Category: The Season

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  • “For Peter Pan on her 70th birthday” Reviews

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    Shattered Globe Theatre presents
    FOR PETER PAN ON HER 70TH BIRTHDAY
    by Sarah Ruhl
    directed by Jessica Thebus
    playing April 6-May 27
    at Theater Wit (1229 W Belmont, Chicago, IL)

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    Praise for Sarah Ruhl’s For Peter Pan on her 70th birthday

    NOW PLAYING

    “Thebus’ staging and the actors make the lived-in ease with which

    the siblings interact go down as smoothly as the Jameson shots.”

    – Kerry Reid, Chicago Tribune

    “rueful, heartfelt, mostly naturalistic little drama…

    very much of this moment.”

    – Hedy Weiss, Chicago Sun-Times

    The cast is very good, thanks to expert direction by Jessica Thebus,

    bringing humor and honesty to their roles and seamlessly

    making the jump between reality, memory and fantasy…

    With sensitivity and lyrical beauty, Sarah Ruhl’s language

    and strong, realistic characters create an emotional portrait.”

    – Colin Douglas, Chicago Theatre Review

    a rare treat…brims with lyricism and wit”

    HIGHLY RECOMMENDED

    – Brent Ervin-Eickhoff, Picture This Post

    “The play’s women are deeply compelling…

    Ruhl is particular is charming as Ann, and her simple, sincere delivery

    and excellent comedic timing make her a delight to watch.

    Eileen Niccolai brings intelligence and honesty to the role of Wendy…

    The play is a lovely piece of art, and Chicago is lucky to have it.”

    – Jessie Bond, Splash Magazine

    “…prolific in its subject matter and also aesthetically striking it its

    presentation. The reality of the situation and the poignancy of the lines

    allows the audience to trust their narrator and fly when the time comes.”

    – John Accrocco, Buzz Center Stage

    “People who would like this show are people who like Peter Pan, moving

    stories, and adorable dogs. I think people should go see this show.

    It is such a different and interestingly beautiful play.”

    – Ada Grey, Reviews for You

    the acting by this ensemble is first-rate”

    – Tom Williams, Chicago Critic

    “…especially potent and poignant in exploring faith, familial love and lost childhood

    …this theatrical gift of life is certainly a wonderful present.”

    – Scott Morgan, Windy City Times

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    For Peter Pan on her 70th birthday by Sarah Ruhl plays April 6-May 27 at Theater Wit (1229 W Belmont, Chicago, IL). Single tickets are available via the Theater Wit Box Office.
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  • Carol Cyganowski

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    Carol Cyganowski
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    Shattered Globe Theatre presents
    FOR PETER PAN ON HER 70TH BIRTHDAY
    by Sarah Ruhl
    directed by Jessica Thebus
    playing April 6-May 27
    at Theater Wit (1229 W Belmont, Chicago, IL)

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    Dr. Carol Klimick Cyganowski

    April 12, 1949 – November 11, 2016

    For Peter Pan on her 70th birthday by Sarah Ruhl is sponsored by Dan and Claudia Cyganowski and dedicated to the memory of Carol Cyganowski to honor her long-time support of Chicago Theater and women playwrights.

    A lifelong Chicagoan, born and raised on the South Side, Carol earned her B.A. cum laude from Knox College (1969), and her M.A. and Ph.D. in English Language and Literature from the University of Chicago (1970 and 1980).  Her dissertation, published in book form by Garland (1988), on Magazine Editors and Professional Authors in Nineteenth Century America: The Genteel Tradition and the American Dream explored the role of national magazines such as the Atlantic Monthly, the Century, and Harper’s Monthly in “establishing authorship as a viable profession in the United States.”

    Carol was an energetic scholar and beloved teacher.  She spent most of her career at DePaul University (from 1983 to her retirement in 2014), where she served as Director of the American Studies Program (1996-2002) and Director of the Women’s Studies Program (1990-93 and 1994-95) as well as originating over 20 new courses (from American Political Drama to Civil War Literature to American Women’s Drama).  As Director, she revitalized the American Studies Program by planning and producing Theme Quarters—on topics including “Chicago Theatre”, “Pursuits of Happiness”, and “Idealism in America”—that included public performances, lectures, films, panels, readings, and exhibits. A dedicated and passionate teacher, Carol was nominated for DePaul Excellence in Teaching Awards every year from 1997-2000.  She was particularly honored to have received a student-awarded honorary membership in the Golden Key International Honour Society (2002).

    Carol was both a scholar of and an enthusiastic supporter of Chicago theatre, from established “giants” downtown to small storefront theatres.  At DePaul, she established the Chicago Playwrights manuscript collection at the Richardson Library (part of the Arts Community Archives within the Library’s Special Collections) and developed and taught a course on Chicago Theatre (bringing local artists, playwrites, and directors into the classroom).  In retirement, she supported many Chicago companies (The Gift, Shattered Globe, Theatre Wit and Timeline among others) with time, enthusiasm, and financial contributions.  At the time of her death, Carol was working on a play about the first sexual harassment class action case in the US, Jenson v. Eveleth Mines, which changed American sexual harassment law. She is deeply missed by her husband of 46 years, Dan, and her daughter Claudia.
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    For Peter Pan on her 70th birthday by Sarah Ruhl plays April 6-May 27 at Theater Wit (1229 W Belmont, Chicago, IL). Single tickets are available via the Theater Wit Box Office.
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  • Christina Gorman as Lurlene

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    Shattered Globe Theatre presents
    THE TALL GIRLS
    by Meg Miroshnik
    directed by Louis Contey
    playing thru February 25
    at Theater Wit (1229 W Belmont, Chicago, IL)

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    Christina Gorman: On the Arts of Physicality, Unpredictability, & Focus

    Christina joined SGT as an Ensemble Member in 2013. Her previous credits include: In the Heat of the Night, The Grown Up, The Rose Tattoo, Our Country’s Good, Happy Now, and Romeo and Juliet. She plays Lurlene in SGT’s production of The Tall Girls by Meg Miroshnik. We asked her some questions regarding learning to play basketball and what it adds to her experience onstage.

    Did you have any basketball skills before starting this process?

    Very little. I played HORSE with my dad when I was 12. And I knew how to dribble…but, that’s about it.

    Are you more of a basketball fan than now?

    Absolutely, I think I am more of a fan of playing it than I am watching it though. I’ve never been very good at watching sports.

    Is it challenging to play basketball as part of a show?

    Definitely yes. I have a fight background, so I am no stranger to doing physical/movement oriented things onstage. But, this is different entirely. With stage combat, everything is carefully and thoughtfully choreographed. With this show, although great care and thought were put into our basketball sequences by our director, assistant director, and our terrific basketball consultant, there is necessarily an improvisational element to it based on the simple fact that our choreographed plays do not always go as planned. Like in real life, the ball doesn’t always go in the hoop. We’ve never had the same show twice. I would say, depending on the day, 30%-40% of our basketball sequences are really us playing basketball. Just when we think we’ve experienced every unexpected thing that could possibly happen, something new will occur. One night the ball got stuck between the backboard and the rim of the hoop. Don’t know how that could possibly happen, but there it was.

    Is there anything you’ve personally gained as a result of working on this production?

    I think the thing that I treasure the most out of this experience is how much this show has truly pushed me to ‘live in the moment’ more. I think it’s one of the things actors chase the most onstage, not thinking about what’s just happened, what’s happening next, but truly just being present. I know that sounds obvious, but it’s not always easy. Having to play basketball and work as a team not knowing if we’ll make the shot or not forces you to focus moment to moment in a way I’ve not experienced onstage before. And, living in the moment offstage ain’t such a bad skill to practice either.
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    The Tall Girls by Meg Miroshnik plays thru February 25 at Theater Wit (1229 W Belmont, Chicago, IL). Single tickets are available via the Theater Wit Box Office. More info about Season Traveler Memberships–the best way to see all three shows in SGT’s 2016-2017 Season–are available here.
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  • Tracey Green as Almeda

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    Shattered Globe Theatre presents
    THE TALL GIRLS
    by Meg Miroshnik
    directed by Louis Contey
    playing through February 25
    at Theater Wit (1229 W Belmont, Chicago, IL)

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    Tracey Green: basketball tricks, role models, & following your dreams

    We are excited to have Tracey joining us for her Shattered Globe debut. Tracey’s Chicago credits include: SMASH (Piccolo Theatre), All My Sons (Eclectic Theatre), and The Glass Protégé (Glitterati Productions). She recently completed an acting apprenticeship with Actors Theatre of Louisville, where she appeared in the Humana Festival production of Wondrous Strange. Tracey plays Almeda in SGT’s production of The Tall Girls by Meg Miroshnik. We asked her some questions about her experience with basketball and the inspiration she draws from her character.

    Did you have any basketball skills before starting this process?

    The only basketball skill I had before beginning this rehearsal process was being able to spin the ball on my finger. Flashy, but not very useful on the court.

    Are you more of a basketball fan now?

    I certainly am!  Working on this play has made me want to find and join a rec league.

    Is it challenging to play basketball as part of the show?

    Oh absolutely.  Aside from the pressure of having to make certain shots in order to move the plot forward, playing in the theatre space itself presents its own obstacles. We had to develop all sorts of “contingency plans” to use in the event that things go awry.  There’s nothing like trying to keep the ball from sailing into the audience to keep you on your toes!

    What are some of the most interesting things you learned as a result of doing this play?

    I really enjoyed researching Babe Didrikson’s life. She was SUCH an incredible athlete, which feels like a huge understatement, considering the wide range of her of athletic achievements.  No sport was off-limits to her. She excelled at everything she attempted; not just because she was innately talented, but because she was fueled by a fierce drive and passion. Her practice was relentless and unwavering. She epitomized the term “dedication.” I admire her.

    Is there anything you have personally gained as a result of working on this production?

    Perspective. Exploring this play and particularly the role of Al has proven to be a huge reminder of the power of perseverance. Al does not allow her destiny to be dictated by circumstance. She is dealt one obstacle after another after another, but refuses to give up on her dream. She is a fighter. And I am inspired by her fiery spirit and tenacity. My hope is that audiences will feel inspired as well.
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    The Tall Girls by Meg Miroshnik plays January 12th-February 25 at Theater Wit (1229 W Belmont, Chicago, IL). Single tickets are available via the Theater Wit Box Office. More info about Season Traveler Memberships–the best way to see all three shows in SGT’s 2016-2017 Season–are available here.
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  • Tina Muñoz Pandya as Inez

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    Shattered Globe Theatre presents
    THE TALL GIRLS
    by Meg Miroshnik
    directed by Louis Contey
    playing January 12-February 25
    at Theater Wit (1229 W Belmont, Chicago, IL)

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    Tina Muñoz Pandya: Volleyball, Empowerment, & Celebrating Women

    Tina is a graduate of SGT’s Protégé Program (class of 2015). Her recent Chicago credits include: Octagon (Jackalope Theatre), Martyr (Steep Theatre), The Tragedy of Lear (Cave Painting Theatre), and Gift Horse Grill (Step Up Productions’ Holidaze). She plays Inez in SGT’s production of The Tall Girls by Meg Miroshnik. We asked her some questions about her experience with sports and her thoughts on the relevance of this production.

    Did you have any basketball skills before starting this process?

    I played for maybe 2 years in middle school just for fun. I never had any formal or structured training, but I did enjoy pickup games and I had a hoop in my backyard that I loved to mess around on. My main sport was volleyball, I played for 8 years growing up so most of my sports energy went towards that. I still see volleyball habits come out when I play other sports, sometimes I have to consciously remind myself not to hold the basketball like I’m setting it!

    Are you more of a basketball fan than now?

    I definitely understand more of the game, which makes it much easier to be interested when I’m watching people play!

    Is it challenging to play basketball as part of a show?

    Oh my goodness yes. I’m lucky because my character doesn’t have to have any talent so I can kind of get away with not being great at it, but allowing for contingencies in the story based on what happens when we play definitely keeps us on our toes.

    What are some of the most interesting things you learned as a result of doing this play? About girls’ empowerment?

    We talked a bit in early rehearsals about how, when Shattered Globe was choosing this play, they expected it to be a celebration of women on the heels of this country electing their first female president. It has turned into something quite different, and now it feels more like a call-to-action and a reminder that we still have so much work to do. The women in this play spend much of their journeys becoming empowered and hopeful that a world of possibilities will be open to them, only to have the rug ripped out from under them when they are so close to triumph they can practically smell it. I feel like this country went through a similar journey in November, and I feel like the different ways in which these characters handle their defeat says a lot about the ways in which we can begin to heal as a country.

    Is there anything you’ve personally gained as a result of working on this production?

    Every show is a different adventure and it’s been so lovely working with this awesome cast and crew on a play that centers around the experiences of women. I don’t remember when I last did a show with a mostly-female cast, and it’s been a really great energy to be around. Especially given our current social and political climate, I think it’s so important to amplify marginalized voices in the work we do as artists, and navigating that as we’ve worked on this show has been very cool. Working on this play has also re-kindled my taste for competitive sports; some of our basketball practices took me right back to my volleyball days and made me miss competing and training a little bit, so I’m interested to see how that continues to grow.
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    The Tall Girls by Meg Miroshnik plays January 12th-February 25 at Theater Wit (1229 W Belmont, Chicago, IL). Single tickets are available via the Theater Wit Box Office. More info about Season Traveler Memberships–the best way to see all three shows in SGT’s 2016-2017 Season–are available here.
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  • Angie Shriner as Jean

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    James Yost
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    Shattered Globe Theatre presents
    THE TALL GIRLS
    by Meg Miroshnik
    directed by Lou Contey
    playing January 12-February 25
    at Theater Wit (1229 W Belmont, Chicago, IL)

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    Angie Shriner: Space Jam, free throws, & well-written women

    Angie has been an SGT Ensemble Member since 2011. Her previous credits include: In the Heat of the Night (Noreen), The Whaleship Essex (Nickerson), Mill Fire, Romeo and Juliet, Orpheus Descending, and Her Naked Skin. She is featured in SGT’s production of The Tall Girls by Meg Miroshnik, playing the part of Jean. We asked her some questions regarding her experience with the process and the art of learning a new sport.

    Did you have any basketball skills before starting this process?

    I was in a basketball summer camp in 4th grade. I remember that camp had pretty tasty sports drinks, which was a huge incentive to go. Suffice it to say, I didn’t invest much in basketball after that summer. But, once I found out I was cast as Jean, I definitely started hitting the court to figure it all out. I retained some things, but it was definitely easier to learn as a kid!

    Are you more of a basketball fan than now?

    I certainly appreciate the sport more. I was always fascinated by basketball. I grew up watching the Bulls. And, of course, I loved Space Jam and Jock Jams!

    Is it challenging to play basketball as part of a show?

    YES, yes, yes, absolutely. There is nothing more unpredictable than not knowing whether I will make the shot. I am doing my best to accept the idea of the unknown…in front of a theater full of people. I am trying to embrace the fact that I truly never know what will happen. It’s exhilarating. There’s risk involved with every performance. There is the potential for something different every time. That feels very human to me. That’s exciting. That’s real life.

    What are some of the most interesting things you learned as a result of doing this play? About girls’ empowerment? About teamwork?

    I am really learning how to deeply trust myself. Shooting free throws in front of a live audience requires a certain amount of discipline and zen-calm. Sometimes, I have to determine each basketball play IN THE MOMENT and cue the team non-verbally.  It’s wild. I think I will be learning something new every day during this show. Our director, Lou, gave me permission to grow during this show, so I suppose I will take him up on that. 😉

    I think women are incredible. I have always been fascinated by the way women are written into stories. Sometimes they are written so poorly it is maddening. This script in particular has some of the most intelligent women I’ve ever seen onstage. Meg Miroshnik brilliantly crafted five young female roles. And the actresses in this cast who put their hearts and souls out there in every scene are a joy to work with every day. My Great Aunt Susan (Blommaert), who plays Mr. Kaplan on NBC’s BLACKLIST, said it best: “It’s wonderful to play a woman who’s competent…it’s just…not an opportunity that you get often.”

    There is a reason they say teamwork “makes the dream work”. It’s cliche, but true.

    Is there anything you’ve personally gained as a result of working on this production?

    Jean is a deceptively tough character to play. She is wise beyond her 15 and a half years, and equal parts compassionate and strong. Every night is a fight for my life, beliefs, and future that requires battling some very intense demons onstage. I suppose I’ve learned, personally, that I’m stronger than I ever imagined. Jean forces me to abandon my desire to be liked by an audience, and gut myself in every scene. I don’t know that I fully got to explore those parts of myself before The Tall Girls. I learned during this show that I have an incredible support system which makes it easier to bare your soul! I’m incredibly grateful.


    Another great interview with Angie: Region native finds meaning in ‘Tall Girls’ play
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    The Tall Girls by Meg Miroshnik plays January 12th-February 25 at Theater Wit (1229 W Belmont, Chicago, IL). Single tickets are available via the Theater Wit Box Office. More info about Season Traveler Memberships–the best way to see all three shows in SGT’s 2016-2017 Season–are available here.
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  • Women’s Basketball Timeline

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    James Yost
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    Shattered Globe Theatre presents
    THE TALL GIRLS
    by Meg Miroshnik
    directed by Lou Contey
    playing January 12-February 25
    at Theater Wit (1229 W Belmont, Chicago, IL)

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    History of Women’s Basketball in America

    Adapted from A Timeline of Women’s Basketball History 1891 to Present, by Jone Johnson Lewis

    1891

    • James Naismith invented basketball at a Massachusetts YMCA school.

     1892

    • First women’s basketball team organized by Senda Berenson at Smith College, adapting Naismith’s rules to emphasize cooperation, with three zones and six players on each team.

    1893

    • First women’s college basketball game played at Smith College; no men were admitted to the game (March 21).
    • Women’s basketball began at Iowa State College, Carleton College, Mount Holyoke College, and Sophie Newcomb College (Tulane) in New Orleans; each year more schools added women’s basketball to their sports offerings for girls.

     1895

    • Basketball was being played at many women’s colleges, including Vassar College, Bryn Mawr College, and Wellesley College.

    1896

    • Bloomers introduced as a playing costume at Sophie Newcomb College, New Orleans.
    • Stanford and the University of California at Berkeley played the first women’s intercollegiate game; Stanford won, 2-1, and men were excluded, with women guarding the windows and doors to exclude men.
    • First known women’s basketball game between two high schools was played in the Chicago area, with Chicago Austin High School against Oak Park High School.

    1899

    • Conference of Physical Training established a committee to form uniform rules for women’s basketball.
    • Stanford banned women’s basketball from intercollegiate competition, as did the University of California.

    1908

    • AAU (Amateur Athletic Union) took the position that women or girls should not play basketball in public.

    1914

    • The American Olympic Committee declared its opposition to the participation of women in the Olympics competition.

    1921

    • Jeux Olympiques Féminines held in Monaco, an all-women’s sports competition for sports excluded from the Olympics; sports included basketball, track and field; Britain’s team won the basketball event.

    1928

    • Olympics included women’s basketball — as an exhibition event.

    1931

    • Golden Cyclones won AAU Championship, led by “Babe” Didrikson.

    1930s

    • Isadore Channels (of the Chicago Romas team) and Ora Mae Washington (of the Philadelphia Tribunes) were stars in two rival black women’s basketball barnstorming teams; both women were also American Tennis Association title winners.
    • WDNAAF continued to pressure states to ban women’s basketball tournaments, with success in many states.

    1940s

    • During World War II, competition and recreational basketball was common; relocation centers for Japanese Americans, for instance, included regularly scheduled women’s basketball games.

    1953

    • International competition in women’s basketball was reorganized.

    1955

    • First Pan-American Games included women’s basketball; USA won the gold medal.

    1969

    • Women’s basketball was included in the Paralympics.

     1972

    • Title IX enacted, requiring federally-funded schools to fund women’s sports equitably, including teams, scholarships, recruitment, and media coverage.
    • AAU established national basketball tournaments for girls younger than college age.

    1976

    • Women’s basketball became an Olympic sport; the Soviet team won the gold, USA won the silver.

    1984

    • Lynette Woodard began playing with the Harlem Globetrotters, the first woman to play with that team.

    1985

    • Senda Berenson Abbott, L. Margaret Wade, and Bertha F. Teague were inducted into the Naismith Memorial Basketball Hall of Fame, the first women to be so honored.

    1988

    • Olympic women’s basketball event won by USA team.

    1999

    • Women’s Basketball Hall of Fame opened with 25 inductees.

    2000

    • Olympics held in Sydney, Australia; USA team won the gold medal; Teresa Edwards became the first basketball player to play on five consecutive Olympic teams and win five Olympic medals.

    2002

    • Ashley McElhiney became the first woman head coach for a men’s professional basketball team (ABA, Nashville Rhythm); she resigned in 2005 with a 21-10 record.

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    The Tall Girls by Meg Miroshnik plays January 12th-February 25 at Theater Wit (1229 W Belmont, Chicago, IL). Single tickets are available via the Theater Wit Box Office. More info about Season Traveler Memberships–the best way to see all three shows in SGT’s 2016-2017 Season–are available here.
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  • 2016-2017 Member Form (2 SHOWS ONLY)

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    Please print this form and send to:

    Shattered Globe Theatre Administrative Offices

    2936 N Southport Ave #214 Chicago, IL 60657:

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  • Our 25th Season!

    Our 25th Season!

    Shattered Globe Theatre Announces 25th Season:

    MARVIN’S ROOM

    By Scott McPherson

    Directed by Producing Artistic Director Sandy Shinner

     

    ANIMALS OUT OF PAPER

    By Rajiv Joseph

    Directed by Devon de Mayo

     

    John Ball’s

    IN THE HEAT OF THE NIGHT

    Adapted by Matt Pelfrey

    Directed by Louis Contey

    CHICAGO (August 6, 2015) – Shattered Globe Theatre is pleased to announce its 25th season, kicking off this fall with a 25th anniversary production of MARVIN’S ROOM, Chicago playwright Scott McPherson’s award-winning dark and mordantly funny comedy about putting family first, directed by Producing Artistic Director Sandy Shinner. This winter, SGT presents Pulitzer Prize-winner Rajiv Joseph’s uncommon love story ANIMALS OUT OF PAPER, a vibrant and nuanced peek into the creative process that shapes three lives, directed by Devon de Mayo. The season concludes next spring with John Ball’s gripping, racially charged mystery IN THE HEAT OF THE NIGHT, adapted by Matt Pelfrey and directed by Louis Contey. The full 2015-16 Season will be presented at Shattered Globe’s resident home, Theater Wit, 1229 W. Belmont Ave. in Chicago. Tickets will go on sale at a future date at www.shatteredglobe.org, by calling (773) 975-8150 or in person at the Theater Wit Box Office.

    Shattered Globe is also pleased to announce partial casting for MARVIN’S ROOM, which will feature Ensemble Members Rebecca Jordan and Linda Reiter and SGT Protégé Program graduate Nate Santana with Deanna Dunagan, Kyle Klein II, Deanna Reed-Foster and Don Tieri.  Additional casting will be announced.

    “I am particularly excited to open the Shattered Globe’s 25th anniversary season with Scott McPherson’s play Marvin’s Room, also celebrating its 25th anniversary,” comments Producing Artistic Director Sandy Shinner. “Marvin’s Room’s generous spirit and its reminder of the rewards of caring for others seems like healing balm when the theater community is still reeling from recent profound losses. As the original dramaturg on the play, and a friend of Scott’s, I had always hoped to spend a little more time in his witty, loving world. But there is also another side to Marvin’s Room; and all three plays in the season reveal people coming together while falling apart. In Marvin’s Room and Animals Out of Paper, the characters struggle with the difficulties of intimacy, friendship and loneliness – one kind of ‘segregation.’ The racially motivated police brutality of In the Heat of the Night explores these same themes at the level of race. I am also thrilled that Lou Contey, a former SGT artistic director, is part of our anniversary season, and happy to welcome Devon de Mayo who is directing her first SGT show,” adds Shinner.

     

    Shattered Globe Theatre’s 25th Season includes:

    October 1 – November 14, 2015

    MARVIN’S ROOM

    By Scott McPherson

    Directed by Producing Artistic Director Sandy Shinner

     

    Winner of the Outer Critics Circle Award and the Drama Desk Award for New Play, MARVIN’S ROOM has been rapturously praised by audiences and critics alike since its world premiere at Chicago’s Goodman Theater in 1990. Bessie devotes her life to caring for her elderly father and aunt and so her own diagnosis of leukemia plummets their world into a tailspin. In need of a bone marrow transplant, Bessie reaches out to her estranged sister Lee and her two nephews. If they are to be of any help, then old wounds must be opened.  MARVIN’S ROOM is about finding family and the timeless concerns of living, dying and caring for others told with McPherson’s signature humor.

     

    During the play’s Chicago debut, the Chicago Tribune’s Richard Christiansen wrote, “From the everyday environment of a suburban home to the fantasy land of Disney World, McPherson found the exact scene, the perfect dialogue and the precise image to express his American tragicomedy.” The Chicago Sun-Times’ Hedy Weiss said “it is McPherson’s great and original gift to make his characters and their fates seem almost shamefully comical and absolutely honest at every moment” and The New York Times called the play “one of the funniest plays of the year as well as one of the wisest and most moving.” The Chicago Tribune’s Chris Jones wrote during a later production in 2009, “time has withered neither its power nor its wisdom.”

     

    January 14 – February 27, 2016

    ANIMALS OUT OF PAPER

    By Rajiv Joseph

    Directed by Devon de Mayo

     

    In Rajiv Joseph’s ANIMALS OUT OF PAPER, Andy, a calculus teacher and avid fan, pressures a reclusive Ilana, a world famous origami artist, into becoming an unwitting mentor to a troubled teenage prodigy, Suresh. These three intriguingly flawed characters begin to reshape and mold each other’s lives in much the same way they fold and crease their origami art. During a production at New York’s Second Stage Theater, The New York Times wrote, “Mr. Joseph’s observant, pitch-perfect script seems modest at first but is really quite ambitious, dealing ruthlessly…with the fragility of happiness, the tragedy of impulsiveness and the tenuousness of hope.”

     

    April 21 – June 4, 2016

    IN THE HEAT OF THE NIGHT

    Based on the novel by John Ball

    Adapted by Matt Pelfrey, directed by Louis Contey

     

    IN THE HEAT OF THE NIGHT recounts the classic, highly charged story of an African American police officer asked to investigate a murder in a racially hostile southern town. It’s a torrid night in 1965 Argo, Alabama when a dead white man is found.  The local police, desperately searching for a motive and a suspect, arrest a black man passing through town.  The police soon discover that their suspect is an expert homicide detective from LA and they must confront their personal prejudices as they are forced to work side by side to solve the crime.   The award winning film version starring Sidney Poitier remains emblematic of our country in the 1960s. Fifty years later, Pelfry’s new adaptation of the novel leaves room for the evolution of these attitudes. But watching the nightly news – how far have we come?

     

    About the Directors:


    Sandy Shinner
    joined Shattered Globe Theatre in October 2013 as the theater’s first Producing Artistic Director. She directed Sally Nemeth’s Mill Fire at SGT in 2014. The former Associate Artistic Director of Victory Gardens Theater, she created the nationally known IGNITION! Festival, served as co-director of the Access Project, and accepted the 2001 Regional Theater Tony Award on behalf of VG with former Artistic Director Dennis Zacek and former Managing Director Marcelle McVay. Her other recent directing credits include: the world premiere of Rasheeda Speaking by Joel Drake Johnson (Rivendell Theater Ensemble) and Creditors by August Strindberg (Remy Bumppo Theater Company). She has directed over 80 plays at theaters including Victory Gardens, Remy Bumppo, American Blues, the University of Virginia, Actors Theater of Louisville’s Humana Festival, Steppenwolf’s First Look Repertory of New Work, New York’s 78th Street Theater Lab and the Sacramento Theater Company, among others. Her production of Trying by Joanna McClelland Glass transferred to New York and her direction was nominated for the Joe A. Callaway Award. Shinner received the 2013 Kathryn V. Lamkey Spirit Award from the Equal Employment Opportunity Committee of Actors’ Equity Association for her commitment to diversity and non-traditional casting. She has been recognized as one of “50 Top Players” by Newcity and a “Chicagoan of the Year” by the Chicago Tribune. She is an adjunct professor at DePaul’s Theatre School, an At Large Ambassador for the National New Play Network, and an Artistic Affiliate at American Blues Theater.

     

    Devon de Mayomost recently served as the Resident Director under Stephen Daldry on the Broadway production of The Audience.  Directing credits include Jet Black Chevrolet (side project); Lost in Yonkers (Norhtlight Theatre); Compulsion and Everything is Illuminated (Next Theatre); An Actor Prepares (Logan Center); Roadkill Confidential, The Further Adventures of Hedda Gabler and Clouds (Dog & Pony); Infiltrating Bounce (Luminaria, San Antonio); and 52 (Canal Café, London). Directing & Devising credits include Guerra: A Clown Play (performances in Chicago, New York, Albuquerque, Madrid, Bogota, and Mexico City); The Whole World is Watching and As Told by the Vivian Girls (Dog & Pony) and The Twins Would Like to Say (Dog & Pony, Steppenwolf Garage Rep). She is the co-artistic director of Dog & Pony Theatre Co and received her MFA in Directing from Middlesex University in London.

     

    Louis Contey returns to Shattered Globe where he has directed The Whaleship Essex, A View from the Bridge, The Manchurian Candidate, A Streetcar Named Desire, All My Sons, Who’s Afraid of Virginia Woolf?, Judgement at Nuremberg and Requiem for a Heavyweight, among others.  He has directed over 70 plays, among them The Master & Margarita, Marriage Play, The Diviners, A Midsummer Night’s Dream, Macbeth and Hamlet. He is an Associate Artist at TimeLine Theatre where he is currently directing The Price, and has directed The Apple Family Plays as well as Frost/Nixon, Awake and Sing!, The General from America, Lillian, Copenhagen, It’s All True, and Pravda. He has also worked at The Goodman Theatre, Steppenwolf Theatre, Strawdog Theatre, Theatre at the Center, Buffalo Theatre Ensemble, Provision Theatre, Eclipse Theatre and American Theater Company. He is a twelve-time Jeff Award nominee and has received seven Jeff Citations, as well as an After Dark Award. He teaches acting and directing part-time at The Theatre School at DePaul University.

     

    Shattered Globe Theatre (Sandy Shinner, Producing Artistic Director; Doug McDade, Managing Director) was born in a storefront space on Halsted Street in l991. Since then, SGT has produced more than 60 plays, including nine American and world premieres, and garnered an impressive 42 Jeff Awards and 97 Jeff Award nominations, as well as the acclaim of critics and audiences alike. Shattered Globe is an ensemble driven theater whose mission is to create an intimate, visceral theater experience that challenges the perspective of audience and artist alike through passionate storytelling. Shattered Globe is inspired by the diversity of our city and committed to making the theater available to all audiences.   Through initiatives such as the Protégé Program, Shattered Globe creates a space which allows emerging artists to grow and share in the ensemble experience.

     

    Shattered Globe Theatre is partially supported and funded by generous grants from The Gaylord & Dorothy Donnelley Foundation, The MacArthur Fund for Arts & Culture at The Richard H. Driehaus Foundation, The Illinois Arts Council, The Field Foundation of Illinois, The James P. and Brenda S. Grusecki Family Foundation, The Blum-Kovler Family Foundation, The Robert J. & Loretta W. Cooney Family Foundation, the Shulman-Rochambeau Charitable Foundation, and Arts Work Fund.

  • First Two Productions of 2014-15 Season Announced

    First Two Productions of 2014-15 Season Announced

    The Midwest Premiere of THE WHALESHIP ESSEX By Ensemble Member Joe Forbrich, Directed by Lou Contey and Tennessee Williams’ THE ROSE TATTOO Directed by Greg Vinkler.

    Click here for more info.