WBEZ | Chicago Shakepeare Theater http://www.wbez.org/tags/chicago-shakepeare-theater Latest from WBEZ Chicago Public Radio en Worldview: Federal judge dismisses case against Argentine president http://www.wbez.org/programs/worldview/2015-02-27/worldview-federal-judge-dismisses-case-against-argentine-president <p><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/AP508183570456.jpg" style="height: 413px; width: 620px;" title="Protestors gather in front of the Cabildo Museum under a heavy rain for a march organized by federal prosecutors one month after the mysterious death of Argentine prosecutor Alberto Nisman, in Buenos Aires, Argentina, Wednesday, Feb. 18, 2015. (AP Photo/Rodrigo Abd)" /></div><p><iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/193403542&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_artwork=false&amp;show_user=true&amp;show_reposts=false" width="100%"></iframe><span style="color: rgb(51, 51, 51); font-family: Arial, sans-serif; font-size: 23.9999980926514px; line-height: 22px;">Federal judge dismisses case against Kirchner</span></p><p><span id="docs-internal-guid-a33cc965-ccd3-6eb5-37b9-4e7579c39a21">An Argentine judge has dismissed the case filed by late prosecutor Alberto Nisman accusing the Argentine president of covering up the Iranian government&rsquo;s involvement in a 1994 terrorist attack in Buenos Aires. This comes one month after Nisman was found dead in his apartment under mysterious circumstances. Tensions continue to grow for President Cristina Fernandez de Kirchner after thousands of protestors flooded the streets of Buenos Aires on February 18, angry about how the case has been handled. Peter Prengaman, Southern Cone news editor for the Associated Press gives us an update on the case.</span></p><p><span><strong>Guest:&nbsp;</strong><em><a href="https://twitter.com/peterprengaman">Peter Prengaman</a> is the Southern Cone news editor for the <a href="https://twitter.com/AP">Associated Press</a>.</em></span></p><p>&nbsp;</p><p><iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/193403807&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_artwork=false&amp;show_reposts=false" width="100%"></iframe><span style="color: rgb(51, 51, 51); font-family: Arial, sans-serif; font-size: 23.9999980926514px; line-height: 22px;">Milos Stehlik with Shlomi Elkabetz of &#39;Gett&#39;</span></p><p><span id="docs-internal-guid-61968bb6-ccd7-6cc0-8e46-723e3f31c815">&ldquo;Gett: The Trial of Viviane Amsalem&rdquo; is a film co-directed by the Israeli brother/sister team of Ronit (starring) and Shlomi Elkabetz. The film primarily takes place in a courtroom and reveals the difficulties &nbsp;women face to get a divorce in Israel. WBEZ Film Contributor, Milos Stehlik, sat down with Shlomi Elkabetz to discuss the process of making &lsquo;Gett&rsquo; and what Elkabetz thinks the film reveals about Israeli sensibilities on issues such as gender, ethnicity and culture.</span></p><p><span><strong>Guests:&nbsp;</strong></span></p><p><em><a href="https://twitter.com/milosstehlik">Milos Stehlik</a> is the director of <a href="https://twitter.com/facetschicago">Facets Chicago</a> and the WBEZ film contributor.</em></p><p><em>Shlomi Elkabetz is the co-director of the film &#39;<a href="https://www.google.com/webhp?sourceid=chrome-instant&amp;rlz=1C1CHMO_enUS583US583&amp;ion=1&amp;espv=2&amp;ie=UTF-8#q=gett%20film">Gett.</a>&#39;</em></p><p><iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/193404118&amp;color=ff5500&amp;auto_play=false&amp;show_artwork=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false" width="100%"></iframe><span style="color: rgb(51, 51, 51); font-family: Arial, sans-serif; font-size: 23.9999980926514px; line-height: 22px;">Weekend Passport: Dunsinane at the Chicago Shakespeare Theatre</span></p><p>Each week global citizen Nari Safavi helps listeners plan their international weekend. This week he&rsquo;ll tell us about a production form the National Theatre of Scotland and a Brazilian dance troupe called Grupo Corpo.</p><p><strong>Guests:&nbsp;</strong></p><p><em>Nari Safavi is one of the co-founders of the <a href="http://www.pasfarda.org/default.aspx">PASFARDA Arts &amp; Cultural Exchange</a></em></p><p><em><a href="https://twitter.com/NTS_Neil">Neil Murray</a> is the Executive Producer of the <a href="https://twitter.com/NTSonline">National Theatre of Scotland</a></em></p><p><em><a href="https://twitter.com/DavieGreig">David Greig</a> is a playwright and writer of Dunsinane.&nbsp;</em></p></p> Fri, 27 Feb 2015 14:51:00 -0600 http://www.wbez.org/programs/worldview/2015-02-27/worldview-federal-judge-dismisses-case-against-argentine-president Beyond These Times: Reimagining School http://www.wbez.org/series/chicago-amplified/beyond-these-times-reimagining-school-106940 <p><p>Golden Apple, Chicago Shakespeare Theater and National-Louis University present futurist voices in the dialogue on improving the educational experience for school children. They address what school in the future must look like to prepare students for rapid advances in technology, globalization, and economy. The moderator for this series is WBEZ&rsquo;s <strong>Alison Cuddy</strong>. The first symposium featured noted Arizona State Professor<strong> Dr. James Paul Gee</strong>, and <strong>Stephanie Pace Marshall</strong>, President Emerita of the Illinois Math and Science Academy.</p><p>&nbsp;</p><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/CRS-webstory_3.gif" title="" /></div><div class="image-insert-image ">Recorded live on March 18, 2013 at the Chicago Shakespeare Theater.</div></p> Mon, 18 Mar 2013 15:59:00 -0500 http://www.wbez.org/series/chicago-amplified/beyond-these-times-reimagining-school-106940 Mike Tutaj: Crazy-good projections designer for 'Sweeney Todd' http://www.wbez.org/blog/onstagebackstage/2011-08-31/mike-tutaj-crazy-good-projections-designer-sweeney-todd-91290 <img typeof="foaf:Image" src="http://llnw.wbez.org//blog/photo/2011-August/2011-08-31/Mike Tutaj.jpg" alt="" /><p><p> <style type="text/css"> <!--{cke_protected}{C}%3C!%2D%2D%0A%20%2F*%20Font%20Definitions%20*%2F%0A%40font-face%0A%09%7Bfont-family%3A%22Times%20New%20Roman%22%3B%0A%09panose-1%3A0%202%202%206%203%205%204%205%202%203%3B%0A%09mso-font-alt%3A%22Times%20New%20Roman%22%3B%0A%09mso-font-charset%3A0%3B%0A%09mso-generic-font-family%3Aauto%3B%0A%09mso-font-pitch%3Avariable%3B%0A%09mso-font-signature%3A50331648%200%200%200%201%200%3B%7D%0A%20%2F*%20Style%20Definitions%20*%2F%0Ap.MsoNormal%2C%20li.MsoNormal%2C%20div.MsoNormal%0A%09%7Bmso-style-parent%3A%22%22%3B%0A%09margin%3A0in%3B%0A%09margin-bottom%3A.0001pt%3B%0A%09mso-pagination%3Awidow-orphan%3B%0A%09font-size%3A18.0pt%3B%0A%09font-family%3A%22Times%20New%20Roman%22%3B%7D%0Atable.MsoNormalTable%0A%09%7Bmso-style-parent%3A%22%22%3B%0A%09font-size%3A10.0pt%3B%0A%09font-family%3A%22Times%20New%20Roman%22%3B%7D%0A%40page%20Section1%0A%09%7Bsize%3A8.5in%2011.0in%3B%0A%09margin%3A1.0in%201.25in%201.0in%201.25in%3B%0A%09mso-header-margin%3A.5in%3B%0A%09mso-footer-margin%3A.5in%3B%0A%09mso-paper-source%3A0%3B%7D%0Adiv.Section1%0A%09%7Bpage%3ASection1%3B%7D%0A%2D%2D%3E--></style> </p><p>“Rachel [Rockwell] really wanted to have the blood special effects happening during the murders. And red as a color doesn’t really pop very well in video, unless you have this crazy-good projector—but we didn’t have that one.”</p><p><img alt="" src="http://llnw.wbez.org/blog/insert-image/2011-August/2011-08-31/Mike Tutaj.jpg" style="width: 500px; height: 332px;" title=""></p><p>Before I talked with projections designer Mike Tutaj about his work on <a href="http://www.drurylaneoakbrook.com/">Drury Lane’s <em>Sweeney Todd</em></a>, I took the digital backdrops more or less for granted. I just thought, “Cool! I don’t have to see pretend blood coming out of people, but there’s still a sufficiently disgusting stage effect that gets the point across.” When Sweeney’s arch-nemesis, the judge, bought the farm, it was extra-disgusting.</p><p>“[Director] Rachel made a specific request for it to be a little more gory,” says Tutaj. “I had about two seconds to introduce something before it would be competing with stage light. So, instead of sluicing down, it was ‘burst, burst, burst.’”</p><p>Don’t worry: it’s not all gross. This brilliant staging of Sondheim’s classic has other, less upsetting projections to look at, such as Tutaj’s abstracted, subtly hazy takes on Victorian wallpaper.&nbsp;&nbsp;</p><p>A polymath, Tutaj, 34, likes to make verbal side trips into such subjects as how the Jesuits influenced street layout in Minneapolis. A Barrel of Monkey keyboardist, he taught himself to do projection design after training in sound production.</p><p>“With my background in sound, I know that sound and video elements really need to go together,” he says. “In some [smaller] shows, everything is synched through one computer that fires lights, video, and sound. It’s like: After 1 second, fire this. After 1.5 seconds, fire this. With the design for theater, versus a movie, you have the variable of actors’ timing. They’re going to read the audience, react to the space, and react to the moment each night. Everything has to be cued on their gesture, and you have to make that believable and reliable so you get the same experience and intent, even if it happens ten seconds later in the show.”</p><p>Tutaj’s role changes drastically from one gig to the next. “Sometimes it’s special effects, sometimes it’s storytelling, sometimes it’s playing a role with character, sometimes it’s digital scenery.” He recently designed <a href="http://www.timelinetheatre.com/walk_in_the_woods/">the <em>Walk in the Woods</em> projections for Timeline</a> (where he’s an associate artist). “That was a first for me,” he says. “I was a full-time scenic element, plus the storytelling of changing the seasons through details like the leaves falling or changing or snow falling. It’s like a little palate cleanser between the scenes—a little ginger between the sushi.”</p><p>Timeline’s <em>In Darfur</em>, Tutaj says, was a real challenge. “I had to shoot a car chase! Because the playwright wrote a car chase into it! It had to look like the desert in Darfur, and we had to produce it in January in the Midwest. I went up north with the actors and the director, where we found a farm road and angled the camera from the point of view of a character in the backseat. So, looking up, we saw sun and heat.” He colored that footage and added stock footage of a vehicle running through the desert: “A little bit of hopefully clever trickery.”</p><p>One upcoming project—he’s got several—is <a href="http://www.chicagoshakes.com/main.taf?p=2,65"><em>The Tempest</em> for Chicago Shakes and Redmoon</a>. Opening in January, it combines live performance and live puppetry with Tutaj’s videography of shadow puppets. You get to see the shipwreck.</p><p>Projection design is “undoubtedly” being used more often, Tutaj says. “The technology is getting cheaper—it’s easier to do, and it costs less. Part of it too is audience expectation. If you think of what a Broadway show is, it will have elements of the rock concert. What was once high-tech was, like, a helicopter for <em>Miss Saigon</em>. Now it’s like: ‘Oh, you need a video wall.’ I just saw U2, and they had a million video screens. Directors who are new to the scene understand what the technology can do: ‘Wow, this isn’t something to be afraid of.’ Or they grew up seeing shows with technology. They understand the power of what it can do.”</p></p> Wed, 31 Aug 2011 12:30:00 -0500 http://www.wbez.org/blog/onstagebackstage/2011-08-31/mike-tutaj-crazy-good-projections-designer-sweeney-todd-91290