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!
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