Ibsen's gifts thrown into the mud

In the play An Enemy of the People, (1882) Henrik Ibsen's protagonist, Dr. Stockman, delivers a polarizing lecture to the citizens of his town outlining their faults. At a recent workshop of Red Tape's adaptation this lecture was analyzed from many angles. Ibsen could be very shy until provoked, and delivered a few harsh truths of his own.

In Michael Meyer's fascinating biography, Ibsen (1967) an incident is described that merits attention. In 1878 Ibsen resided in Rome where he spent many days at the Scandinavian Club. He proposed that a woman be allowed to apply for the position of club librarian and that they vote on all club matters. The first request was accepted, the second failed by one vote. Gunnar Heiberg, who attended the clubs subsequent Gala writes that Ibsen rose before the crowd to lecture them on their failings.

Ibsen "had wished to do the club a service, he might almost say a great favor, by bringing its members abreast with contemporary ideas. No one could escape these mighty developments. Not even here - in this community - in this duckpond! He did not actually use the word duckpond but the contempt around his mouth proclaimed it loudly. And how had his offer been received? As a criminal attempt! Rejected by a paltry couple of votes. And how had the women reacted - the women for whom his gift had been intended? They had intrigued and agitated against him. They had thrown his gift into the mud. What kind of women are these? They were worse - worse than the dregs, worse than scum... Thump! A lady, Countess B., fell to the floor."

As Ibsen's speech continued his anger grew, shaking his head and thrusting out his underlip. When he was done he left in silence.

Ibsen clung to ideals of human conduct that he could not achieve in his life. He struggled between his desires for society and isolation as the world failed to live up to his moral code. He shared these struggles with many of his characters including the mighty Dr. Stockman. Red Tape looks forward to exploring these ideals as we adapt the work to a contemporary setting.

An Enemy of the People performs May 4-30, 2009.
Tickets will be on sale at http://www.redtapetheatre.org/.

Paul G. Miller
Season Dramaturge

Ibsen vs. the Status Quo

In Henrik Ibsen's An Enemy of the People (1882) the protagonist, Dr. Stockman, discovers that the town's lucrative baths are polluted. When the town officials attempt to cover this up he lambasts the public in a town lecture hall. Stockman's speech causes controversy both within the play and with audiences. In my research I'll be examining various interpretations of the government Stockman is proposing.

Stockman's views on "the compact majority" reflected many of Ibsen's own. The following passage is from a letter he wrote ten years before "Enemy." His colleague, Georg Brandes, had been denied a position at Copenhagen University for his statements that Danish thinking was "reactionary and divorced from reality." Ibsen offered Brandes his full support.

4 April 1872

"My dear friend, the liberals are the worst enemies of Freedom. Spirtiual and intellectual freedom flourish best under absolutism; that was proved in France, then in Germany and it is now being proved in Russia...

"You say everyone in the faculty of philosophy is against you... If they did not bar the door against you it would show that you had failed to frighten them...

"How this mortal combat between two epochs will end, I do not know; but anything is preferable to the status quo - of that I am certain. I do not promise myself that victory will result in any permanent improvement; every historical development has been but a lurch from one delusion to another. But the battle itself is good, healthy and invigorating; your revolt is a mighty and emancipating declaration of genius...

"Do not rely implicitly on everyone who joins you; what matters is whether they do so for the right reason... my own conviction is that the strongest man is he who stands most alone. But I sit here outside it all while you stand there in the midst of the storm; that makes a big difference."

The latter statement was to become Dr. Stockman's battle cry as the press, the government, the town, and members of his family abandoned him. I shall continue to research how Ibsen's views on absolutism developed in his own life.

Quotes cited from Ibsen by Michael Mayer, Penguin Books 1967

Red Tape Theatre's adaptation of Enemy of the People runs May 4-30, 2009.
Tickets will be available through our website: www.redtapetheatre.com.

Paul G. Miller
Season Dramaturge
Red Tape Theatre Company

Quotes on Ibsen's Early Work

The following quotes highlight stages of Henrik Ibsen's early growth as a playwright.


Ibsen's reviews a colleague's work in 1857 and shares his thoughts on tragedy:

"It has become customary to expect from tragic characters a loftiness, a purification, a greatness of thought and expression, will and action, that shall fulfill the function of the Greek cothurn - namely to give us the feeling that we are outside the realm of everyday life. But this achieves the exact opposite of its purpose. The world portrayed by the dramatist is rendered completely foreign to the spectator... so he cannot fully engage our sympathy."

and on symbolism:

"Every notable human being is symbolic, both in his career and in his relationship to history. But bad writers, misconstruing the theory that the significant phenomena of life should be intensified in art, make this symbolism conscious... Instead of it existing hidden in the work, like a vein of silver ore in a mountain, it is continually being dragged into the light of day."

The director Bjoornstjerne Bjornson criticizes Ibsen's epic fantasy play The Vikings at Helgland in 1858:

"I hope someday to get him to be himself and turn away from all this damned pastiche. The day Ibsen admits he is small he'll become a perfectly enchanting poet... The point is, he's a rather small and gnomish little chap, with no chest or rump, so he feels that as he has no other gifts he has to strain most fightfully when he writes. And so he doesn't write what he'd really like to, and could."

Ibsen begins to write "what he'd really like to" with Love's Comedy in 1863 and defends it from the critics:

"The play aroused a storm of hostility... When, in my comedy, as best I could, I cracked the whip over the problem of love and marriage, it was only natural that the majority should rush shrieking to the defense of those institutions. Not many of our critics and readers have acquired the intellectual dicipline and training which enable a man to recognize delusions... The only person who approved of the play was my wife."

Quotes cited from Ibsen by Michael Mayer, Penguin Books 1967

Red Tape Theatre presents our adapation of Ibsen's An Enemy of the People, May 4-30, 2009.

Paul G. Miller
Season Dramaturge

Henrik Ibsen - A Brief Timeline

As my research for Red Tape's adaptation of An Enemy of the People continues I will post some information on the life of it's author, Henrik Ibsen. I thought I'd start with a timeline and some links to other Chicago companies producing Ibsen this season. If you know of any other Ibsen works being produced in Chicago this season, please bring my attention to them.

• 1828 Born on March 20 in the town of Skien on the coast of Norway.
• 1850 Catiline - regarded by many as Ibsen's first play
• 1866 Brand
• 1867 Peer Gynt
• 1877 The Pillars of Society
• 1879 A Doll's House
• 1881 Ghosts (Being produced by Shaw Chicago, 4/18-5/11, 2009)
• 1882 An Enemy of the People (Being produced by Red Tape Theatre, 5/4-30, 2009)
  
• 1884 The Wild Duck (Being produced by the Court Theatre, 1/15-2/15, 2009)
  
• 1886 Rosmersholm
• 1888 The Lady from the Sea
• 1890 Hedda Gabler (Being produced by Vintage Theatre, 2/6-22, 2009 and Raven Theatre, 4/28-6/27, 2009)
  
• 1892 The Master Builder (produced by The Building Stage in Fall 2008.)
  
• 1894 Little Eyolf
• 1895 John Gabriel Borkman
• 1899 When We Dead Awaken
• 1906 Died on May 23 after a series of strokes.

From Ibsen by Michael Meyer, Penguin Books 1967 :

"At noon on 22 May he opened his eyes, pressed Dr Bull's hand and murmered: 'Thank God!' A little later the nurse said to others in the room that he seemed to be a little better. From the bed came a single word: 'Tvertimod!' ('On the contrary!'). It was the last word Ibsen ever spoke."

February News

Hello everyone!

I took a break from blogging to workshop my play as part of Red Tape's Fresh Eyes Project. Three playwrights were teamed with three directors and a group of talented actors in an intensive workshop of their scripts. Excerpts from the works were performed on January 31, 2009 at the Chicago Fringe Artists Networking Night (a.k.a. CFANN). The Fresh Eyes lineup was:

• Mouse in a Jar by Martyna Majok. Directed by Daria J. Davis
• Demon's Crystal by Paul G. Miller. Directed by Mark Chaitin.
• Mechanical Angels by Mishelle Apalategui. Directed by Lavina Jadhwani.

The plays were just a sample of the many works presented at CFANN. The event brought over 160 guests into Red Tape's home for an evening of paintings, sculptures, photography, dance, music, improv, sketch comedy and performance art. Red Tape was honored toh ost this wonderful evening.

Next up is our original adapatation of Henrik Ibsen's An Enemy of the People by company member Robert Oakes. A doctor's ethics are called into question when pollution is discovered, and covered up, at a town's lucrative spa. I'm serving as dramaturge and will be sharing my research on this blog as I research Ibsen's life and times alongside comparable environmental scandals in our current society.

Stay tuned!

Paul G. Miller
Season Dramaturge

CFANN: Chicago Fringe Artists Networking Night

Red Tape has been given the great honor of hosting CFANN: Chicago Fringe Artists Networking Night! CFANN is a one night only event for fringe artists, working in a variety of media, to discuss and celebrate the work that we do for Chicago. On January 31, from 8pm to 12am, we will be presenting works from a variety of artists throughout Chicago with the intent of generating conversation and artistic overlap. The $20 admission includes access to all works and performances as well as drinks and snacks.

• Saturday, January 31, 8pm-12am
• Performances throughout the evening
• 621 W Belmont - St. Peters Episcopal Church
• $20 Admission Fee (includes drinks and snacks)

Purchase Tickets Online
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Artist Lineup Announced!


Visual Art:
Judith Joseph
Irena Czumaj-Szesny
Jennifer Lenihan
Jeannette Thompson
Ann Patrick O'Brian
Victoria Milewski
Ania Grzesik
Ruti Modlin

Performances By:
Leigh Ann Boatman and David Gerber
The Trenchberg Incident
Genesis Ensemble
Jamie Olah
Marcel Williams Foster
David Westling
Sarah Wattles
Red Tape Theatre: Fresh Eyes Project

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CFANN Means Networking!

Take advantage of these CFANN networking opportunities:

• Please bring postcards, business cards or any other marketing material for upcoming shows and exhibitions to add to our networking table. And pick up a few cards for other artists while you're there.
• If you're coming to CFANN, post it on our facebook page, along with info for your upcoming events.
• Do you have a show, or tickets to a show on January 31? Don't worry. CFANN is a great place to hang out post show and keep the conversation going!

Call for Artists

Red Tape Theatre seeks proposals from artists of all media to showcase at our Fresh Eyes Project one night celebration event, Saturday, January 31st.

Proposals due December 14th.

The driver for this event is conversation. We want participants to interact with each other, with the artists on display, and with the art itself. It is an excellent opportunity to network with artists, hang out with friends, or make out with strangers. The theatre will be transformed into a series of intimate spaces that have interactive activities, art and are great for lounging. Guaranteed to be a fun, sexy, and kind of grungy event, performances will flow in and out of each other throughout the night. We're not looking for any specific themes, but will create a journey throughout the evening with the work presented. Alcohol, food, and beverages will be sold. There's also a raffle with great prizes!

Proposals must include:

• Contact information, including e-mail.
• 1-2 page artist statement, including description of piece or pieces to be considered.
• Resume of artist or artists.
• Any additional materials that showcase or explain your work (photos, cds, dvds, writing samples, reviews etc). Unfortunately these materials cannot be returned- Please do not submit originals.
• Technical/Space requirements for displaying or performing your piece or pieces.

Submissions:

Please submit materials via e-mail to info@redtapetheatre.com.

Hard copies can be mailed to:

Red Tape Theatre
c/o St. Peter's Episcopal Church
621 W. Belmont
Chicago, Il 60657

Please submit written documents in triplicate.

Accepted artists will be notified via e-mail by December 20th. A follow up meeting will be held in the space with all artists and production staff.

Contact Myah Shein at info@redtapetheatre.com with questions.

Cat in a Manger

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!

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:

• 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!

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!