I awoke this morning with two bruised knees. (Insert your own jokes here). In Dog in a Manger I put on a pair of cute cat ears and engage in a raucous courtship dance with my beloved. Yesterday I let things get a little too raucous and tripped over part of the set. Stealthily I pursued my partner offstage on my hands and knees as if to say “Ah, I meant to do that, as my cat-like posture increases my adorability.” I’m sure no one in the audience noticed the blooper… Meow.
Dog in a Manger is gearing up for its final week and the rest of the season is gearing up. I’m helping James and Myah review submissions for January’s Fresh Eyes Festival and researching Rob’s dramaturgical questions for May’s adaptation of An Enemy of the People. Blog posts will resume in December when the Fresh Eyes lineup is ready to announce. Meanwhile I welcome new readers to look through the past few months to learn some fun facts about our cast and our adaptation.
Final performances of Dog in a Manger are October 30, 31 and November 1 at 7:30 pm.
Visit www.redtapetheatre.com for details and to purchase tickets online!
Sunday, October 26, 2008
Wednesday, October 15, 2008
Adapting the Classics - The Discussion
Red Tape Theatre's panel Adapting the Classics was presented on Saturday, October 11 at 4:30 p.m., alongside our adaptation of Dog in a Manger. I led a discussion with four Chicago artists who'd successfully helmed their own adaptations
The panelists were:
In Mr. Montgomery's production of The Master Builder, he felt he couldn't let an ensemble member play a character who "dies in act one and then sits in the green room. First of all we don't have a green room!" The decision to double cast the supporting roles led to greater discoveries. As the paranoid title character unraveled , the reality of those he meets became ambiguous. Do they exist? Are they creations of his rivals or his imagination?
Ms. Ford's production of The Misanthrope examined the contrasts of a decadent society in a time of war, as France indeed was. She described Kevin Depinet's set as a "bombed out mansion" in which Celimine and her followers were "squatting." Her rank was established in her refusal to acknowledge the hole in the wall. If she ignored it, so must her suitors, who entered through the doorway instead. Alceste, the title character, of course entered through the wall.
When Ms. Mclean began Lifeline's adaptation of The Mark of Zorro she was surprised by the darkness in the original books. Zorro's justice lacks mercy as he tortures and eventually kills his foes. In a post-Dark Knight age it seemed appropriate to instead explore the comic aspects of the story. She described the excitement of collaborating with actor James Elly, who not only explored Zorro the fighter and Don Diego the clown, but the mystery man who wears both masks. (Code named "Z").
Mr. Lewis received a variety of responses to the finale of A Midsummer Night's Dream: A Queer Tale. The production transformed Shakespeare's lovers into same sex couples fleeing a tyrannical government to a fairy land of drag queens, club kids and leather daddies. While the popular show had a festive, party atmosphere the finale introduced a somber tone with a closeted homosexual actor committing suicide in the middle of "Pyramus and Thisbe." In a production commenting on gay rights, Mr. Lewis felt it important to respect those who would be "left behind" when the rest of the communities "needs were met."
At the end an audience member asked when an adaptation ceases to be connected to the original work. The panel agreed that every production had it's own line in the sand. In most cases, they felt, you avoid crossing it. On special occasions, one added, one must embrace the opportunity to tell their own story. That's when you not only step over the line... you leap!
Dog in a Manger has been extended through November 2.
Visit http://www.redtapetheatre.com/ for details and to purchase tickets online!
The panelists were:
- Libby Ford, Associate Artistic Director of Greasy Joan & Co.
- Tony Lewis, Artistic Director of MidTangeant Productions
- Katie McLean, Artistic Ensemble Member at Lifeline Theatre Company
- Blake Montgomery, Artistic Director of The Building Stage
In Mr. Montgomery's production of The Master Builder, he felt he couldn't let an ensemble member play a character who "dies in act one and then sits in the green room. First of all we don't have a green room!" The decision to double cast the supporting roles led to greater discoveries. As the paranoid title character unraveled , the reality of those he meets became ambiguous. Do they exist? Are they creations of his rivals or his imagination?
Ms. Ford's production of The Misanthrope examined the contrasts of a decadent society in a time of war, as France indeed was. She described Kevin Depinet's set as a "bombed out mansion" in which Celimine and her followers were "squatting." Her rank was established in her refusal to acknowledge the hole in the wall. If she ignored it, so must her suitors, who entered through the doorway instead. Alceste, the title character, of course entered through the wall.
When Ms. Mclean began Lifeline's adaptation of The Mark of Zorro she was surprised by the darkness in the original books. Zorro's justice lacks mercy as he tortures and eventually kills his foes. In a post-Dark Knight age it seemed appropriate to instead explore the comic aspects of the story. She described the excitement of collaborating with actor James Elly, who not only explored Zorro the fighter and Don Diego the clown, but the mystery man who wears both masks. (Code named "Z").
Mr. Lewis received a variety of responses to the finale of A Midsummer Night's Dream: A Queer Tale. The production transformed Shakespeare's lovers into same sex couples fleeing a tyrannical government to a fairy land of drag queens, club kids and leather daddies. While the popular show had a festive, party atmosphere the finale introduced a somber tone with a closeted homosexual actor committing suicide in the middle of "Pyramus and Thisbe." In a production commenting on gay rights, Mr. Lewis felt it important to respect those who would be "left behind" when the rest of the communities "needs were met."
At the end an audience member asked when an adaptation ceases to be connected to the original work. The panel agreed that every production had it's own line in the sand. In most cases, they felt, you avoid crossing it. On special occasions, one added, one must embrace the opportunity to tell their own story. That's when you not only step over the line... you leap!
Dog in a Manger has been extended through November 2.
Visit http://www.redtapetheatre.com/ for details and to purchase tickets online!
Monday, October 13, 2008
Dog in a Manger Artwork
I thought I'd post my cast artwork for Dog in a Manger. In 1998, inspired by the late Al Hirschfeld, I gave my fellow actors a caricature of the cast as a closing night gift. It went over well so I've kept at it.
For Dog in a Manger I decided to finish it before previews. There was some risk in this as some hairstyles and costumes have altered since then, but as a result I was able to include the image in our lobby display.
Paul G. Miller
Season Dramaturge
Dog in a Manger has been extended through November 1st.
Visit http://www.redtapetheatre.orgfor details and to purchase tickets online!
Saturday, October 11, 2008
"Dog in a Manger" Extends through November 1!
Dog in a Manger is a hit! Thank you all for your feedback and support. The show has been extended through November 1.
THE CRITICS SAY:
"Red Tape Theatre is a young group of talented people... in its quest to create fun, thought provoking, avant-garde theatre. "
" There were some talented people in this cast...A booming Bryan Kelly, the lovely Marika Engelhardt and the very funny Michael Gonring."
"...This little scene [between Gonring and Panger] is worth the price of admission."
-Alan Bresloff, steadstylechicago.com
"Finally, cutting edge theater that requires its audience to have taken Sosc. From Foucault to Freud, from Nietzsche to Marx, you'll find it all in James Palmer's adaptation..."
"Paul Miller plays a Fabio that is so convincingly scummy, I wonder what he is like in real life. Michael Gonring plays a sardonic Tristan very well. Bryan Kelly gives a hilarious turn as Ricardo the inquisitor."
- Pete Russell, Chicago Maroon
THE AUDIENCES SAY:
"I never cease to be amazed by the depth of the Red Tape Theatre productions...presenting substantive, challenging and absorbing plays. It warms my heart to see such pertinent and timely issues being raised..."
"What an AMAZING production. [We] were non-stop back and forth all the way to Evanston last night talking about the characters, the themes, and what it all meant. Incredible, really. "
"I had a great time!"
Tickets are going fast, buy yours now at www.redtapetheatre.org.
THE CRITICS SAY:
"Red Tape Theatre is a young group of talented people... in its quest to create fun, thought provoking, avant-garde theatre. "
" There were some talented people in this cast...A booming Bryan Kelly, the lovely Marika Engelhardt and the very funny Michael Gonring."
"...This little scene [between Gonring and Panger] is worth the price of admission."
-Alan Bresloff, steadstylechicago.com
"Finally, cutting edge theater that requires its audience to have taken Sosc. From Foucault to Freud, from Nietzsche to Marx, you'll find it all in James Palmer's adaptation..."
"Paul Miller plays a Fabio that is so convincingly scummy, I wonder what he is like in real life. Michael Gonring plays a sardonic Tristan very well. Bryan Kelly gives a hilarious turn as Ricardo the inquisitor."
- Pete Russell, Chicago Maroon
THE AUDIENCES SAY:
"I never cease to be amazed by the depth of the Red Tape Theatre productions...presenting substantive, challenging and absorbing plays. It warms my heart to see such pertinent and timely issues being raised..."
"What an AMAZING production. [We] were non-stop back and forth all the way to Evanston last night talking about the characters, the themes, and what it all meant. Incredible, really. "
"I had a great time!"
Tickets are going fast, buy yours now at www.redtapetheatre.org.
Saturday, October 4, 2008
Adapting the Classics – The Master Builder
Red Tape Theatre's panel Adapting the Classics will be presented on Saturday, October 11 at 4:30 p.m., between performances of Dog in a Manger.
Panelist Blake Montgomery is the Artistic Director of The Building Stage (www.buildingstage.com). He co-directed/adapted Henrik Ibsen’s The Master Builder in June 2008. The four person ensemble each took a role in this psychological adaptation set in the head of the title character. Halvard Solness fears the next generation will surpass his lifetime of achievements and lashes out angrily at them. His three young ensemble members switched costumes and roles as his lovers, confidantes and rivals confronted him to offer warnings and advice. As Solness’ mind began to shatter the barriers between the other characters roles began to dissolve.
The Building Stage’s mission states “We believe theater is made, not written. And while each project has its own unique process of creation, each is driven by the spirit of investigation: to ask, through action on the stage, how a piece functions, how it is constructed, and what must be done to make it work.” Red Tape will soon begin work on our own adaptation of Ibsen’s An Enemy of the People. I am thrilled Mr. Montgomery could join our panel and am eager to hear him speak on his company’s creative process. Their current production, Dracula, runs through October 18, 2008.
Other panelists include:
Paul G. Miller
Season Dramaturge
Dog in a Manger opens October 6.
Visit www.redtapetheatre.org for details and to purchase tickets online!
Panelist Blake Montgomery is the Artistic Director of The Building Stage (www.buildingstage.com). He co-directed/adapted Henrik Ibsen’s The Master Builder in June 2008. The four person ensemble each took a role in this psychological adaptation set in the head of the title character. Halvard Solness fears the next generation will surpass his lifetime of achievements and lashes out angrily at them. His three young ensemble members switched costumes and roles as his lovers, confidantes and rivals confronted him to offer warnings and advice. As Solness’ mind began to shatter the barriers between the other characters roles began to dissolve.
The Building Stage’s mission states “We believe theater is made, not written. And while each project has its own unique process of creation, each is driven by the spirit of investigation: to ask, through action on the stage, how a piece functions, how it is constructed, and what must be done to make it work.” Red Tape will soon begin work on our own adaptation of Ibsen’s An Enemy of the People. I am thrilled Mr. Montgomery could join our panel and am eager to hear him speak on his company’s creative process. Their current production, Dracula, runs through October 18, 2008.
Other panelists include:
- Libby Ford, Associate Artistic Director of Greasy Joan & Co.
- Tony Lewis, Artistic Director of MidTangeant Productions
- Katie McLean, Artistic Ensemble Member at Lifeline Theatre Company
Paul G. Miller
Season Dramaturge
Dog in a Manger opens October 6.
Visit www.redtapetheatre.org for details and to purchase tickets online!
Wednesday, October 1, 2008
Adapting the Classics - The Mark of Zorro
Red Tape Theatre's panel Adapting the Classics will be presented on Saturday, October 11 at 4:30 p.m., between performances of Dog in a Manger.
Panelist Katie McLean is an Artistic Ensemble Member at Lifeline Theatre Company (www.lifelinetheatre.com). Her adaptation of The Mark of Zorro last summer was the smashhit of their 2007-2008 season. The production was transferred to the Theatre Building Chicago where it runs September 27-November 23, 2008.
Lifeline Theatre specializes in original literary adaptations, and McLean went back to Zorro's original adventures bypassing an origin story and dropping the audience right in the middle of the action. I was particularly impressed by her handling of his alter ego, a cowardly fop who can't approach a lover without the black mask. McLean, and actor James Elly, explored the delicious ambiguity between the two roles, suggesting that the "real Zorro" lay somewhere in between.
Gay Chicago Magazine put it best when they presented an After Dark Award for Best Production. "This show had everything going for it, both creatively and technically. This magnificently lovable ensemble’s depiction of Katie McLean’s thrilling adaptation, polished off with Dorothy Milne’s brilliantly ingenious direction, created an all ages laugh festival extravaganza that was CRAZY FUN!"
Other panelists include:
Season Dramaturge
Dog in a Manger opens October 6.
Visit www.redtapetheatre.org for details and to purchase tickets online!
Panelist Katie McLean is an Artistic Ensemble Member at Lifeline Theatre Company (www.lifelinetheatre.com). Her adaptation of The Mark of Zorro last summer was the smashhit of their 2007-2008 season. The production was transferred to the Theatre Building Chicago where it runs September 27-November 23, 2008.
Lifeline Theatre specializes in original literary adaptations, and McLean went back to Zorro's original adventures bypassing an origin story and dropping the audience right in the middle of the action. I was particularly impressed by her handling of his alter ego, a cowardly fop who can't approach a lover without the black mask. McLean, and actor James Elly, explored the delicious ambiguity between the two roles, suggesting that the "real Zorro" lay somewhere in between.
Gay Chicago Magazine put it best when they presented an After Dark Award for Best Production. "This show had everything going for it, both creatively and technically. This magnificently lovable ensemble’s depiction of Katie McLean’s thrilling adaptation, polished off with Dorothy Milne’s brilliantly ingenious direction, created an all ages laugh festival extravaganza that was CRAZY FUN!"
Other panelists include:
- Libby Ford, Associate Artistic Director of Greasy Joan & Co.
- Tony Lewis, Artistic Director of MidTangeant Productions
- Blake Montgomery, Artistic Director of The Building Stage
Season Dramaturge
Dog in a Manger opens October 6.
Visit www.redtapetheatre.org for details and to purchase tickets online!
Saturday, September 27, 2008
Meet the Cast! - Bryan Kelly
Part four in a series of interviews with the cast of Dog in a Manger at Red Tape Theatre.
1. Where are you from?
It's hard to say where I'm from. I was born in Hawaii. Then when I was two, we moved to Rochester, NY. In second grade, I stayed briefly in New Jersey, then eventually Long Island until fourth grade when I found myself in Nashua, NH. Then another great opportunity and new job happened for my dad, and we moved to Walled Lake, Michigan for the last two years of high school. Went to Western Michigan in Kalamazoo, then moved to Chicago. After a brief two year stint in LA, I'm back in where I consider home - Chicago.
So the short answer is "I'm from Chicago"
2. What is the first stage play you remember seeing?
I actually wrote a show and performed in two before I saw a live show. In NH high school, I played Lacrosse, Football and Basketball mostly, and for a change, I joined Odyssey of the Mind. We ended up choosing the performance problem and wrote a show in which I was the MC. I did a few shows in high school and it wasn't until I went to college that I actually saw a live theatre performance I was not in. I actually did not realize that until I attempted to answer this question. Interestingly enough, my best friend was in the first show I watched and it was also the first time I met him.
3. When/why did you start acting?
I chose acting on a possible sign and a whim. I thought I was going to be a mechanical engineer, and I had applied to four schools I was kind of interested in. I applied to Western Michigan frankly because there was a small application fee, and no essay. I put Theatre as my major of choice, just to see what could happen. Then, one day, I got the acceptance letter from Western while my mom was driving me to rehearsal. It was an overcast day, and as I opened the letter the clouds parted and light broke through. It was weird to say the least.
Those moments are rare and odd and again, weird. I was mulling over the decision, every day after submitting the application I thought about what to do if it worked out, and although I had missed the first department audition, I was generally accepted to the University. When I read the letter in the sudden sunshine, I just felt confident in going forward in the direction of my dreams. It's funny how a small coincidence can suddenly alter the course of one's major life decisions, and we will mull over what cereal to buy for a good half hour and regret it for days after even when it is clearly delicious. I decided that entertaining is important to me and I want to entertain in all facets. I figured theatre training would be a way to get started. Since then, I've been involved in large and small production theatre, tons of improv, stand-up, sit-coms, movies, shorts, I was a tour manager for the Dollyrots travelling all over the US, I've MC'd several events and I've even presided over two weddings. I love entertaining. If given the choice, I would rather be Willy Wonka than one of the kids.
4. Tell us about your character in Dog in a Manger.
I play Ricardo, the inquisitor. He is an overbearing presence to say the least. As an inquisitor, he is used to being in absolute power in most any situation. Since the inquisition is being dismantled slowly, he finds himself basically waving a gun loaded with blanks. As a man of immense power, he has basically been able to say and do whatever he wants. Power does things to people who crave it, and it has definitely warped Ricardo. He has done so much wrong in the name of right that he believes that everything he does is right by default. This man can convince your mother that you have fosaken all that is good and get her to cast the first stone at your death all in the name of God. Personally, I am a gifted skeptic and devil's advocate and so it is interesting to play a true believer.
5. Do you have a favorite moment/scene in the play?
If I had to pick a scene I really like to do, it'd have to be the first speech to the audience. I've been a stand-up comic and in general a comedy guy for a while, and to be so blatantly evil and mean with a bit of charm is exquisite for me. I've tried to be mostly a gentle giant most of my life on and off stage, so to be able to bring out my inner asshole is really.... relieving.
As for a scene I like to watch, I like when Belflor hits Teo. It's sweet, vengeful, heartbreaking and ridiculous.
6. What's next for you?
What's next? I'm lucky I know what's happening this week. I'm in the pilot episode for A&E's The Beast, so hopefully we'll all see me and other fine Chicago actors in the winter.
Dog in a Manger runs October 2-26.
Visit www.redtapetheatre.com for details and to purchase tickets online!
1. Where are you from?
It's hard to say where I'm from. I was born in Hawaii. Then when I was two, we moved to Rochester, NY. In second grade, I stayed briefly in New Jersey, then eventually Long Island until fourth grade when I found myself in Nashua, NH. Then another great opportunity and new job happened for my dad, and we moved to Walled Lake, Michigan for the last two years of high school. Went to Western Michigan in Kalamazoo, then moved to Chicago. After a brief two year stint in LA, I'm back in where I consider home - Chicago.
So the short answer is "I'm from Chicago"
2. What is the first stage play you remember seeing?
I actually wrote a show and performed in two before I saw a live show. In NH high school, I played Lacrosse, Football and Basketball mostly, and for a change, I joined Odyssey of the Mind. We ended up choosing the performance problem and wrote a show in which I was the MC. I did a few shows in high school and it wasn't until I went to college that I actually saw a live theatre performance I was not in. I actually did not realize that until I attempted to answer this question. Interestingly enough, my best friend was in the first show I watched and it was also the first time I met him.
3. When/why did you start acting?
I chose acting on a possible sign and a whim. I thought I was going to be a mechanical engineer, and I had applied to four schools I was kind of interested in. I applied to Western Michigan frankly because there was a small application fee, and no essay. I put Theatre as my major of choice, just to see what could happen. Then, one day, I got the acceptance letter from Western while my mom was driving me to rehearsal. It was an overcast day, and as I opened the letter the clouds parted and light broke through. It was weird to say the least.
Those moments are rare and odd and again, weird. I was mulling over the decision, every day after submitting the application I thought about what to do if it worked out, and although I had missed the first department audition, I was generally accepted to the University. When I read the letter in the sudden sunshine, I just felt confident in going forward in the direction of my dreams. It's funny how a small coincidence can suddenly alter the course of one's major life decisions, and we will mull over what cereal to buy for a good half hour and regret it for days after even when it is clearly delicious. I decided that entertaining is important to me and I want to entertain in all facets. I figured theatre training would be a way to get started. Since then, I've been involved in large and small production theatre, tons of improv, stand-up, sit-coms, movies, shorts, I was a tour manager for the Dollyrots travelling all over the US, I've MC'd several events and I've even presided over two weddings. I love entertaining. If given the choice, I would rather be Willy Wonka than one of the kids.
4. Tell us about your character in Dog in a Manger.
I play Ricardo, the inquisitor. He is an overbearing presence to say the least. As an inquisitor, he is used to being in absolute power in most any situation. Since the inquisition is being dismantled slowly, he finds himself basically waving a gun loaded with blanks. As a man of immense power, he has basically been able to say and do whatever he wants. Power does things to people who crave it, and it has definitely warped Ricardo. He has done so much wrong in the name of right that he believes that everything he does is right by default. This man can convince your mother that you have fosaken all that is good and get her to cast the first stone at your death all in the name of God. Personally, I am a gifted skeptic and devil's advocate and so it is interesting to play a true believer.
5. Do you have a favorite moment/scene in the play?
If I had to pick a scene I really like to do, it'd have to be the first speech to the audience. I've been a stand-up comic and in general a comedy guy for a while, and to be so blatantly evil and mean with a bit of charm is exquisite for me. I've tried to be mostly a gentle giant most of my life on and off stage, so to be able to bring out my inner asshole is really.... relieving.
As for a scene I like to watch, I like when Belflor hits Teo. It's sweet, vengeful, heartbreaking and ridiculous.
6. What's next for you?
What's next? I'm lucky I know what's happening this week. I'm in the pilot episode for A&E's The Beast, so hopefully we'll all see me and other fine Chicago actors in the winter.
Dog in a Manger runs October 2-26.
Visit www.redtapetheatre.com for details and to purchase tickets online!
Wednesday, September 24, 2008
Two Takes on Fuente Ovejuna
Fuente Ovejuna (or The Sheep Well) is one of Lope de Vega’s best known works. It was interesting to re-read this midway through the rehearsal process for Dog in a Manger.
A wicked Commander terrorizes the villagers of the title town and deflowers all the maidens on their wedding nights. When Laurencia resists, and is violently raped for it, she leads the villagers in bloodthirsty rebellion. The Commander and his men are slaughtered at her command, making her one of de Vega’s most proactive heroines.
LAURENCIA: “I swear to God above that women alone shall be responsible for their honour, for their blood, and make these traitors, these tyrants pay…. And once again we’ll see that age return where there were women who were strong, true Amazons, whose deeds amazed the world.” (translation by Gwynne Edwards)
King Fernando and Queen Isabel send a magistrate to investigate the Commander’s death. Despite torture and imprisonment, when the people are asked who killed the Commander they claim it as a group crying “Fuente Ovejuna!” When the people report the Commander’s misdeeds and his rebellion against the crown to the King he pardons the entire town.
In his introduction to the play Gwynne Edwards writes that the play does not advocate revolution. “Rather, [de Vega] shared the desire of his contemporaries for the continuity of established social structures, ending the play, therefore, not with the victory of the citizens but with the restitution of order by the Catholic Kings.” Even so, the people demand responsibility from their King as they did from their Commander. Though peasants, their honor is no less than that of any so-called nobility.
Dog in a Manger focuses on a conflict between a Countess and her servants. Both sides disrupt the status quo. Neither will back down as each regards their honor as something worth defending. While the Countess is a nobler specimen than Fuente’s Commander, she too learns the dangers of underestimating the lower classes.
Paul G. Miller
Season Dramaturge
Dog in a Manger opens October 6.
Visit www.redtapetheatre.org for details and to purchase tickets online!
A wicked Commander terrorizes the villagers of the title town and deflowers all the maidens on their wedding nights. When Laurencia resists, and is violently raped for it, she leads the villagers in bloodthirsty rebellion. The Commander and his men are slaughtered at her command, making her one of de Vega’s most proactive heroines.
LAURENCIA: “I swear to God above that women alone shall be responsible for their honour, for their blood, and make these traitors, these tyrants pay…. And once again we’ll see that age return where there were women who were strong, true Amazons, whose deeds amazed the world.” (translation by Gwynne Edwards)
King Fernando and Queen Isabel send a magistrate to investigate the Commander’s death. Despite torture and imprisonment, when the people are asked who killed the Commander they claim it as a group crying “Fuente Ovejuna!” When the people report the Commander’s misdeeds and his rebellion against the crown to the King he pardons the entire town.
In his introduction to the play Gwynne Edwards writes that the play does not advocate revolution. “Rather, [de Vega] shared the desire of his contemporaries for the continuity of established social structures, ending the play, therefore, not with the victory of the citizens but with the restitution of order by the Catholic Kings.” Even so, the people demand responsibility from their King as they did from their Commander. Though peasants, their honor is no less than that of any so-called nobility.
Dog in a Manger focuses on a conflict between a Countess and her servants. Both sides disrupt the status quo. Neither will back down as each regards their honor as something worth defending. While the Countess is a nobler specimen than Fuente’s Commander, she too learns the dangers of underestimating the lower classes.
Paul G. Miller
Season Dramaturge
Dog in a Manger opens October 6.
Visit www.redtapetheatre.org for details and to purchase tickets online!
Saturday, September 20, 2008
Adapting the Classics – Midsummer
Red Tape Theatre's panel Adapting the Classics will be presented on Saturday, October 11 at 4:30 p.m., between performances of Dog in a Manger.
Panelist Tony Lewis is the Artistic Director for Midtangeant Productions (http://www.myspace.com/midtangent). They've had great success with their production of A Midsummer Night's Dream: A Queer Tale which I had the good fortune to see in its third revival this July.
Tony's production of Shakespeare's comedy cast Lysander as a no-nonsense lesbian, Helena as a lonely gay man, and Titania as a fantabulous drag queen. When Lysander and Hermia flee the king's persecution, Demetrius gives chase with lovesick Helena close behind. They find themselves in the Boyshood ruled over by Titania and her band of pansexual, club-kid fairies. Love and sexuality prove fluid as Puck's drugs cause couples to mix and match in all combinaitons.
Tony's adaptation was brash, raucous and loaded with sex, but there were more tricks up his sleeve. Not every character in the play was happy to discover their sexuality and the final scene at court turned unexpectedly tragic. This scene fascinated me and convinced me that Tony was someone to invite to our panel.
Other panelists include:
Season Dramaturge
Dog in a Manger opens October 6.
Visit http://www.redtapetheatre.org/ for details and to purchase tickets online!
Panelist Tony Lewis is the Artistic Director for Midtangeant Productions (http://www.myspace.com/midtangent). They've had great success with their production of A Midsummer Night's Dream: A Queer Tale which I had the good fortune to see in its third revival this July.
Tony's production of Shakespeare's comedy cast Lysander as a no-nonsense lesbian, Helena as a lonely gay man, and Titania as a fantabulous drag queen. When Lysander and Hermia flee the king's persecution, Demetrius gives chase with lovesick Helena close behind. They find themselves in the Boyshood ruled over by Titania and her band of pansexual, club-kid fairies. Love and sexuality prove fluid as Puck's drugs cause couples to mix and match in all combinaitons.
Tony's adaptation was brash, raucous and loaded with sex, but there were more tricks up his sleeve. Not every character in the play was happy to discover their sexuality and the final scene at court turned unexpectedly tragic. This scene fascinated me and convinced me that Tony was someone to invite to our panel.
Other panelists include:
- Libby Ford, Associate Artistic Director of Greasy Joan & Co.
- Katie McLean, Artistic Ensemble Member at Lifeline Theatre Company
- Blake Montgomery, Artistic Director of The Building Stage
Season Dramaturge
Dog in a Manger opens October 6.
Visit http://www.redtapetheatre.org/ for details and to purchase tickets online!
Wednesday, September 17, 2008
Meet the Cast! – Paul G. Miller
Part three in a series of interviews with the cast of Dog in a Manger at Red Tape Theatre.
1. Where are you from?
I was born and raised in Corvallis, OR. I moved to Portland, OR in 1998 and Chicago in 2006.
2. What is the first stage play you remember seeing?
My grandmother was directing a production of Little Women at the local arts center. I’d go with her to rehearsals and helped her build the set. There’s a scene where the March sisters put on a melodrama. Grandma built a “Castle tower” out of a large cardboard box. We colored the exterior together with pastel markers. When the show reached performance I got scolded because I knew all the jokes and would laugh loudly before the rest of the audience could respond. I didn’t realize I was being rude. I was just loving the play!
3. When/why did you start acting?
Grandmother again. She gave me two roles in a children’s theatre when I was very small. I played a servant in The Emperor’s New Clothes who rang a gong when the emperor appeared, then a turtle in Red Riding Hood with a big paper mache shell. I was tiny with a loud voice and the grown ups thought I was adorable. I loved the attention. Then I auditioned for some other companies and discovered that being adorable wasn’t enough to get me cast. My bruised ego, and the dreadful pageants at my elementary school, were enough to keep me from acting again till high school. By then I was no longer adorable, just closeted and socially awkward. The theatre scene helped me make friends, come out, and try on some new identities. It’s been a rocky romance ever since.
4. Tell us about your character in Dog in a Manger.
Fabio is bodyguard and confidante to the Countess Belflor. In a play about changing social roles, Fabio is an advocate for the status quo. He wants to be a protector but his fear of the Inquisition, and of change in general, causes him to give some very poor advice. It isn’t until others start breaking the rules that he finds the courage to pursue a love of his own.
5. Do you have a favorite moment/scene in the play?
Fabio gets to perform a little dance, which I’ve enjoyed learning. However my favorite moment would have to be a speech late in the play where Fabio finally speaks his mind about all the chaos that’s been going on around him. He spends most of the play biting his tongue so it’s a relief to finally cut loose.
6. What’s next for you?
This fall I’ll be co-organizing Red Tape’s Fresh Eyes Festival and doing dramaturgical research for our original adaptation of An Enemy of the People. Acting-wise it’s simply a matter of audition, audition, audition.
Dog in a Manger runs October 2-26.
Visit www.redtapetheatre.com for details and to purchase tickets online!
1. Where are you from?
I was born and raised in Corvallis, OR. I moved to Portland, OR in 1998 and Chicago in 2006.
2. What is the first stage play you remember seeing?
My grandmother was directing a production of Little Women at the local arts center. I’d go with her to rehearsals and helped her build the set. There’s a scene where the March sisters put on a melodrama. Grandma built a “Castle tower” out of a large cardboard box. We colored the exterior together with pastel markers. When the show reached performance I got scolded because I knew all the jokes and would laugh loudly before the rest of the audience could respond. I didn’t realize I was being rude. I was just loving the play!
3. When/why did you start acting?
Grandmother again. She gave me two roles in a children’s theatre when I was very small. I played a servant in The Emperor’s New Clothes who rang a gong when the emperor appeared, then a turtle in Red Riding Hood with a big paper mache shell. I was tiny with a loud voice and the grown ups thought I was adorable. I loved the attention. Then I auditioned for some other companies and discovered that being adorable wasn’t enough to get me cast. My bruised ego, and the dreadful pageants at my elementary school, were enough to keep me from acting again till high school. By then I was no longer adorable, just closeted and socially awkward. The theatre scene helped me make friends, come out, and try on some new identities. It’s been a rocky romance ever since.
4. Tell us about your character in Dog in a Manger.
Fabio is bodyguard and confidante to the Countess Belflor. In a play about changing social roles, Fabio is an advocate for the status quo. He wants to be a protector but his fear of the Inquisition, and of change in general, causes him to give some very poor advice. It isn’t until others start breaking the rules that he finds the courage to pursue a love of his own.
5. Do you have a favorite moment/scene in the play?
Fabio gets to perform a little dance, which I’ve enjoyed learning. However my favorite moment would have to be a speech late in the play where Fabio finally speaks his mind about all the chaos that’s been going on around him. He spends most of the play biting his tongue so it’s a relief to finally cut loose.
6. What’s next for you?
This fall I’ll be co-organizing Red Tape’s Fresh Eyes Festival and doing dramaturgical research for our original adaptation of An Enemy of the People. Acting-wise it’s simply a matter of audition, audition, audition.
Dog in a Manger runs October 2-26.
Visit www.redtapetheatre.com for details and to purchase tickets online!
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