By ROBERT TRUSSELL
The Kansas City Star

Every show has its fans, but how many productions are attended by the same theatergoer at every single performance?

The answer is none — unless you happen to be talking about “Game Show.”

The comedy set against the backdrop of a TV quiz show is at the New Theatre. It opened Nov. 10, and will wrap up with two performances today.

Kate Brown and Jim Korinke in "Game Show" (New Theatre)

And, as she has for the last two and half months, a young woman known to theatergoers as “Tina Williams from Raytown” will take her seat at a small table, go through the buffet line, chat with members of the audience nearby, interact with the waitstaff and try her best to blend in with the crowd. Until, that is, it’s time for her stop blending.

“Game Show,” you see, is an audience-participation show. Some of the audience participants are very real. They bought tickets to the show with a vague awareness that they might be called onstage to take part in four rounds of games.

But Tina Williams is actually an improv actress from Chicago named Kate Brown. And she’s so good at seeming like a “normal” person that most people in the audience are fooled until late in the show.

“Because I have to be part of the audience, I’m really just playing myself,” Brown said. “If I look nervous, it’s because I allow myself to be nervous.”

Brown is one of two Chicago actors in the production. The other is Peter DeFaria, also an improv performer, who plays a camera operator. The trick, Brown said, is to seem like a convincingly reluctant participant. “Tina” is initially selected to help the fictional TV show’s star Troy Richards (played by Charles Shaugnessy) read the introductions early in the show. Then she returns to her seat.

But later in Act I, Troy Richards tells his production manager how attractive he thinks Tina Williams of Raytown is and asks him to get her phone number. Then, in Act 2, Troy descends to the audience again and enlists Tina to help him ask questions. Eventually she’s lured back to the stage where she becomes increasingly involved in the plot.

Just how reluctant Tina is, Brown said, reflects the audience at each performance.

“When I’m in the audience I try to gauge my level of willing participation based on the audience energy,” she said. “If they’re kind of wild and crazy, and have a couple of drinks and clap and cheer, you get a sharper, funnier — but still nervous — version of Tina.”

Parts of the show are tightly scripted but other scenes are very loose because much of what happens will be determined by audience reactions. When director Richard Carrothers decided Tina should live in Raytown, it didn’t take long for Brown to understand that the venerable suburban community just east of Kansas City and south of Independence has long been the brunt of jokes for its perceived backwardness.

“I intended to do some serious actor research about Raytown but as (the show) started rolling people just told me about it,” she said. “So I looked at the geography of Raytown so I would know where things were and I picked a place where I lived and I made up a place to work.”

Her backstory involved Tina moving to Raytown from southeast Iowa — where Brown is from — and having English teachers for parents, which she does.

“That stuff is all real because it’s my real life,” she said. “I have to be a real person, and it’s easier to be a real person if most of the stuff coming out of your mouth is true.”

Brown is always seated at a single table but there are plenty of real customers on all sides for her to chat with. Some are suspicious and demand to know from very early on if she’s really part of the show. But most just swallow her performance hook, line and sinker.

And, yes, Brown always eats dinner — sometimes twice a day.

“I kind of do,” she said. “I feel like it wouldn’t be real if I sat there and didn’t eat. It would be pretty suspicious. The food is absolutely delicious and the first week I was like, ‘This is great!’ But then I gained four pounds. So now I just eat vegetables most of the time. And I always eat the salads.”

To make the performance work she has to walk a fine line, she said.

“The way I know how to explain it is I react honestly to everything that happens to me,” she said. “I react as honestly as possible. If an actor gets too close to me, I back up. If the cameras come on, I notice it. You acknowledge that kind of thing. You acknowledge the lights are very bright. Another trick is to say as little as possible because actors try to be funny and real people just try not to embarrass themselves.”

Read more theater news at kansascity.com.

© 2012 Kansas City Star and wire service sources. All Rights Reserved.

I’m Andrew. Thanks to an untimely computer crash, this is now my second attempt at writing this. Moral of the story: Save. And save often. If you want to know more about me, feel free to peruse the aptly named “About Me” section. The subject of this here post (my first. yay!) is the often controversial Photoshop.

But before we dive right into that, I have to offer up something of a disclaimer. In both the recording engineering and photography worlds, I am a big proponent of analog technology and of keeping things as “organic” as possible. Many of my favorite records (and indeed, the sounds that I try to emulate) are from the tape era. Most of the photographers that I idolize lived in an era where film was the only way to work. I used to be able to say that I was one of the rare anachronistic yoots (my first of many Joe Pesci references. Gotta love Joey The Fish) that still listened to vinyl records, but that is something that seems to be quite in vogue today. But I can guarantee you that no other 22 year-olds are out there buying Lou Monte records. When recording bands, I can often be found tracking to analog tape (Everywhere from 1/8″ 2-track 7.5 IPS all the way up to 2″ 24-track 30 IPS and everywhere in between). When I’m shooting photos, I perfer to shoot with film cameras. In both instances, I employ something of the same method (one of the many parallels I find between the two mediums). Typically, I track (shoot) to tape (film) and then I transfer the product to the digital realm for post-production. I am a fan of this method of operation because it enables the final product to retain that certain, unique aesthethic quality that digital is simply unable to properly replicate. But at the same time, it allows me all the flexibility that a digital system has to offer.

But enough words for now, let’s look at some pictures.

Photography By Andrew Sherer

This is a photo that I took a little while back of the Chicago Theater. It is rather unique because this photo is 100% organic. There isn’t any post-production cropping, color correcting, or other forms of manipulation present here. What you are seeing today is exactly what the film saw when I took the photo.

Now the aforementioned image is quite a rare example. Most photos are manipulated somewhat. My philosophy is to keep that manipulation as minimal as humanly possible and to retain (and enhance) as much of the feel as possible. In the following example, the top image is straight off the film (unedited), while the bottom image is after Lightroom-ing

(Unedited) Tiriolo, Calabria, Italy. Photograph by Andrew Sherer

Tiriolo, Calabria, Italy. Photograph by Andrew Sherer

As you can see (and this is really the core of my philosophy), all the pertinent information is contained within the original negative. Everything is as organic as possible. The only things that were done in post production were relatively minor color corrections. No darkroom trickery here. (Now if only I could photoshop out those windmills!)

As you can also see, this photo is not cropped at all. I really prefer not to crop if given the choice, but sometimes it is a necessary evil.  Making an 8×10 print is the bane of my existence! If you look at the work of Henri Cartier-Bresson, his blatant hatred of cropping is quite apparent. Note the black border around the following picture, which is actually a tiny bit of film intentionally left around the image to prove that it was not cropped.

Photograph by Henri Cartier-Bresson

It is not my intent to erroneously imply that all film photographers did not edit their work. Or that all digital photography is merely Photoshop wizardry. Indeed, my hero, W. Eugene Smith was known for (among other things) his feverish, dedicated work during his marathon dark room sessions. Smith was said to have spent 5 consecutive days and nights working on the following image (no doubt aided greatly by Benzadrine and Dexadrine)

Albert Schweitzer in Lambarene. Photograph by W. Eugene Smith

Looking at the photo, it makes sense. The unbelivably brooding darks (which were Smith’s hallmark) could never be that naturally dark, considering the bright lamp is so near. Of course, if Smith would of had Photoshop, those 5 days probably could have been reduced to a matter of hours!

It is also not my intent to say that I am against Photoshop and all that it stands for. There’s just something about the digital world that can leave me feeling cold. I am also leery about the overwhelming firepower that is so easily accessible now. It seems to have created a culture where we think that any image, indeed any thing, is possible and within reach of our fingertips. This, in and of itself, is not a bad thing. When used in the wrong (read: inexperienced) hands, the results can be disheartening. There’s also this aspect of aesthetic quality that I am convinced digital will never be able to replicate. Compare, for argument’s sake, the following two photographs that I took outside of Napoli:

Painfully digital. Photograph by Andrew Sherer

This is a nice photo, but it just feels so digital to me. The image feels unnatural, and there is a very fake look to the contrast.

Analog, baby! Photograph by Andrew Sherer

Now here’s a photo that simply could not have been taken with a digital camera. There’s just something about it that is uniquely film. Both of these two photos were taken from practically the same spot, only seconds apart, but the feel of each is completely different.

I am aware that the vast majority of the post hasn’t actually been about Photoshop at all. Indeed, it is about something of the opposite.  But without the light, what would darkness be? These semi-coherent ramblings have been about my attempts to preserve what some would consider antiquated techniques and ways of doing things into today’s digital world.

Until next time,

Andrew Sherer. January 9, 2012.

It appears these folks are more inclined to donate large amounts to these endeavors but not to a commercial project. even though we do have one of the very top theatre directors (Rick Snyder) joined with one of the up and coming, visionary cinematographers (Giulio Pietromarchi).

It’s kinda like a whole Orson Welles thing all over again…..Go figure.

I’ve completed over 12 marathons.

I’ll get there.

ADVANCE TICKETS: $17

DOOR PRICE NIGHT OF SHOW: @22

TICKET LINK: http://boxoffice.printtixusa.com/stage773/eventcalendar?v=0&i=0&g=0&g2=0&m=2&y=2012

Facebook Event Invite: https://www.facebook.com/events/236711589734193/

If walls could talk

What random whisps of wistful words have wafted  through here, adhering to  the      watchful walls. Stories without end, without conclusion, except the majority of those set upon the creaking stage. Refurbished and renewed, yet remaining still  a part of times long past, where countless thousands have entered with great expectation and left, at times, with great disappointment, but always with a learned experience of the art of illusion, an escape from the reality of the world into a realm of pretense.  Not so terribly different, though, from the false selves still to be encountered day-to-day.

What is it about the 1983 movie, A Christmas Story, that captures our hearts? I know whenever I turn on TBS and see it playing, I can only help but nostalgically linger on the channel and watch some of my favorite scenes play out: “Who’s mommy’s little piggie?” “You’ll shoot your eye out, kid!” “Fra-gee-lay!” “A plus, plus, plus, plus!” “Ohhhh fffffuuuudddggge…”

In fact, my father loves the movie so much, we actually bought him a scaled down replica of the infamous leg lamp several years ago, which he proudly displays in our bay window each Christmas.

And at last night’s press opening of A Christmas Story: The Musical!, it’s clear that this movie has a following. The packed Chicago Theatre — a cave of a venue that’s hardly the ideal spot for a charming musical such as this — was buzzing with anticipation as we waited to see how our favorite holiday film would be translated to the stage.

As a self-professed musical theatre snob, I have to say, the creators have done a fine job. Benj Pasek and Justin Paul (music and lyrics, respectively) have penned a tuneful, smart score that echoes shades of William Finn. But most importantly, the music adds something to the story — they find clever and unexpected moments for songs to not only fit, but to elevate the action. For example, when Mr. Parker (aka “the old man,” played by the inexhaustible John Bolton) gets his coveted leg lamp, he launches into a full-out showstopper, “Major Award,” complete with leg lamp kick line. And with 16 players in the pit playing Larry Blank’s orchestrations, the score simply sparkles.

There are also a few tender scenes, mostly delivered by Rachel Bay Jones as Mrs. Parker as she sings about the small miracles of motherhood. Unfortunately, these quiet, rare moments nearly get gobbled up in the ginormous and echo-y Chicago Theatre.

Book writer Joseph Robinette has the most difficult task of adapting the movie for the stage, and for the most part, he succeeds. Robinette gives the show some movement by making the wry narrator — the grown up Ralphie — an actual character in the show (played by beloved Chicago actor Gene Weygandt) who relays his story to us from the side of the stage, and also gets into the mix by playing minor roles such as the delivery man for the leg lamp. Clever. I do think the show, running around 2.5 hours long, could use some trimming — the second act tends to drag.

But what good is A Christmas Story if we don’t feel connected to the main crisis of the story — Ralphie’s monomaniacal desire for an Official Red Ryder Carbine-Action Two-Hundred-Shot Range Model Air Rifle! And, in the lead role, Clarke Hallum, a fine young actor with an exceptionally clear and strong singing voice, gets us rooting for Ralphie.

And in a showy featured role, Broadway veteran Karen Mason gets the opportunity to belt her face off as Ralphie’s teacher as she warns him, in song, “You’ll shoot your eye out!”

Production values are fine, even if it seems like the show is trying too hard to fill the vast Chicago Theatre stage. I can’t wait for this musical to make its way to Chicago’s regional theatres in the coming years — Marriott Theatre’s in-the-round space would be an ideal fit.

“A Christmas Story: The Musical” plays through December 30 at the Chicago Theater. More info here >

Two things I did not like: 1) The saucy Jack character was not saucy or funny; 2) Box office said that seating starts 30 minutes before show time, however the night I attended seating started 5 minutes before show time. I did talk to a family from Elk Grove while waiting and cheered when three of them were randomly picked to participate in the show.

The Game Show Show…and Stuff will return in January after their holiday break. Game Show Show website

Where: Mercury Theater, 3745 N. Southport Ave., Chicago, IL 60613

But Baron Gunther von Youtuber hadn’t invented his social video network yet, and I got distracted waiting around (probably by my fancypants new MP3 player) and gave up on the idea.

With a new record “Ghost Town” coming out (now out, buy it here), Chicago’s Owen, aka Mike Kinsella, had the idea (or has a really sharp friend who had the idea) of making a video of himself playing all twelve songs live and solo at different spots in the city. While the songs are terrific, the videos have mixed results, but the best of them are great—rough, dignified, and sometimes adorable, pieces that promote the city itself as much as the music.

Here’s my favorite. They surely planned the lights going out, but not the interruption by the two dudes. “Hey man, you gotta band?” “Um…no, just this.”

Cast of Arizona Theatre Company production of God of Carnage by Yasmina Reza

There’s a point in the play “God of Carnage” where things take a decided turn, but making it that far into the Arizona Theatre Company production, which I saw on opening night, took some doing. I found myself thinking, “I can’t take any more of these plays about people whining on pristine sofas.”

Soon slurs, swearing and something best left unnamed before the uninitiated start spewing forth — and the story develops at a quickening pace. Still, theater afficianonado Alan Handelsman, who was part of the first class of ASU Gammage Goer reviewers, felt “there was something missing” in the opening night performance.

Handelsman and his wife Anita saw the play a couple of years ago in New York City, and he’s got a clear preference for the NYC version’s vibe – feeling it had more “energy, commitment, rhythm, flow, surprise, pacing, abandon, arc and continuity.” Even simple prop choices, he recalls, gave the NYC production “a much greater sense of impending danger.”

Clockwise: Joey Parsons, Bob Sorenson, Amy Resnick and Benjamin Evett in the ATC production of God of Carnage

The Arizona Theatre Company production was good, says Handelsman, but not great. Despite being surrounded at the Herberger Theater Center by people laughing loud and proud, I’m afraid I have to concur. “God of Carnage” felt a bit of a letdown — perhaps because I went into it expecting so much. “God of Carnage” won the 2009 Tony Award for best play.

Other people whose opinions I respect felt differently. I saw Frances Smith Cohen, artistic director for Center Dance Ensemble, and her daughter Rachel Cohen in the theater foyer after the show, and both praised its artistry. Rachel loved “the writing and directing” and Frances “the contrast in characters.” My own theater baby Lizabeth, who has studied dance with both, would likely take their side.

We talked via “Skype” after I got home from the theater Saturday night, and Lizabeth was shocked when I shared my tepid response to the show. She saw “God of Carnage” in Chicago last year while touring colleges with my husband James. Both remember it being fabulously funny.

Lizabeth described it as “well written and well acted” — and shared that she loved watching the different characters evolve during the course of the story. Seems she was amused by just how “quickly the adults became the children.”

“God of Carnage” centers on two couples’ attempts at a civilized conversation after their sons spar on a playground. “You just don’t expect it to go as far as it does,” reflects Lizabeth. “I don’t think I’ve ever seen dad laugh that much,” she recalls. “He totally let loose.”

“Maybe.” she says, “it was his way of letting off steam after all the things that happened when we were little.” Seems she’s observed that the things we sometimes took too much to heart as young parents now fall into more perspective. “You used to take it all so seriously,” she told me. “You guys have learned to let go since then.”

The journey from kindergarden to college does effect profound changes. But the parents in “God of Carnage” have survived only grade school, and the perils of middle school are proving a bit more daunting. After meeting to discuss one boy’s use of a stick and another’s missing teeth, they demonstrate that words are perhaps the worst weapons of all.

The parents who seem so perfectly civilized to begin with soon dissolve into shreiking narcissism and nihilism, something that feels more believable once alcohol enters the picture. I hate to think any of us could trade “nice” for “Neanderthal” so quickly in its absence.

Handelsman, a highly-trained hypnotherapist, says the play reveals “how many different layers humans live in” — showing “the difference between the person we show, and the person we are, and the person we may be afraid we are.” Confronted with the final image in this production, we realize that humans haven’t evolved nearly as far as they imagine.

– Lynn

Note: This original production, directed by Rick Lombardo, is a co-production of Arizona Theatre Company and San Jose Repertory Theatre (which performs it next spring). Yasmina Reza has teamed with Roman Polanski to write the screenplay for a movie titled “Carnage,” directed by Polanski and scheduled for mid-December release. It stars Jodie Foster, Kate Winslet, Christoph Waltz and John C. Reilly. Click here to learn about another opportunity to see the play performed live. Please note that “God of Carnage” contains “mature content.”

Coming up: Advice for young filmmakers, Handelsman shares his “Wicked” ways, Holiday shopping “arts and culture” style, The fine “Art” of Yasmina Reza

Photos: Tim Fuller for Arizona Theatre Company

Strawdog Theatre Company, a renowned theater in Lakeview, Chicago, and Harrington College of Design are pleased to announce a multi-year design partnership. Beginning this season Strawdog Theatre Company and Harrington College of Design’s Communication Design department will research and create the visual design for each of Strawdog’s productions and overall season. This partnership allows students to work on real-life projects while Strawdog receives new and fresh creative ideas.

The partnership began with the visual look and feel for Strawdog’s current season, for which 2011 Harrington graduate Rachel Lithgow designed three plays and marketing materials. “A cornerstone of Strawdog’s mission is an immersive design approach to theatre. With this partnership we are able to stay true to the mission and expand on our definition of design. We are pleased to be working with these Chicago-based design school students and allow them the chance to see their designs utilized within Chicago’s vibrant theater scene,” said Brandon Bruce, Strawdog’s artistic director.

Harrington’s Communication Design department is entering its fifth year and has recently launched a master’s degree program. Since its founding, the Communication Design department has worked with not-for-profits as clients as part of the curriculum. “We are excited about this multi-year partnership and to support one of Chicago’s great storefront theaters,” says Brad Kisner, department chair of Communication Design at Harrington. “This gives our students not only the opportunity to assist a local theater company, but to see their designs actually produced,” he continued.

Examples of Harrington’s work with Strawdog are visible in the Strawdog Theatre lobby, 3829 N. Broadway, or online at strawdog.org.

ABOUT HARRINGTON COLLEGE OF DESIGN:
Harrington College of Design (HCD), an institution of higher learning, is committed to creating the next generation of design professionals to lead and serve the global community. HCD has been a member of Chicago’s design and higher education communities since 1931 and seeks to foster an environment that maximizes students’ intellectual and artistic potential.

HCD offers associate’s degrees in interior design and digital photography; bachelor’s degrees in interior design, commercial photography and graphic design; and master’s degrees in interior design and communication design. The school is accredited by the Higher Learning Commission and a member of the North Central Association of Colleges and Schools. For more information on Harrington College of Design, call 312.939.4975 or visit http://www.harringtoncollege.com/. HCD is always looking for non-profits to partner with: for more information, please contact Brad Kisner at bkisner@harringtoncollege.com.

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ABOUT STRAWDOG THEATRE COMPANY:
Strawdog Theatre Company is committed to ensemble acting and an immersive design approach, offering Chicago the premiere storefront theatre experience. The Company develops new work, re-imagines classic plays, explores new fusions of music and theatre, asks provocative questions, and delivers their audience the unexpected. Founded in 1988, the Strawdog ensemble has consistently produced shows built on authentic human connections, and the comfortable 70-seat theater in Lakeview is perfect for offering their audience a quintessential Chicago storefront theatre experience.

Strawdog is a proud member of the North Halsted Area Merchant Association, The Theatre Communications Group and the League of Chicago Theatres. Strawdog Theatre Company is supported in part by The Richard H. Driehaus Foundation, the Gaylord and Dorothy Donnelley Foundation, the Alphawood Foundation, Chicago Department of Cultural Affairs, the Illinois Arts Council (a state agency), Chase Community Giving Grant and the annual support of businesses and individuals. 

A few highlights for me were: Chris Jones interview of Holland Taylor because I’m planning on seeing her solo show of Ann Richards during the last two weeks of Chicago.  “Ann: An Affectionate Portrait of Ann Richards is a play in two acts that sprang from the desire to understand and reveal the essence of Ann Richards, the second female governor of Texas and a strong, independent, iconic Texan.”

Hearing Kevin Coval recite a poem from his recent book.  I became aware of Kevin accidentally when I found cover under a tent from a thunderstorm while attending the Printers Row Book Fair.  Kevin was reciting some poetry and discussing Louder Than a Bomb: The Chicago Teen Poetry Festival.  There is an award-winning documentary about the festival I have to see.  A link to his website is here.

Also, watching Greg Kot interview the sister and brother band “White Mystery”.  This summer I accidentally saw them performing at the Pritzker Pavillion before they went on tour.

Pritzker Pavillion 2011

Pritzker Pavillion 2011

Chicago Live!, a weekly stage and radio show produced by the Chicago Tribune, featuring The Second City. Chicago Live! features guests from the worlds of arts, entertainment, sports and popular culture. Each hour-long Chicago Live! is taped as a WGN Radio show to be aired Saturday evenings.  Host Rick Kogan, Chicago native, has worked for the Chicago Daily News, Chicago Sun-Times and the Chicago Tribune.
He was inducted into the Chicago Journalism Hall of Fame in 2003, an Emmy
Award-winning contributor for WFLD-TV; and the author of a dozen books.

To hear the podcast and to get more info click Chicago Live! website.

-Production of a Play—Large
-Actor in a Principal Role—Play (Tracy Letts)
-Scenic Design—Large (Todd Rosenthal)

Through this, the Jeff Awards continued to confirm the irrelevance of the award to Chicago theater by not recognizing the outstanding production or Tracy Letts’s magnificent performance as George. There are not enough words to do justice describing his performance, so I’ll just say that you must see the production when it opens on Broadway next year. This is a production that I still talk about with my mother because of how wonderful it was.

Now I need to watch this video to cheer up. (Language NSFW)

Case Bishop takes center stage

A slender, wide-eyed young man springs onto the stage of the Park West Theater in Chicago and spirals into a double-pirouette pencil turn.  Painted white from head-to-toe, his dancing frame resembles that of a flower petal swirled up by a breeze. But Case Bishop, is in fact a Greek Statue and prompted by a musical cue, he transitions to a rhythmic staccato routine demonstrating great physical strength and attentiveness to his precise pantomimes.  Suddenly he freezes and reaches for a curtain which he quickly peels away revealing a naked Mona Lisa. In a flutter, the 24 year-old actor collapses sharply to the stage floor where he is veiled in a curtain of black lace. 

Bishop’s contributing role in this year’s Chicago Takes Off performance is one of many times in which he dedicates his artistic talent to benefit various causes, including HIV/AIDS.  Alongside fellow performers from groups such as Hubbard Street Dance, The Joffrey Ballet, and Giordano Jazz Dance, Bishop played the role of one of three Greek Statues who partook in an exposition of the Mona Lisa at the Louvre. The French burlesque-themed show, which runs every March, donates most of its proceeds to charity.  “I was the guy who unveiled the naked Mona,” says Bishop, “It definitely got quite a reaction.”

The small-town, Southern Baptist boy’s big presence on stage comes from rather unsuspecting roots and a theater scene with far less fanfare.  A six hour drive South of Chicago, Bishop’s hometown of Harrisburg, Illinois offered him little in the way of performing arts, but he seized every opportunity that came his way.  “When I was 5 years old, I started to play piano and would perform on my neighbor’s baby grand at dinner parties,” says Bishop.  “I knew from a very young age that I wanted to be a performer.” 

Bishop’s mother enrolled him in dance and music classes as a child, but it wasn’t until he was given the part of Sky Masterson in his high school’s rendition of Guys and Dolls that Bishop had his first taste of the limelight.  “Unfortunately, I had to kiss a girl named Angie Morris,” laments Bishop, “but it was worth it to have that part in the play.”  After an overwhelmingly positive theater experience in his high school, Bishop decided to pursue performing arts in college.

At Northwestern University, Bishop was finally able to explore a thriving arts community where he received his degree in musical theater before moving to New York with a flock of fellow artists.  After months of auditions and hundreds of casting calls, Bishop was disheartened by his lack of success in the Big Apple.  “I guess I felt like a small fish in a big pond,” says Bishop, “…  I don’t think I was pretty enough for New York.”  So six months later, he returned to Chicago and secured a job with Apple’s Genius Bar, focusing in HR and teaching workshops.  When it seemed his acting career had reached a dead-end, Bishop’s persistence and big heart landed him parts in shows at theaters like the Park West.

Through his participation in local theater, Bishop is continuing to making achievements for himself as a performer, but is now focusing his greatest effort on pursuing his art as a means of giving back.  Working closely with Chicago Takes Off coproducer Todd Kiech on several projects, Bishop’s most recent performance benefitted the Test Positive Aware Network.  Though he is unsure what the future holds, he does have some lasting, strong convictions:  “No matter what I do, I give it my all, and I find my best work comes from the heart,” he says smiling.

An early rendering of "The Sun Serpent" set design

For two years, a unique collaboration of Valley artists and arts organizations have worked together to bring “The Sun Serpent” by José Cruz González to Valley  audiences. It’s being performed through Nov. 13 by Childsplay, a Tempe-based theater company specializing in works for young audiences and families.

“The Sun Serpent” is an adventure tale on a grand scale. It depicts the collision of worlds old and new as a boy struggles to save his family and preserve the memory of his Aztec culture, bringing the conquest of Mexico to life through captivating media, masks, music and more.

Entering the studio theater at Tempe Center for the Arts Saturday evening, I felt transported to another world. Lush rainforest scenes, the work of projection designer Adam Larsen, were projected onto three giant panels layered on each side of the stage.

Lights with a beautiful blend of blue and green, the work of lighting designer Tim Monson, shown down onto large Aztec images painted on the stage — the work of scenic designer Carey Wong. A gentle cloud of mist hovered over the stage as sounds of birds and other rainforest creatures, the work of sound designer Christopher Neumeyer, floated through the air. It was breathtaking.

“The Sun Serpent” marries the best of traditional storytelling with technology. As its three main characters — a young boy, his widowed grandmother and his older brother — face cultural shifts with diverse motivations and dreams, projections reflect their changing world.

We see foreign ships approaching the shore, villages consumed by fire, and journeys trekked over mountaintops — all part of a visual feast best suited for audience members ages 8 & above. There’s greed, death and betrayal. But also hope and courage. “The Sun Serpent,” says director Rachel Bowditch, “portrays the strength of the human spirit.”

The creative team also includes composer Daniel Valdez, costume designer Connie Furr-Soloman, mask designer Zarco Guerrero and puppet designer Jim Luther. Amy Gilbert, who recently made the move from Atlanta to Arizona, serves as stage manager.

David Saar has directed and taught for Childsplay since it began in 1977. Managing director Steve Martin, also president of the board for Arizona Citizens Action for the Arts, is enjoying his 11th season with Childsplay.

Just three actors peform 30 roles in the Childsplay production of “The Sun Serpent.” Andrés Alcalá (Tlememe), an associate artist with Childsplay since 2007, has also performed with Actors Theatre of Phoenix, the Southwest Shakespeare Company, Nearly Naked Theatre and Phoenix Theatre.

Ricky Araiza (Young/Elder Anáhuac), an Arizona native who attended Brophy College Preparatory, graduated from ASU in 2004 with a B.A. in theatre before pursuing additional training in ensemble-based physical theater. Araiza is a freelance acting and movement teacher studying mask-making with Zarco Guerrero.

Andréa Morales (Anci) previously spent five seasons as a Childsplay company member, but now lives in Chicago, where she is a company member of Halcyon Theatre and an artistic associate of Polarity Ensemble Theatre.

As I chatted with cast members after the show, I marveled at the amazing depth and breadth of Childsplay offerings. It seems only yesterday that I was watching Childsplay associate artists D. Scott Withers and Jon Gentry bounce, run, bark and drive around in circles during a theater-in-the-round performance of “Go, Dog. Go!” You never know where the artistry of Childsplay might take you.

– Lynn

Note: Click here for additonal show and ticket information, and here to learn about other works being presented as part of the CALA Festival.

Coming up: Border tales

Update: Playwright José Cruz Gonzaléz writes about developing “The Sun Serpent” and his experiences with Childsplay in an article titled “Chasing the Sun” published in the January 2012 issue of “American Theatre” magazine. 1/4/12

Unfortunately, the first act put me to sleep.  Even though the son character was performed over the top, it was not engaging at all.  The second act was better but I cannot recommend this play even if you purchase discounted tickets.

 Where: Chicago DCA Storefront Theater, 66 E. Randolph Street

Running time: 2 hours (including 1 ten-minute intermission)

Warning: Hazers and a strobe light will be in use during this production.

Strang Tree Website

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Photo Information:

Location: Chicago, Illinois; Chicago Loop
Camera: Zeca Bettax
Lens: Schneider-Kreuznach 105mm f/4.5 Radionar
Film: Ilford HP5+ EI3200 (120) [2]

The subject of the first photo is, of course, the Chicago Theater, which is located on State Street, just south of Lake. The second photo is a view of the CTA Randolph & Wabash stop seen from State and Randolph. The third photo shows part of the First National Bank of Chicago Building (completed in 1969 and designed by Perkins & Will with C. F. Murphy Associates; later the Bank One Building, and now known as the Chase Tower); you can clearly see the curving concrete base and the multi-story lobby (behind the glazing).

Enjoy.

Notes:

[1]: Of course, this was just barely possible, even using Ilford’s excellent HP5+. I had to push the film pretty well to the limit of its push capacity (Ilford publishes processing times for pushes from EI400 to EI3200). The primary issue here is that the Schneider-Kreuznach Radionar lens is a fairly slow one (f/4.5), so even with the extreme push, I still had to set the shutter a 1/30s, which is just barely suitable for handheld shooting.

[2]: As I’ve mentioned before, push processing is not without its downsides…the most substantial of which is the amount of time needed to process the film (generally, each push adds roughly 50% to the amount of time the film needs to soak in the developer – dependent on the developer, of course). It also makes the film grain much more apparent in the finished negatives – which, again, I still much prefer to digital noise – as well as substantially increasing contrast. I have another roll of HP5+ that I intend to use for more night shooting, but if I use it with this camera again, I may have to extrapolate processing time for EI6400, just to squeeze a little more out of the slow lens.

Duran Duran 10/21: Everyone seems to be reliving the 80′s lately. You should too! Main floor tickets for Duran Duran at the Chicago Theater on Friday night are starting at $144.

Northwestern Wildcats vs Penn State Nittany Lions 10/22: Enjoy a nice fall evening at Ryan Field, where the Wildcats will take on the Nittany Lions. The game starts at 6:00. Tickets for the game are starting at $17.00. 

Chicago Blackhawks vs. Anaheim Ducks 10/25: Quack Quack. This team may not be led by the Disney-created Gordon Bombay, but it should be an interesting game as both teams battle for the number one spot in their divisions.  Tickets are starting at $57.00.

Duran Duran 10/21: Everyone seems to be reliving the 80′s lately. You should too! Main floor tickets for Duran Duran at the Chicago Theater on Friday night are starting at $144.

Northwestern Wildcats vs Penn State Nittany Lions 10/22: Enjoy a nice fall evening at Ryan Field, where the Wildcats will take on the Nittany Lions. The game starts at 6:00. Tickets for the game are starting at $17.00. 

Chicago Blackhawks vs. Anaheim Ducks 10/25: Quack Quack. This team may not be led by the Disney-created Gordon Bombay, but it should be an interesting game as both teams battle for the number one spot in their divisions.  Tickets are starting at $57.00.

Approaching Mt. Everest's peak

I find it interesting when you being to get “sticky”.

First they ignore you, then they laugh at you, then they fight you. I seem to be between the fight you and the then you win part.

As I get closer  to positioning this endeavor to acquire the full production budget, momentum and inertia are beginning to propel the project forward. Nevertheless, every day, every decision, every step has a consequence. Yet keeping the objective firmly in sight has kept me moving forward. Good things are brewing. I just partnered up with another, very experienced producer – Bob Abramoff.

Bob Abramoff

Together, I believe we will see ourselves shooting in Sardinia come April. But for now, I’d like to take a minute to thank my team, both cast and crew (you all know who you are), along with investors Pam, Charlie, Patti and Gary.

There’s also Diana, Neil and Laura. The Arts Club crowd. Elena Loddo, Floriana (no relation Orlandino), Steppenwolf Films, Andy at SolCo Entertainment, Ruth at “the Reel”, Crystal, Tammy (who thinks I’m charming), Tony Pro, Piero Larocca, Alessandra, Roman and Ed Pope. Thanks all, I’m getting there!

I am excited to be apart of  this production at eta Creative Arts Foundation in Chicago, IL. Signing on as the understudy for this two-person cast, I took on the task of preparing for both roles.  I have to admit, that I was a little hesitant about understudying because I never have before and I didn’t know what to expect.  So yes, I mentally prepared myself to lock down an entire script just in case. Turns out my just in case came  and I got to perform everyday for every show one week. I discovered that it truly pays off to be prepared. The shows went great and I’m looking forward to performing again. In Chicago? Come check it out:

eta Creative Arts Foundation | 7558 So. South Chicago Ave | Chicago, IL 60619

http://www.etacreativearts.org

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Lisa B.

Check out what my castmate had to say about me:

10. Joke around some more – Last week we told you to check out The Second City in Toronto. This week it’s all about The Second City south of the 49th parallel. The comedy theatre has established itself as a Chicago landmark and a national treasure and has launched the careers of such comic greats as John Belushi and Bill Murray. With razor-sharp improvisation, The Second City showcases the city’s brightest talent. Bonus Tip: Feel like dinner and a show? If you book your reservation through The Second City you can choose from a variety dinner packages at some nearby restaurants at a great price.

9. Play ball! – Nicknamed “The Friendly Confines”, Wrigley Field is the famed home of the The Chicago Cubs. Wrigley Field is located in the heart of the Lakeview neighborhood, in an area known as “Wrigleyville.” The stadium was built in 1914, and is the second oldest ballpark behind Boston’s Fenway Park (1912). Even the original scoreboard remains intact, and all the numbers are changed by hand! Bonus Tip: Sign up for a tour (offered daily, rain or shine) to see what goes on behind the scenes at the Friendly Confines!

8. Then take a stroll in Wrigleyville – On Clark Street alone, from Racine Avenue a couple of blocks north of Wrigley Field to Roscoe Street, are more than 35 establishments known to serve beverages of the brewed and distilled persuasion (and we’re not talking tea and bottled water). This is the perfect neighbourhood to kick back, relax, and have a pint while watching the game at one of the many sports bars in the neighbourhood. Bonus Tip: This past June saw Wrigleyville host its first-ever block party. Here’s hoping for a second one next summer!

7. Visit the birthplace of the deep-dish – Did you know that deep-dish pizza was invented in 1943 at the still standing and always crowded Pizzeria Uno, (29 E. Ohio St.)? A Chicago pizza is about two inches thick and arrives in a heavy black pan. The crust is covered with tons of mozzarella, meat (usually sausage) and a sauce of uncooked crushed tomatoes.Chicagoans order their deep-dish pizzas with every imaginable ingredient, so don’t be afraid to load on the toppings! Bonus Tip: use a knife and fork!

6. Snap some photos at Cloud Gate – Cloud Gate, designed by British artist Anish Kapoor, is a 110-ton stainless steel sculpture that reflects Chicago’s famous skyline and the clouds above. Inspired by liquid mercury, the sculpture is among the largest of its kind in the world, measuring 66-feet long by 33-feet high. No trip to Chicago is complete without a photo of you and your friends’ reflections in the sculpture. Bonus Tip: Cloud Gate is located in Chicago’s Millenium Park, where you can take time to check out other cool architecture, landscape design and works of art.

5. Drive by the President’s old digs – It may not be the White House, but the Obamas called this place home before he was inaugurated in January 2009. Take a quick peek for bragging rights, at least. Bonus Tip: Don’t plan on getting too close unless you want to be hassled by the Secret Service!

4. Unleash your inner foodie – Chicago’s Downtown Farmstand, which opened back in October 2008, provides hundreds of local, delicious products, all from within 250 miles of Chicago. In addition to sustainably grown fresh fruits, vegetables and herbs in season (including many organic items), the Farmstand also features a broad selection of edibles produced throughout the region, including a wide range of dairy products, condiments, seasonings, preserves, breakfast favorites, baked goods, and other items that arrive daily. Bonus Tip: Check out one of the lunchtime programs on Wednesdays and Fridays, which feature cooking demonstrations of easy-to-make recipes using what is newest and freshest that day, or tastings of specialties from local food artisans!

3. Shop the Magnificent Mile – A Chicago shopping spree MUST include a visit to the famous Magnificent Mile along Michigan Avenue from the Chicago River to Oak Street. Located on the Mile are department store giants Neiman Marcus, Saks Fifth Avenue, Nordstrom and Bloomingdale’s alongside hundreds of specialty shops and boutiques such as Crate & Barrel, the Apple Store, the Disney Store, American Girl Place, Niketown, Tiffany & Co. and Ralph Lauren. Bonus Tip: Out-of-town guests can usually get an extra 10-15% discount at most major department stores, so remember to bring your ID!

2. Boogie down – at one of Chicago’s many jazz clubs. We recommend Andy’s, located on E. Hubbard St. (just two blocks west of the Magnificent Mile), which has been around ever since 1951. The club features local performers who cover everything from traditional jazz and swing to bop, fusion, Latin and Afro-pop. Bonus Tip: Arrive before 8:30 p.m. for discounted admission!

1. See a breathtaking view of the city – Stop at the Skydeck for a 360-degree view spanning over 50 miles, four states, and the expanse of Lake Michigan – this is a view that you can’t get anywhere else! Bonus Tip: A recent addition, The Ledge, affords visitors a one-of-a-kind experience of Chicago through a glass floor, 1,353 feet above street level!

That’s it for this week! Be sure to check in next week when we hop across the pond to one of our favourite cities in Europe.