I think that the circumstances of our lives are able to drastically change our own personalities uncontrollably, and pass unnoticed, until it is too late.

Mouse in a Jar runs October 5-31, 2009.

Tickets are available through our website.

Mouse in a Jar - The First Readthrough

Walking in from the humidity on an abnormal Chicago Sunday morning, I found myself walking into a cozy one bedroom apartment occupied by the young, hip, semi-indie style of the Davis'. Welcomed by hugs and the comfy smell of fresh baked goods I knew I was in for a treat (no pun intended). Having been to thousands of read-throughs, from college fold out tables to basement floors to one of the greatest regional theatre's in the country, I found myself in a living room and I’ve never felt so comfortable. As Martyna Majok arrived (playwright/Yale Grad. student) the energy of the room was filled with high hopes, nervousness, and of course potential.

Gathered around in the living room the normal process began. We got a chance to listen to Miles Polaski’s chilling sound design. Martyna's face was filled with joy as we heard tracks from his computer. Striking bars from the violin were played from the sound track to There Will Be Blood. The best part was the excitement that this sound designer was giving off; he truly has a passion for his work and this piece. Next came a slideshow from company member Kyle Land, who said, "I’m not a lighting designer, I’m a shadow designer." His images had a modern feel of what Hitchcock would create if he was alive today. Next, Kat Powers, the props designer, who is in the early stages of the process, let us know that if we or anyone we know has stuff from the basement to get in contact with her. This image of shadows and darkness set the tone for Bill Anderson’s set design. This guy's model was something out of a book. The Red Tape space will be transformed into a basement, a dark, water dripping from the walls, horror film style kind of basement. Everyone was gathered around this model, there was a silence and the designer was just keeping his eyes on the model, sort of waiting to see if people liked it. Trust me people were in amazement. This model represents where Red Tape is going and how we will take an audience by the throat and won't let them go until we are done!

We then, of course, did a reading of the play. I don't want to give anything away other then this play is a must see. Strong women roles filled with incredible talent. Be ready for a ride. In my opinion, this play is the bastard child of Sam Shepard and Adam Rapp. Martyna is able to keep us slightly uncomfortable while being fully engaged and wanting more. The designers will keep you in this play without even noticing them. I cannot wait until this play opens.

Nicholas Combs

Company Member

Mouse in a Jar runs October 5-31, 2009.
Purchase tickets through our website.

A Wild Ride

I have been with Mouse in a Jar since last November. It has been an exciting wild ride to watch it change and grow into this wonderful piece. During rehearsals, I work with Daria while she works with the actors to understand more about the different themes running throughout the story. I find it fascinating how many people have a connection with the script. The other night I was discussing with Daria how we all are touched by different aspects of Mouse in a Jar; be it things from our own past, stories we know, the past of another, every single one of us has a different connection. I myself have a Polish background and was inspired to learn more about my history. As we all explore our connections we each help the story grow and take on more life. My favorite part about stage managing this show is how I get the opportunity to watch the set being built, the puppets crafted and the characters refined. What I can say is that this show will truly encompass your senses. As Mouse in a Jar’s stage manager, I am very excited to have the chance to work in this world. Martyna has written a play where not only are the characters a major presence but the surroundings as well can surprise you.

Cynthia Carney
Company Member and
Stage Manager of Mouse in a Jar.

Mouse in a Jar runs October 5-31, 2009.
Purchase tickets through our website.

A Nightmare Man

One of the things that initially drew me to Mouse in a Jar was my overwhelming visceral reaction to Martyna's text. The character of HIM for example is one of the scariest things I’ve imagined since I was a child terrified to leave my bed in the middle of the night. Once or twice I've found myself walking through the blocking for some of Ma and HIM's scenes, tracking how we will try to execute his catastrophic entrances and exits, I am often overwhelmed by the image of this nightmare man.

Last Sunday I had the pleasure of watching our puppet designer Sarah Bendix lead a workshop with Kathleen Powers and Don Markus, our two actors playing Ma and HIM respectively. We had our first real chance to play with the imagery Martyna has so artfully woven through the text. And as the day progressed we all began to tap into the raw-er aspects of MOUSE that Martyna's words and images conjure. As we pressed on into Monday my assistant director Caitlin Parrish presented the first in a series of dramaturgical conversations investigating the idea of storytelling through the lens of original fairy tales. By the end of the rehearsal, suitably mired in the plays psychological roller coaster we transitioned in to some blocking. I don't think I was the only one maybe, possibly, a little scared of the dark.

Daria Davis
Company Member and
Director of Mouse in a Jar

Mouse in a Jar runs October 5-31, 2009
Purchase tickets through our website.

Talking the Talk

When speaking in real life, we pause, we interrupt, we overlap, we start and stop. If we are to recreate life onstage, the same speech patterns should exist. But do they? Often language onstage is very polite and neat with each performer taking his turn, rarely fishing for words or ideas.

A playwright friend of mine once told me she spent every day listening to the way people talk on the bus and every night trying to capture that on paper. It is an age old challenge tackled by playwrights, directors and actors. How to talk like real people onstage.

Shakespeare sometimes included directions on how to speak his lines in the lines themselves. Hamlet gives the players the instruction to “Speak the speech, I pray you, as I pronounc'd it to you, trippingly on the tongue.” If only there were a Hamlet in every play to convey the playwright’s wishes.

Pinter makes a heroic attempt to help the actors speak the words as he hears them in his head by loading his scripts with pauses, silences, ellipses and dashes. Numerous essays and books have been written to explain what each of these designations imply, but which book or essay to follow becomes the dilemma.

Sometimes the reality slips in during the rehearsal process. There was a wonderful overlapping of lines in Red Tape’s Enemy of the People. Peter Stockman is arguing with his sister and states “You are contractually obligated to receive the approval of the commission before disclosing information to the public” to which Tammy replies “I have the right to speak the truth.” Even though this was not written as an overlapping line, it evolved into one during the rehearsal process. The overlapping built the tension and accentuated each character’s emotional investment in the argument. Rather than seeing two people expressing their opinions one after the other, you saw each person verbally swinging at the other simultaneously, creating one of the most electrifying exchanges in the show.

In Mouse in a Jar, Matyna Majok has created an inspired shorthand which gives the actors and director a clear roadmap of how she hears the voices. Below is her “Dialogistics”.

Brackets [ ] indicate words unspoken but intended.
Slashes / indicate overlap or quickly followed speech.
Double-columned dialogue is spoken simultaneously.
Non-traditional spacing and floating words are requests for poetics and extra syllables. Speed bumps, in essence. Please feel encouraged to experiment – they’re mostly suggestions.

With this innovative scripting, Matyna has made great strides in bridging the gap between the speech we hear in public and the speech we hear on stage.

Come hear the speech as Matyna intended it to be presented.

Errol McLendon
Company Member

Mouse in a Jar runs October 5-31, 2009.
Purchase tickets through our website.

Behind the scenes at "Mouse in a Jar"

Rehearsals are underway for Mouse in a Jar. Director and ensemble member Daria Davis has started a journal about the rehearsal process. Click here to check it out!

Mouse in a Jar runs Oct 5-31, 2009.

Tickets are available through our website.

Red Tape Theatre Announces 2009-2010 Season!

Red Tape Theatre Company is thrilled to announce our sixth season!

October 5-31, 2009 - Mouse in a Jar

A world premiere by Chicago playwright Martyna Majok.

Directed by ensemble member Daria Davis.

Daga tries to pry Ma away from her nightmarish home in a tiny basement apartment. But Ma's past keeps her chained to this world.

Mouse is a magical play featuring Irene Kapustine, Tamara Todres, Kathleen Powers, Benjamin Gettinger and Don Markus.

With designs by Myles Polaski, William Anderson, Sarah Bendix, Kat Powers and ensemble member Kyle Land.

Stage Managed by ensemble member Cynthia Carney.

Tickets on sale now! Click here.

January 2010 - Fresh Eyes Project

Fresh Eyes Project is an incubator for new and experimental work. It focuses on the needs of playwrights, providing them with a director, actors, dramaturgical support and rehearsal space. Excerpts of the final scripts will be performed at the annual Chicago Fringe Artists Networking Night.

Fresh Eyes is produced by ensemble member Daria Davis.

February 6, 2010 - Chicago Fringe Artists Networking Night (CFANN)

This one night only event brings together Chicago artists from all forms to network and share their talents. Live performances are showcased amongst visual art and installation pieces from classic to quirky. CFANN is for artists, by artists and not to be missed.

CFANN is produced by ensemble member Myah Shein.

May 3-29, 2010 - The Love of the Nightingale

Written by Timberlake Wertenbaker

directed by Artistic Director James Palmer

This modern retelling of the Philomele myth features a large ensemble cast and employs dance, puppetry, music, multi-media and expressionistic design.

Featuring ensemble members James Palmer (Director), Myah Shein (Choreographer), Robert L. Oakes (Male Chorus), Victor May (Tereus), Rob Lynch (King Pandion), Lona Livingston (Queen / Niobe) and Errol McLendon (Theseus / Captain).

Learn more at our website!

Red Tape Members Around Town!

Red Tape Theatre will soon be announcing our 2009-2010 season! Meanwhile have a look at what our Company Members are doing around town!!!

Mackenzie Brown May is beginning rehearsals for the world premiere of The Hundred Dresses with Chicago Children's Theatre.
Performances are Sep 25- Nov 1, 2009

Nicholas Combs is in Boys Life with Hanger9 at Gorilla Tango Theatre.
Aug 7-29, 2009

Rob Lynch performs with the improv troupe Paul 'n the Family at iO
June 28-Aug 16, 2009. Sundays at 9pm

Victor May performs in Cyrano de Bergerac at Oak Park Festival Theatre
July 15-Aug 15, 2009.

Paul G. Miller plays the Skull in The Last Unicorn at Promethean Theatre.
Oct 16-Nov 14, 2009
and in Promethean's Free Incubator Showcase of new plays on Monday, Aug 31, 2009, 7:30pm at the DCA Theatre.

Read more about Red Tape on our website.

The Ibsen Award

The International Ibsen Award for 2009 goes to French director Ariane Mnouchkine (pictured)

Their website says that "The International Ibsen Award honors an individual, organization or institution in the fields of arts and culture for exceptional achievements defined within the spirit of Ibsen`s work."

Any Ibsen scholars reading this? What would you predict the parameters of such an award would be?

Final performances of Enemy of the People are Fri-Sat, 7:30pm, May 29-30.
Tickets are available through our website.

Paul G. Miller
Season Dramaturge

Picking Sides

The Doctor and the Mayor in Enemy of the People have very different solutions to their towns problems, and everyone in the play is forced to pick a side. How about you? Where did your sympathies turn during the course of the play?

Final performances of Enemy of the People are May 28, 29 and 30th. Tickets are available through our website.

Paul G. Miller
Season Dramaturge