WBEZ | Red http://www.wbez.org/tags/red Latest from WBEZ Chicago Public Radio en Where's the reality of Rothko in 'Red'? http://www.wbez.org/blog/onstagebackstage/2011-10-12/wheres-reality-rothko-red-93077 <img typeof="foaf:Image" src="http://llnw.wbez.org//blog/photo/2011-October/2011-10-12/Production_17.jpg" alt="" /><p><p><em>Recently, WBEZ producers Kate Dries and Robin Amer took in the Goodman Theatre’s production of John Logan’s acclaimed play, </em><a href="http://www.goodmantheatre.org/">Red</a><em>, based on the real-life commission abstract expressionist painter Mark Rothko received in 1958 to create a series of murals for the Four Seasons restaurant in New York’s Seagram Building. </em></p><p><em>The play centers on two characters, Rothko and a fictional assistant named Ken, and it takes place entirely inside Rothko’s studio. As such, the play offers a rare glimpse of an artist at work inside his studio space. </em></p><p><em>But is it an accurate glimpse? We asked Kate and Robin to take a look at the Goodman’s staging of </em>Red<em>, to see how reality meets fantasy, and how close this production comes to getting “the art part” right.</em></p><p><strong>DRIES:</strong> The studio where all of the action in <em>Red </em>takes place is <a href="http://www.google.com/imgres?q=mark+rothko+studio&amp;hl=en&amp;sa=X&amp;tbm=isch&amp;prmd=imvnso&amp;tbnid=DeWCD0GQ7LQjzM:&amp;imgrefurl=http://www.artvalue.com/auctionresult--matter-herbert-1907-1984-switz-mark-rothko-in-his-studio-2797168.htm&amp;docid=YI1ggON5-bsbzM&amp;w=500&amp;h=389&amp;e">similar to Rothko’s</a> in that it’s supposed to look like an old gymnasium. But according to our conversation with Set Designer Todd Rosenthal, they wanted to spice it up a little, which means things were added, like the interesting windowed section to the left of the stage that is supposed to resemble an old office. But still, it’s a slightly glorified, very accurate artist's studio.</p><p style="text-align: center;"><img alt="" class="caption" src="http://llnw.wbez.org/blog/insert-image/2011-October/2011-10-12/Production_17.jpg" style="width: 500px; height: 333px;" title="(Courtesy of Goodman Theatre)"></p><p><strong>AMER:</strong> I loved the set. I liked that it was highly realistic and very detailed. The walls were grimy, the shelves were cluttered, and there were dirty dishes in the sink. Only the floor was conspicuously clean, especially for a painter’s studio! (Although they did show the assistant mopping up at one point.) The reproductions of the paintings, however...</p><p><strong>DRIES:</strong> I think that you and I both struggled with whether knowing these paintings are fakes distracts from the work, and that’s actually something I’m still thinking about. I’m not sure.</p><div class="inset"><div class="insetContent"><p><span style="font-size: 11px;"><a href="http://www.wbez.org/blog/onstagebackstage/2011-10-11/smoke-and-mirrors-red-and-mark-rothko-92789"><strong>Smoke and mirrors: 'Red' and Mark Rothko</strong></a></span></p><a href="http://www.wbez.org/blog/onstagebackstage/2011-10-11/smoke-and-mirrors-red-and-mark-rothko-92789"><img src="http://www.wbez.org/sites/default/files/blog/insert-image/2011-October/2011-10-11/Production_07.jpg" style="margin-right: 15px; float: left; width: 129px; height: 98px;"></a><p><span style="font-size: 11px; line-height: 80%;">John Logan's acclaimed play 'Red' is essential not just to visual art but to understanding the theater as well. By&nbsp;<em>Jonathan Abarbanel</em></span></p></div></div><p><strong>AMER:</strong> Rosenthal told us that the reproductions used in the show were copies of Rothko’s actual Four Seasons paintings, and were created by the production staff. He acknowledged that it would be very difficult to capture the luminescence of actual Rothko paintings. Rothko used so many translucent layers of paint that his paintings really do glow. To recreate them as theater props would be extremely time consuming. Unfortunately, the paintings used onstage read as static objects, kind of dull and lifeless, not these living, breathing things referred to in the text. The paintings on stage don’t do what the characters are asking of them. I stopped counting the number of times they claimed the paintings “pulsated.” These reproductions did no such thing, nor did they “glow,” “vibrate,” etc.</p><p><strong>DRIES:</strong> Agreed -- The actual glowing painting used at the conclusion was perhaps one of the few transcendent moments in the play.</p><p style="text-align: center;"><img alt="" class="caption" src="http://www.wbez.org/sites/default/files/blog/insert-image/2011-October/2011-10-12/Production_01.jpg" style="width: 399px; height: 600px;" title="(Photo courtesy of Goodman Theatre)"></p><p><strong>AMER:</strong> Yes, for me that was the one exception. That final reproduction was front lit with a spotlight covered in a red gel, according to Rosenthal. The painting did literally glow in a way the others had not - and it came to life in a way I realized I had been missing. In this case they used the elements of theater at their disposal to say something about the life of the images/paintings rather than treat them as objects.</p><p>When it came depicting the act of making these paintings on the stage, the Goodman had its work cut out for them. Painting can be toxic, messy, and labor intensive. The process involves grunt work that’s boring to watch. That said, I think they transposed the act of painting to the stage with mixed success. (Although they certainly did it better than the production I saw years ago of <em>Sunday in the Park With George</em>, the dopey Sondheim musical about the creation of Seurat's pointillist masterpiece <a href="http://www.artic.edu/aic/collections/artwork/27992">on display at the Art Institute</a>, "A Sunday on la Grande Jatte.")</p><p><strong>DRIES: </strong>The curious part of me wants accuracy, but the person who knows "what good theater is" is reminded that this isn't a PBS documentary, and we don’t need to see Rothko painting the way he did back in the day. I keep thinking of an artist like Pollock, who’s physicality while working was so famous, accuracy was required, and definitely delivered, in a movie like&nbsp;<em>Pollock</em>.</p><p><strong>AMER:</strong> Yeah, same for me. As someone who has painted for a long time it was interesting to see what they got right - and what they didn’t. I tried not to be distracted by it but I think you saw me squirm in my seat a few times! I enjoyed watching the depiction of the way they would mix various pigments to achieve the perfect shade of red, but when the assistant is shown stretching a canvas he does it incorrectly, in a way that would result in the canvas puckering and bunching. Also, most of their action is unexplained. At one point they drop an egg into the paint mixture: It’s perhaps an old egg tempera technique, but I wondered what that would look like to the untrained eye.</p><p><strong>DRIES:</strong> One thing I’ll say is that it felt like they could have been more physical with the artwork, and that the standing around and talking sometimes would have felt more natural if they've actually done some of the techniques of his work more extensively.</p><p><strong>AMER:</strong> Yes, they show very little actual painting on stage, and very little action. The exception is the scene where they are shown vigorously applying a base-coat of dark red paint. It was a rare moment of physical action in an otherwise kind of low-action play. It stands out, but it was very exaggerated, very “staged” if you will, and felt more like it was played for comedy.</p><p style="text-align: center;"><img alt="" class="caption" src="http://llnw.wbez.org/blog/insert-image/2011-October/2011-10-12/Production_11.jpg" style="width: 500px; height: 341px;" title="(Courtesy of Goodman Theatre)"></p><p><strong>DRIES:</strong>&nbsp;And so, like arguably most modern theater, <em>Red </em>takes liberties with its subject and the representation. But it begs the question: How helpful is it for the viewer? In this case, we do know that Rothko was commissioned by the Seagram Company to create a series of murals for the Four Seasons restaurant in New York. And we know that Rothko did the paintings, but eventually returned the money, apparently after a crisis of consciousness. But there’s actually little historical research into what went through Rothko’s mind while this was happening, and why he had the change of heart. That, however, is the entire basis of Logan’s play. And throughout <em>Red</em>, Logan crafts a wide-ranging philosophical and emotional dialogue between Rothko and the fictional studio assistant named Ken. It’s a neat trick, but is it even Rothko's story once all is said and done? Throughout the play, I wondered why the unsettled feeling I had was similar to the one I get when watching a biopic like <em>The Fighter</em> or <em>Ray</em>, where the intro titles read "based on a true story".</p><p><strong>AMER:</strong> Yeah, I think the reason this “historical fiction” techniq ue worked for me is because it’s used to explore these issues of art and commerce. The play is set in the historical moment when abstract expressionism is about to be overtaken by Pop Art as the dominant visual art culture. Artists like Andy Warhol and Roy Lichtenstein are very consciously and purposely using corporate imagery and mass-production techniques in a fine-art context, blurring the lines between art and commerce, and one main question raised by the play, which is very much debated in real life, is: Is art corrupted when it’s sold, purchased or otherwise monetized? Can money corrupt not just the art, but the artist? In the play Rothko’s character argues, yes, and says that the tragedy of Pollock’s life was his success and the money that came with it (referred to in shorthand by Pollock’s fancy car, in which he ultimately died). The assistant character agrees that money is a corrupting influence, and later argues that Rothko is hypocritical for accepting the Philip Johnson commission. They debate whether hanging the paintings in a ritzy restaurant corrupts or poisons the work in a way that having the paintings on display in a “pure” setting, like a chapel, doesn’t. By the end of the play, Rothko comes to agree with this perspective by rejecting the commission. This theme also ties to the relatively modern notion that artists must sacrifice material wealth and comfort in order to make great work. This wasn’t necessarily the case say, during the Renaissance, when great artists had wealthy patrons or worked out of the court.</p><p><strong>DRIES:</strong>&nbsp;Yes, and above all, it's when Rothko and Ken are debating the politics of the art world that I felt the most deeply immersed in the play - and the production rang the most "true" to me.&nbsp; We've clearly both kept thinking about <em>Red</em> in the days since seeing it and, in the end, that might be the ultimate testament to its artistic power.</p><p><em>Red</em>&nbsp;continues at the&nbsp;<a href="http://www.goodmantheatre.org/" style="color: rgb(0, 104, 150);" target="_blank">Goodman Theatre</a>&nbsp;through Oct. 30.</p></p> Wed, 12 Oct 2011 14:22:00 -0500 http://www.wbez.org/blog/onstagebackstage/2011-10-12/wheres-reality-rothko-red-93077 Critics theater picks: Seeing 'Red', an updated Greek tragedy, and married dancers http://www.wbez.org/blog/onstagebackstage/2011-09-22/critics-theater-picks-seeing-red-updated-greek-tragedy-and-married- <img typeof="foaf:Image" src="http://llnw.wbez.org//blog/photo/2011-September/2011-09-22/Raven_by_George_Ruhe_.jpg" alt="" /><p><p><em>Kelly and Jonathan picked two of the same plays this week, so let's see what they both say about them...</em></p><p><u><strong>Kelly:</strong></u> Then, though the official opening is next week, Sunday is the Jewish press opening of <a href="http://www.goodmantheatre.org/season/Production.aspx?prod=124"><em>Red</em> </a>(though if God is willing to have us spend Christmas in a Chinese restaurant, She probably wouldn't mind our spending Rosh Hashanah in a theater). John Logan's play about the painter Mark Rothko (speaking of Jews) won the Tony last year, and is now onstage or in process at nearly every regional theater in the country. (Interesting choice to let a dozen nonprofit productions bloom instead of creating a single commercial national tour. Maybe this is the playwright's gift to the nonprofit theater community in which he had his start.) I'm a huge fan of Rothko as well as Logan, having seen a retrospective of the painter's work at the Guggenheim which began at the base of the central ramp with early figurative efforts and pulled the viewer further and further up as Rothko clarified and simplified and purified, until at the very top he was working with pure light. It will be fascinating to see how this pilgrim's progress is expressed on the stage. Through October 23 at the Goodman; 1 hour 40 minutes without intermission (hey, art means suffering); tickets $54-$74 but half price on the day of performance and only $10 for students.</p><p><u><strong>Jonathan:</strong></u><strong> </strong>John Logan made his name and early fame as a Chicago playwright in counterpoint to the stylistic clout of then-reigning champ David Mamet: Logan's plays were literate, educated and often played with structure and theatrical device vs. the blue-collar, straight-ahead, slam-bang Mamet. Logan's fondness for historical subject matter and biography served him well in Hollywood (<em>Gladiator</em>,&nbsp;<em>The&nbsp;Aviator</em>,<em>&nbsp;The Last Samurai</em>) and serve him well again in his first play in far-too-many years,&nbsp;<em>Red</em>, a smart, stimulating two-character play about American abstract artist Mark Rothko. Having won six Tony Awards last year,&nbsp;<em>Red&nbsp;</em>now is being produced by 30 regional theaters, with our own Goodman Theatre first out of the gate. Artistic director Robert Falls is at the helm.</p><p><img alt="" src="http://llnw.wbez.org/blog/insert-image/2011-September/2011-09-23/poster_mourningbecomeselectra.jpg" style="margin-left: 10px; margin-right: 10px; margin-top: 10px; margin-bottom: 10px; float: left; width: 194px; height: 300px; " title=""><u><strong>Kelly:</strong></u> Then on Monday Remy Bumppo opens <em><a href="http://www.remybumppo.org/mourning-becomes-electra-pages-363.php">Mourning Becomes Electra</a>, </em>directed by new artistic director Timothy Douglas but starring company veterans Annabel Armour, David Darlow and Nick Sandys. This version of O'Neill's Civil War trilogy condenses 9 hours into a single three-act evening, and what makes it remarkable is that unlike most O'Neill the play focuses on the women: their strength, their decisions and their suffering. At the Greenhouse on Lincoln; Wednesday-Sunday through October 30; tickets $35-$40.&nbsp;</p><p><u><strong>Jonathan:</strong></u> Remy Bumppo Theatre introduces its new artistic director, Timothy Douglas, with its first Eugene O'Neill work, his mighty <em>Mourning Becomes Electra</em>, elaborately inspired by the Greek tragedies of Aeschylus but transformed to post-Civil War America. Originally written in three nearly-full-length parts, it frequently has been reduced in various ways, and so it is at Remy Bumppo where the production will run about three hours. Properly honed and calibrated, the tale of the Mannon family and passionately calculating Lavinia can be Electra-fying.&nbsp;</p><p><strong>Kelly adds:&nbsp;</strong></p><p>This is big-deal opening weekend, so what I'm looking forward to are the big-deal openings, specifically:</p><p><a href="http://www.writerstheatre.org/boxoffice/production?id=0081"><em>The Real Thing</em></a>, tonight (Thursday) at Writers' Theatre. This Tom Stoppard play about a playwright's collapsing marriage hit so close to home when I saw its London premiere that I haven't been able to make myself see it since--and that was in 1982. What's tempting me back (other than a serious case of "Oh, get over it, already!") is the personnel bringing it to life this time. Director Michael Halberstam is nearly unmatched in his ability to handle intellectual material that's also deeply emotional. And if leading man Sean Fortunato (most recently brilliant in Writers'&nbsp;<em>Travels With My Aunt</em>) can't make the quicksilver leaps from comedy to sobriety and back again required by Stoppard's difficult text, no one can. Tuesdays-Sundays through November 20 at the "big" theater (not the back of the bookstore), 325 Tudor Court in Glencoe; tickets $45-$65.&nbsp;</p><p><u><strong>Laura Molzahn</strong></u></p><p>Two small-ish companies—Cerqua Rivera Dance Theatre and Inaside Chicago Dance—hit the big time <a href="http://www.harristheaterchicago.org/events/2011-2012-season/cerqua-rivera">one night only (for now), Saturday at the Harris</a>. As part of the <a href="http://audiencearchitects.com/newstages/">New Stages for Dance Initiative</a>, Dance/USA and MetLife (working in Chicago with Audience Architects) have provided $42,500 for 16 local companies to get “affordable access to quality venues.” This is the first of eight shows. Highlights include a world-premiere collaboration between the two artistic directors, Wilfredo Rivera and Richard A. Smith, set to an original Afro-Latin/R&amp;B composition by Stu Greenspan.&nbsp;</p><p style="text-align: center;"><img alt="" class="caption" src="http://llnw.wbez.org/blog/insert-image/2011-September/2011-09-22/Raven_by_George_Ruhe_.jpg" style="width: 600px; height: 399px;" title="Eiko in 'Raven'"></p><p>Eiko &amp; Koma—the married couple who’ve been life-and-work partners for 40 years—deserve some kind of prize. They already got a MacArthur “genius” grant, in 1996, but I think they should be pronounced Mr. and Mrs. America too. If only Japanese-Americans who get naked in public were allowed to represent “American values”! As part of their nationwide retrospective, <a href="http://www.mcachicago.org/performances/perf_detail.php?id=735">the duo perform “Regeneration” in the MCA Theater</a>, tonight through Saturday, including their first-ever fully nude piece, <em>Night Tide</em>(1984). Pueblo musician Robert Mirabal plays live during their newest, <em>Raven&nbsp;</em>(2010).</p><p><a href="http://www.chicagomovingcompany.org/otherfest.html">The Other Dance Festival</a>, approaching the third of its four programs this weekend, flash-mobs Saturday, noon, at the <a href="http://www.randolphstreetmarket.com/">Randolph Street Market</a>, 1340 W. Washington. Free, and you can check out the cool vintage and “modern vintage” stuff.&nbsp;</p></p> Thu, 22 Sep 2011 16:22:00 -0500 http://www.wbez.org/blog/onstagebackstage/2011-09-22/critics-theater-picks-seeing-red-updated-greek-tragedy-and-married- Playwright John Logan paints Chicago 'Red' http://www.wbez.org/episode-segments/2011-09-15/playwright-john-logan-paints-chicago-red-92029 <img typeof="foaf:Image" src="http://llnw.wbez.org//segment/photo/2011-September/2011-09-15/John Logan.jpg" alt="" /><p><p><a href="http://www.imdb.com/name/nm0517589/" target="_blank">John Logan</a> made a name for himself as a screenwriter on big Hollywood films - <em>Gladiator</em>, <em>Star Trek: Nemesis</em> and the forthcoming <em>James Bond</em>. But he got his start writing plays here in Chicago. So, the American premiere of his play <a href="http://www.goodmantheatre.org/season/Production.aspx?prod=124&amp;gclid=CPXGrrm_n6sCFYIBQAodUxxtlA" target="_blank"><em>Red</em></a> at the <a href="http://goodmantheatre.org/" target="_blank">Goodman Theatre</a> was a return to his writerly roots.</p><p>The two-man play follows artist Mark Rothko and his young assistant as Rothko struggles over a huge commission that could seal or sully his career. <em>Eight Forty-Eight's</em> Alison Cuddy sat down with Logan last week, and of course, asked him to begin by talking about his own struggles as a student at <a href="http://www.northwestern.edu/" target="_blank">Northwestern University</a>.</p><p><a href="http://www.goodmantheatre.org/season/Production.aspx?prod=124&amp;gclid=CLeVvd7An6sCFckEQAodHF79lw" target="_blank"><em>Red</em></a> opens on Saturday and runs through Oct. 23 at the<a href="http://www.goodmantheatre.org/season/Production.aspx?prod=124&amp;gclid=CLeVvd7An6sCFckEQAodHF79lw" target="_blank"> Goodman Theatre</a>.</p><p><em>Music Button: The Funk Ark, "Carretera Libre", from the album From the Rooftops, (ESL)</em></p></p> Thu, 15 Sep 2011 14:44:00 -0500 http://www.wbez.org/episode-segments/2011-09-15/playwright-john-logan-paints-chicago-red-92029 Daily Rehearsal: Chicago theaters play switcheroo with their homes http://www.wbez.org/blog/onstagebackstage/2011-08-26/daily-rehearsal-chicago-theaters-play-switcheroo-their-homes-91099 <img typeof="foaf:Image" src="http://llnw.wbez.org//blog/photo/2011-August/2011-08-26/IMG_2503_Large.jpg" alt="" /><p><p><span style="font-size: 14px;"><span style="font-family: georgia,serif;"><strong>1. Hedy Weiss of the <a href="http://www.suntimes.com/entertainment/stage/7254580-421/4-small-theater-companies-open-fall-seasons-with-intriguing-projects.html">Sun-Times</a> </strong></span></span>and the <a href="http://chicagolikealocal.com/2011/08/23/summer-in-chicagos-storefront-theatres/">Chicago Theater Addict</a> (by way of Chicago Like A Local) are pushing some new "smaller" theater productions for the fall (also known as "storefront"). The one they agree on is&nbsp;<em><a href="http://www.dcatheater.org/shows/show/corazon_de_manzana/">Corazón&nbsp;de Manzana</a><b>&nbsp;</b></em>by Mortar Theatre Company at DCA Theater. The play explores the "femicide" of women in Juarez, Mexico.</p><p><span style="font-size: 14px;"><span style="font-family: georgia,serif;"><strong>2. There have been lots of switch-ups for theater's</strong></span></span> looking for a home. <a href="http://www.theartistichome.org/">Artistic Home</a> goes to <a href="http://www.suntimes.com/entertainment/stage/7278582-421/new-home-for-the-artistic-home.html">Stage 773</a>, and the&nbsp;<a href="http://theaterland.com/CCPA11/" target="_blank">Chicago Center for the Performing Arts</a>&nbsp;is probably going to become a church.&nbsp;This means Baliwick's new production of <em>Violet </em>will be moving to the Mercury Theatre.</p><p><span style="font-size: 14px;"><span style="font-family: georgia,serif;"><strong>3. Timeline's <a href="http://www.timelinetheatre.com/walk_in_the_woods/"><em>A Walk in the Woods</em></a></strong></span></span> opened this past weekend at Theater Wit. The play takes place during the Cold War, and uses a real-life ocurrance about arms negotiations that happened to take place during a walk in the woods (get it?!). The Reader's <a href="http://www.chicagoreader.com/chicago/theater-walk-in-the-woods-cold-war/Content?oid=4501805">Tony Adler says</a> that lead actress and company member Janet Ulrich Brooks "is just plain brilliant." Check out a snippet of her performance <a href="http://www.timelinetheatre.com/walk_in_the_woods/video.htm">here </a>if you please.</p><p><img alt="" class="caption" src="http://llnw.wbez.org/blog/insert-image/2011-August/2011-08-26/EnidSmith_Photo_by_Matt-Gla.jpg" style="margin: 10px; float: left; width: 200px; height: 200px;" title="(Photo by Matt Glavin)"><span style="font-size: 14px;"><span style="font-family: georgia,serif;"><strong>4. Laura Molzahn <a href="http://www.chicagoreader.com/chicago/iced-coffee-enid-smith-lauren-warnecke/Content?oid=4502454">recommends </a><a href="http://www.linkshall.org/11-pp-aug.shtml"><em>Iced Coffee</em></a> </strong></span></span>this weekend -- not the drink, but&nbsp;Lauren Warnecke&nbsp;and&nbsp;Enid Smith's new piece at Links Hall. Both performances in <em>Iced Coffee</em> sound interesting; "Pier" is described as having&nbsp;"an unnerving score" and "Grind"&nbsp;"is a layered treatment of artistic success that incorporates reality and fantasy. Dancing to pop music of various eras, four women in heels and housedresses caricature the ideal 50s housewife." Heels...oh my.</p><p><span style="font-family: georgia,serif;"><span style="font-size: 14px;"><strong>5. The man playing Mark Rothko</strong></span></span> in the Goodman's production of <em>Red</em>, Ed Gero, is <a href="http://geroasrothko.wordpress.com/">blogging about it</a>. Most recently, he's gotten to see a lot of cool art and is clearly doing his research. Keep following his updates as the show nears.</p><p>Questions? Tips? Email <a href="mailto:kdries@wbez.org">kdries@wbez.org</a>.</p></p> Fri, 26 Aug 2011 16:13:00 -0500 http://www.wbez.org/blog/onstagebackstage/2011-08-26/daily-rehearsal-chicago-theaters-play-switcheroo-their-homes-91099 Morning Rehearsal: Chicago theater 6/8 http://www.wbez.org/blog/onstagebackstage/2011-06-08/morning-rehearsal-chicago-theater-68-87567 <p><p>1. Yesterday's <a href="http://www.wbez.org/blog/onstagebackstage/2011-06-07/morning-rehearsal-chicago-theater-57-87513">Jeff Awards confusion</a> left Brenda Didier without an award and a little confused. Now&nbsp;<a href="http://leisureblogs.chicagotribune.com/the_theater_loop/2011/06/jeff-committee-didiers-jeff-was-legit.html">Jeff spokesman Jeffrey Marks is saying</a> that there were always supposed to be two winners in the category of Best Director in a Musical.&nbsp;"It should have been two winners," said Marks. (Didier) is getting a plaque today with her name and show." Apparently, there was a statistical tie, and the Jeff Awards is investigating why it appeared as though Didier was not getting an award.</p><p>2. The Goodman Theatre's cast of <a href="http://www.goodmantheatre.org/season/Production.aspx?prod=124"><em>Red </em></a>for the 2011-12 season has been announced. Rothko will be played by Edward Gero, and his assistant will be played by Patrick Andrews. In case you feel like people have been left out, think again; the play has only two characters.</p><p style="text-align: center;"><img alt="" class="caption" height="309" src="http://llnw.wbez.org/blog/insert-image/2011-June/2011-06-08/Leapfest8Frog1.jpg" title="" width="400"></p><p>3. On June 14, <a href="http://www.stagelefttheatre.com/current-season/leapfest-8/">LeapFest 8 </a>opens at Stage Left theater. Expect productions about John Wilkes Booth, Iraq war vets, Chicago reporters, an Indian village crippled with drought, and cancer. Three plays from previous years of LeapFest have received Jeff Awards for Best New Work.</p><p>4.&nbsp;<a href="http://thepapermacheteshow.com/party/" style="color: rgb(2, 122, 198); text-decoration: none;">Party for The Paper Machete</a>! The WBEZ partner in crime and live magazine has&nbsp;<a href="http://thepapermacheteshow.com/2011/06/07/venue-change/" style="color: rgb(2, 122, 198); text-decoration: none;">moved locations</a>, and is raising funds. On June 25, donate a mere $20 to keep this great new addition to Chicago culture alive. Expect performances and music that are TBA.</p><p style="text-align: center;"><img alt="" class="caption" height="280" src="http://llnw.wbez.org/blog/insert-image/2011-June/2011-06-08/Liz-Lerman-Lise-Metzger.jpg" title="(Lisa Metzger)" width="278"></p><p>5. We're all focused on summer, but the <a href="http://www.chicagohumanities.org/">Chicago Humanities Festival</a> is eagerly adding panelists for their 22nd annual event this fall. One of the latest is the&nbsp;Liz Lerman Dance Exchange, which will perform&nbsp;<em>The Matter of Origins</em>, "a new multimedia work that explores the physics and origins of the universe, humankind's technological advances." The theme for the entire fesitval is tech-knowledge.</p><p>Questions? Tips? Email kdries@wbez.org.</p></p> Wed, 08 Jun 2011 14:09:00 -0500 http://www.wbez.org/blog/onstagebackstage/2011-06-08/morning-rehearsal-chicago-theater-68-87567