Opening Night Artwork

Happy Opening to Les Enfants Terribles and the entire cast and crew of Prom Night!

Paul G. Miller

Managing Director

Red Tape Theatre Company

A Lady Never Tells

I think it is important to realize that at one point in time, I used to be a man.

When I first started with Les Enfants, I was just as much a man as the rest of them. Of course, back then, we also had an actual woman in the group. After she left, it seemed almost necessary to have a woman because it opened up so much more to us both thematically and plot wise. When the idea was proposed that one of us should switch and be a woman, I was hesitant. Not only would I be changing my character that I had developed and worked on, but I’d be…well, changing my sex. Both of these issues I quickly resolved within myself and jumped on the opportunity (to have boobs.) It has been one of the more interesting characters that I have ever had to work on because the work is so emotionally open. And being a lady with five other buffoons is emotional work. However, I would not have it any other way. I have truly fallen in love with the character and the work that it has allowed me to do.

In my opinion, one of the most difficult aspects of this work is definitely building a strong ensemble. This is by far the most ensemble heavy work that I have ever done. You have to move together, look together, laugh together, spit together, think together, and feel together. It is essentially taking six guys in nude leotards and molding them into one giant clump of buffoon. The ensemble work is no doubt hard, but it truly completes the work.

Les Enfants is nothing without the support of a great audience. So please, grab a date, get something to wear, and come to prom with us.

Casey Kells

Les Enfants Terribles

Believe in Nothing, Mock Everything

July 16-August 14 at Red Tape Theatre

False Phallus

I'm the one with the big. . .thing.


Easy to identify, difficult to ignore and one of the oldest comedic prosthetics. But none of this came into the decision behind my buffoon's most prominent "lump." When the ensemble first began to work in this style of clowning, we were asked to draw where we initially thought our "lumps" would go. They are areas that resonate with sensitivity and insecurity, which the world scrutinizes. For one reason or another, I was personally drawn to symmetry, feeling that each place of vulnerability had a double on the other side. My lumps are the calves, genitals, hips, shoulders and ears. Though the false exaggeration of these areas physically offers protection, they are highlighted emotionally.


The emotional openness of this type of performance is easily the most difficult aspect. If we're doing it right, it's about completely dropping our defenses and letting everything in. It's a type of psychological state that is litterally unhealthy to live in day-to-day, as some semblance of emotional protection is simply necessary in the real world. But for the clown (or buffoon), we get the opportunity to create our own world where we can be absolutely vulnerable. While exhausting, the work is so rewarding and ultimately much more interesting to the audience to be invited into this world. Never before has the ensemble experienced the emotional stress that a full run of a show demands but I think I can speak for the group when I say we are all looking forward to it as a challenge.


The most integral part of this project is you. It will not exist without the support of new and veteran audience members alike. So get on rown paper tickets, choose a date, pick out your outfit and we'll see you at the show.

Scott Ray Merchant
Les Enfants Terribles
Believe in Nothing, Mock Everything
July 14-August 14 at Red Tape Theatre

Behind the Bouffant

The modern clown is an ever growing influence on the Chicago theatre scene. Its influences affect actors, directors, and the final artistic product. And why shouldn’t it? The clown loves the audience and has an insatiable appetite for play that is infectious with spectators of all ages. The clowning tradition that Les Enfants Terribles follows takes a different approach. The buffoon disgusts the audience and its world of play emerges from an insatiable appetite to mock.

The buffoon is best recognized by his lumps and deformities that make him a parodied version of a human being. He is ostracized for his appearance and is fed with bitterness and relentlessness. These deformities may not to be admired, but they are the buffoon’s license to tell the truth - or at least his version of the truth. An ensemble of bouffant believe that they live in an ideal society. Their inner workings and relationships are to be highly respected. Coming from their model world, buffoons have observed our behaviors, they have seen our way of life, and they are noticing some glaring flaws. They recognize the absurdity of our belief in love, social norms, and a number of other pressing subjects that we refuse to diagnose objectively.

The buffoon acts as an agent of change by very simply presenting our world to us. Our behaviors are performed with comic antics that might be considered below skill, or wit, or competence of any kind. The jokes are those of a low jester, but the buffoon is to be admired for his cleverness and innate intelligence. Audiences slowly begin to approve of the buffoon and eventually learn to respect him and even begin to accept his appalling actions and appearance.

The bouffant tradition is centuries old and yet still resonates with audiences today. Its past is storied, its future is bright, and that is why we have chosen to be active members in paving the bouffant’s future. Won’t you join us?

Alex Kyger

Les Enfants Terribles
Believe in Nothing, Mock Everything

July 14-August 14 at Red Tape Theatre

Red Tapes Welcomes Four New Ensemble Members!

We're thrilled to announce Red Tape's newest ensemble members!

Carrie Drapac joined Red Tape Theatre after her involvement in their 2010 production of The Love of the Nightingale. She holds a B.F.A in Theatre from NYU's Tisch School of the Arts, having focused on musical theatre in the CAP21 program and film acting at Stonestreet Studios. She has had the pleasure of working on a wide variety of projects ranging from devised theatre to feature length horror films. Carrie's favorite projects include a musical adaptation of the novel Hotel Sarajevo, silent short films about the Iraq War (Red, White and Blue) and metamorphosis (Tropism), and 1940's musical fluff Gentlemen Prefer Blondes. Carrie is a personal trainer and co-founder/owner of Comfy Fitness. Currently, Carrie and her business partner are producing a kids' fitness television pilot.

Amanda Reader's first production with Red Tape Theatre was The Love of the Nightingale, in the spring of 2010, after which, she joined the ensemble. In Chicago, she was seen onstage in The Blessed Child, as part of Halcyon Theatre's Alcyone Festival and Sex Marks the Spot at the Theatre Building. She also performed in North Carolina Shakespeare Festival's productions of King Lear and Much Ado About Nothing (Ursula), and will be in Michigan Shakespeare Festival's Comedy of Errors (Luciana) and Romeo & Juliet (Juliet) during the summer of 2010. She has studied with Profiles Theatre, and also stage managed their production of The Mercy Seat. Amanda holds a BFA in Acting Performance from the University of Illinois at Urbana-Champaign.

Meghan Reardon is a performer from Topeka, KS and is extremely proud to call herself a Red Tape Company member. She graduated in 2008 with a BA in Theatre and Dance from Knox College, where she received the Colton Prize for Performance and The Karger Award in Theatre Arts. In Chicago, she has performed in The Love of the Nightingale with Red Tape, Dumbspeak in the (a)Symmetry Cycle, SubUrbia with the Nine Chicago, Spectacle Lunatique with Redmoon (where she also served as a performance intern), The Prime of Miss Jean Brodie with Signal Ensemble, The Conduct of Life with Tooth and Nail Ensemble, A Hampstead Hooligan in King Arthur's Court with Chicago Dell'arte, Dracula and as part of the Objects in Motion festival at The Building Stage, and Frugal Love with The Moving Dock. She has studied at the Gaiety School of Acting in Dublin, Ireland and has studied with the SITI Company and The Actor's Gymnasium. She holds a particular place in her heart for movement and ensemble-based performance. Meghan was the recipient of a 2009 CAAP Individual Artist Grant.

Kathleen Romond performed in Red Tape's 2010 production of The Love of The Nightingale. Other Chicago credits include; Blind Date and Talking Pictures as a part of The Horton Foote Festival at The Goodman Theatre. Regional Credits include; The Cherry Orchard and The Government Inspector at Milwaukee Repertory Theater. Kathleen was born and raised in Kentucky. She graduated from Interlochen Arts Academy High School in Michigan before hopping across the pond to Glasgow, Scotland where she received her BFA in Acting from The Royal Scottish Academy of Music and Drama. This winter Kathleen will be understudying Honey in Who's Afraid of Virginia Woolf? at Steppenwolf Theatre.

Ensemble Summer Projects

As Red Tape finalizes our 2010-2011 season our ensemble members are working on summer projects.

Nick Combs performs in Sketchbook with Collaboraction. June 10-27.

Red Tape trustee Eric Evenskaas performs improv with The Hamiltons at the Oracle Theatre. Thru June 18.

Errol McLendon performs in Point Break Live! at New Rock Theatre. Thru June 26.

Robert Oakes performs in After the Fall with Eclipse Theatre. July 7 to Aug 22.

More news to come!

Meet the Cast: Whitney Kraus

Where are you from?

Indianapolis, IN

What do you do when you're not performing?

Working at the Museum of Science and Industry, playing guitar/piano

What is your favorite moment in The Love of the Nightingale?

Procne's ultimate moment of standing up to Tereus. There's such power in it, especially in Kate's choices for the scene. It's heart rending, but it's the moment we sit waiting for the entire show. It's cathartic.

Any standout rehearsal moments?

The entire process has been awesome. This is a very different experience from many shows I've done in the past, and the real thought and passion that have gone into this production is inspiring. I'm exceedingly grateful to have the opportunity to play "fly on the wall" at rehearsals and really learn from such a talented group.

Final performances of The Love of the Nightingale are May 27-29.

Get your tickets through our website.

The Story of Pandion: Meet John Rushing

Where are you from?

Corsicana, TX

What do you do when you're not performing?

Take care of my son, Jackson.

What is your favorite moment in The Love of the Nightingale?

Love when I dance with Niobe.

What's a fun fact about your character?

My character was a former ballroom dancer...kidding...he was a sailor and Olympic champ in the javilon.

Any standout rehearsal moments?

Favorite rehearsal moment, so far, was dancing in negative space.

Final performances of The Love of the Nightingale are May 27-29.

Get your tickets through our website.

The Story of Phaedra: Meet Amanda Reader

Where are you from?

Oswego, IL

What do you do when you're not performing?

I work at Trader Joe's. The one on Clybourn. Come visit, I'll show you where the olive oil is and let you try the sea salt brownies. Also, I recently acquired a mandolin...and I've been practicing. I know four chords, so... Look. Out. World.

What is your favorite moment in The Love of the Nightingale?

I don't want to spoil anything, but there is this tongue bit that i'm sure will end up being my favorite. On the other hand, there is the Bacchae festival. Which is, you might say, 'fun' as well.

Any standout rehearsal moments?

1. John's impeccably timed DROID phone call.

2. Carrie's impression of John's Bacchae dance.

3. Basically everything that comes out of James Palmer's mouth during notes. None of which I can type here.

4. Don Markus.

What's a fun fact about your character?

Phaedra simply refuses to let Love get the better of her.....wait.....right? Well, maybe not.

Final performances of The Love of the Nightingale are May 27-29.

Get your tickets through our website.

Myths on Stage: Unwanted Truths

"What is a myth? The oblique image of an unwanted truth, reverberating through time. And yet, the first, the Greek meaning of myth, is simply what is delivered by word of mouth, a myth is speech, public speech."
~ Timberlake Wertenbaker, The Love of the Nightingale

Red Tape Theatre held our Myths on Stage panel on May 16, 2010. Chicago artists who'd recently directed, dramaturged or adapted fresh adaptations of Greek myths shared their experience.

Gender politics were a common theme. Marti Lyons, dramaturge for The Love of the Nightingale, asked the audience to consider why some stories stay in our culture while others fade. Sociologists have suggested that destructive women like Medea, Electra and Phaedra are given more stage time today than victims of injustice like Iphigenia or Philomele. Timberlake Wertenbaker's script for Nightingale brings the sexual politics of the Philomele myth to the forefront as she and the women’s chorus repeatedly reject the men’s attempts to turn them into objects.

In a contrasting case Tim Speicher, Artistic Director of The State Theatre, combined the well remembered story of the martyr Antigone with the lesser known story of the fallen warrior Ajax. The stories were linked with the theme of burying the dead and what one does with the bodies of the disgraced. Dramaturge Sarah Sapperstein played the role of the Chorus in AjaxAntigone (pictured) as a single entity. In a time when Greek women were silent the Chorus was given the power to debate and challenge the political figures on stage.

The motive for retelling the myth was different for each panelist. For Thomas Murray's production of Living Quarters: After Hippolytus the myth was a gateway into a personal story of recovery from grief. For Cory Tamler the story of Iphigenia offered a lens onto a "What If" scenario" for contemporary US politics. For Tim Speicher there were universal truths to explore: "When audiences see characters who try to accomplish something they attach to them."

"But we cannot rephrase it for you. If we could, why would we trouble to show you the myth?"
~ Timberlake Wertenbaker, The Love of the Nightingale

The Love of the Nightingale is Jeff Recommended and runs through May 29.
Get your tickets through our website!