WBEZ | Chicago Shakespeare http://www.wbez.org/tags/chicago-shakespeare Latest from WBEZ Chicago Public Radio en Don't-Miss List September 13-19: A pointillist painting comes alive http://www.wbez.org/blogs/onstagebackstage/2012-09/dont-miss-list-september-13-19-pointillist-painting-comes-alive <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/Sunday%20Art%20Instutute%20Flickr%20Phil%20Roeder.jpg" style="height: 414px; width: 620px; " title="'Sunday in the Park with George' comes alive at the Art Institute of Chicago Sunday. (Courtesy of Chicago Shakespeare Theater)" /></div><p><u>Dueling Critics x 3, all FREE!</u></p><p>The latest edition of <a href="http://soundcloud.com/wbez/sets/the-dueling-critics-podcast">our podcast</a> is out:&nbsp;This week we review the premier of Charles Mee&#39;s&nbsp;<em>Iphigenia 2.0</em> at Next Theatre in Evanston. Then, check out our review of&nbsp;<em>Sweet and Sad</em>&nbsp;at Profiles Theatre from our appearance on <em>The Morning Shift </em>Wednesday.&nbsp;Next week&#39;s podcast will review&nbsp;<em>33 Variations</em> at TimeLine Theatre.</p><p>And don&#39;t forget: You can follow us on Twitter now&nbsp;<a href="https://twitter.com/WBEZDuelingCrit">@WBEZDuelingCrit</a>. &nbsp; &nbsp;</p><p><iframe frameborder="no" height="300" scrolling="no" src="http://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Fplaylists%2F2478362&amp;show_artwork=true" width="100%"></iframe><br />&nbsp;</p><p><u>Sunday in the Museum with George, Sunday September 16th at 11 a.m., the Grand Staircase at the Michigan Avenue entrance of The Art Institute of Chicago, FREE with museum admission.</u></p><p>So you think you&rsquo;ve seen Georges Seurat&rsquo;s famous painting &quot;A Sunday on the Island of La Grande Jatte &ndash;1884&quot;? You know, the pointillist one that inspired Stephen Sondheim&rsquo;s musical <em>Sunday in the Park with George</em>? Well, see it again this Sunday when the Art Institute and Chicago Shakespeare collaborate to present a living version of the picture. The cast of the musical, which opens in ten days on Navy Pier, will strut and fret (and sing!) their hour upon the stair and then vanish, leaving behind a portrait of La Grande Jatte completely devoid of people. (The mysteriously empty painting will be auctioned off to benefit <a href="http://www.chicagoshakes.com/main.taf?p=7,10,4">Team Shakespeare</a>, the company&rsquo;s program for teens.) If your Sunday mornings are sacred to pajamas and the <em>New York Times</em>, wait for the musical at Chicago Shakespeare, directed by Gary Griffin, one of the nation&rsquo;s premier Sondheim interpreters. If it&#39;s half as good as Griffin&#39;s ChiShakes productions of <em>Follies</em> or <em>Pacific Overtures</em>, it will be sensational.&nbsp;&ndash;KK<br /><br /><u><em>The Amen Corner</em>, eta Creative Arts, 7558 S. South Chicago Avenue, starts previews Thursday and plays Thursday-Sunday through October 21.</u><br /><br />James Baldwin&rsquo;s play about the generational tensions in an African-American church opens what eta aptly styles a season of &ldquo;Resurrected Works and Reclaimed Musicals.&rdquo; This 1950s drama is a foundational work of black theater, and the passage of 60 years has robbed it of none of its power, particularly when Baldwin&rsquo;s words are combined with gospel music. Eta always assembles a strong cast; now Artistic Director <a href="http://www.runakojahi.com/">Runako Jahi </a>directs a piece worthy of the group&rsquo;s talents.&nbsp;&ndash;KK</p><p><u><em>Hamlet, </em><a href="http://www.writerstheatre.org">Writers&#39; Theatre</a>, 325 Tudor Court, Glencoe; 847-242-6000; $60-$70; through Nov. 11.</u></p><p>Richard Burbage, the original Prince Hamlet in 1601, was far older than the university student Hamlet is supposed to be, thus establishing a pattern followed for over 400 years. It&#39;s common for Hamlet to be played by men (and a few women) in their 30s, 40s and well beyond. The slim and perpetually boyish Scott Parkinson, although far past his frat boy days, is playing the title role in<strong><em> Hamlet</em></strong> at Writers&#39; Theatre, and it&#39;s a welcome return for a fine actor who&#39;s been away from Chicago for five years. Even better, director Michael Halberstam has surrounded Parkinson with a distinguished veteran cast, laced with Jefferson Award winners, among them Ross Lehman (Polonius), Shannon Cochran (Gertrude), Larry Yando (the Ghost) and Timothy Edward Kane (Laertes). Substantially edited, this production will run just under three hours (with two intermissions) and will offer a decidedly intimate experience in Writers&#39; Theatre&#39;s 104-seat playhouse. FYI: The Dueling Critics will discuss this production of&nbsp;<em>Hamlet</em>&nbsp;in our Oct. 5 podcast.&nbsp;&ndash;JA</p><p><u><em>The Magic Flute</em>, <a href="http://www.chicagooperatheater.org">Chicago Opera Theater</a>, Harris Theater, 00 E. Randolph; 1-312-704-8414; $25-$125; through Sept. 23.</u></p><p>Mozart had an instinctive understanding of theater, which is not true of all opera composers, and he was smart enough (at least in his few mature years) to choose skillful men of theater as his co-authors, among them the great Lorenzo Da Ponte and also Emanuel Schikaneder. They wrote the libretto for <strong><em>The Magic Flute</em></strong>, a great success that premiered less than three months before Mozart died in 1791. It&#39;s held the stage ever since and has been subject to myriad interpretations by great conductors and directors (such as Ingmar Bergman), drawn not only to its musical glories but also its fairytale story of magic, love and spiritual purity. This staging at Chicago Opera Theater, sung in English, is the first new production of <em>The Magic Flute</em> seen in Chicago in close to 20 years. It also is the first production under the tenure of COT&#39;s new general director, Andreas Mitisek. Although his immediate predecessor selected it and put the production team in place, it&#39;s Mitisek who has brought the vision to fruition.&nbsp;&ndash;JA</p></p> Thu, 13 Sep 2012 11:49:00 -0500 http://www.wbez.org/blogs/onstagebackstage/2012-09/dont-miss-list-september-13-19-pointillist-painting-comes-alive The You-Missed List: Top Shows of 2011 http://www.wbez.org/blog/onstagebackstage/2011-12-19/you-missed-list-top-shows-2011-94979 <img typeof="foaf:Image" src="http://llnw.wbez.org/blog/photo/2011-December/2011-12-19/follies.jpg" alt="" /><p><p><img alt="" class="caption" src="http://llnw.wbez.org/blog/insert-image/2011-December/2011-12-19/follies.jpg" style="margin-right: 10px; margin-top: 10px; margin-bottom: 10px; float: left; width: 354px; height: 240px;" title="'Follies' at Chicago Shakes (Photo by Liz Lauren)"><strong>Best show of the year in any category:</strong> Gary Griffin’s <em>Follies</em> at <a href="http://www.chicagoshakes.com/">Chicago Shakespeare</a>. This flawless version of an underappreciated early Sondheim should be remounted somewhere and run forever; there’s not a false note or step anywhere in it. In short: absolutely brilliant.</p><p><strong>Best one-man show of this or any other year:</strong> <a href="http://www.courttheatre.org/season/show/an_iliad/"><em>An Iliad</em> at Court Theatre</a>, by Lisa Peterson and Denis O’Hare, as performed by the extraordinary Timothy Edward Kane. Again, won’t director Charles Newell seek out another site for an open-ended run? The city is full of people who wanted to see it and couldn’t. &nbsp;<br> <br> And now on to our regularly-scheduled list, already in progress.<br> <br> <strong>Best musical we’ve seen in years:</strong> Life is unfair. Only a perfect <em>Follies</em> could eclipse two other superb productions in this category, <em>Sweeney Todd</em> at <a href="http://www.drurylaneoakbrook.com/">Drury Lane</a> and <a href="http://themusictheatrecompany.org/index.php?option=com_content&amp;view=article&amp;id=25&amp;Itemid=12"><em>Merrily We Roll Along</em> at The Music Theatre Company</a> (starring <a href="http://www.broadway.com/shows/clear-day-you-can-see-forever/buzz/159007/on-a-clear-days-breakout-star-jessie-mueller-on-flirting-with-harry-connick-jr-and-belting-on-broadway/">Jessie Mueller, now knocking them dead in <em>On A Clear Day</em> on Broadway</a>). Sondheim was everywhere this year, but in the race for attention these three are a deserved win, place and show.&nbsp;&nbsp; &nbsp;<br> <br> <strong>Best plays about monarchs (including any Shakespeare play you care to name):</strong> So who’da thunk Chicago Shakespeare would win this category, too, and with two non-Bard productions? No one who saw Harry Groener in <a href="http://www.chicagoshakes.com/main.taf?p=2,19,3,36,1,15"><em>The Madness of George III </em></a>will ever forget his hilarious, pathetic, tragic and deeply human character, and the same can be said for Diane D’Aquila’s powerful, hearthbroken&nbsp; and heartbreaking <em><a href="https://www.chicagoshakes.com/main.taf?p=2,62,5,1,11">Elizabeth Rex</a>.</em>&nbsp;And with its offstage gods and kings manipulating its onstage warriors and fools, let’s count <em>An Iliad</em> once again–just because it was so amazing. &nbsp;<br> <br> <strong>Best plays about racism:</strong> <a href="http://www.theartistichome.org/index.php?option=com_content&amp;task=view&amp;id=130&amp;Itemid=250">Artistic Home’s revival of Alice Childress's Obie-winning <em>Trouble in Mind</em></a> anatomized discrimination within the theater itself, while–-speaking of painfully close to home-–<a href="http://www.steppenwolf.org/boxoffice/productions/index.aspx?id=527">Bruce Norris’s Pulitzer-winning Clybourne Park</a> called out gentrification in Steppenwolf’s own neighborhood. It take some nerve to raise the ghost of <a href="http://www.biography.com/people/lorraine-hansberry-9327823">Lorraine Hansberry,</a> and a top-notch intellect to confront it on equal terms. Fortunately, Norris shows himself as able a combatant as we’ve seen since <a href="http://gwt.scripturetext.com/genesis/32.htm">Jacob wrestled with the angel til dawn</a>. &nbsp;<br> <br> <strong>Best avant-garde plays, even for those of us skeptical about the very concept:</strong> Trap Door took a play that is literally revolting, featuring a character with an intimate relationship with excrement –&nbsp;<a href="http://trapdoortheatre.com/performance-history/first-ladies/">Werner Schwab's <em>First Ladies</em></a>&nbsp;--&nbsp;and made it into a savage and inescapable commentary on the dregs which constitute contemporary life. Nicole Wiesner’s performance as the obsessed plumber was first among equals, and deserved a much wider audience than it got. Kudos to her and to the entire company for deciding that doing the work they believe in is more important than the commercial success they could all surely have.</p><p>Meanwhile, <a href="http://theateroobleck.com/plays/there-is-a-happiness-that-morning-is">Mickle Maher's <em>There is a Happiness That Morning Is</em></a>, which Theatre Oobleck did at the DCA Theatre, broke the fourth wall while making <a href="http://www.online-literature.com/blake/songs-of-innocence-and-experie">William Blake's <em>Songs of Innocence and Experience</em></a> into a surrogate for all conflicts between Apollo and Dionysius, between head and heart, between conformity and individuality. Performed as a pair of dueling lectures, with a few comments from the peanut gallery, the piece is Impossible to describe but was thrilling to observe.&nbsp;<br> <br> <strong>Best adaptations from other media:</strong> honors are shared here by Marilyn Campbell's <a href="http://www.16thstreettheater.org/seasonfour/thebeats.html"><em>The Beats</em> at 16th Street Theatre</a>, which makes the 1950s poets seem our contemporaries; <a href="http://buildingstage.com/bxo_show_mobydick.php"><em>Moby Dick</em> at the Building Stage</a>, in which everyone onstage takes a turn as Ahab, reminding the audience that anyone is capable of cruelty, obsession and insanity; <a href="http://thehousetheatre.com/seasons/x/shows/cyrano">The House Theatre’s version of <em>Cyrano</em></a>, which rescued the tale of love and chivalry from the musty cloth in which it’s been swaddled (not to say suffocated); and <a href="http://www.courttheatre.org/season/show/spunk/"><em>Spunk</em> at Court Theatre, a delightful musical adaptation of Zora Neale Hurston short stories</a>. And speaking of Court, did I mention its one-man adaptation of Homer?<br> <br> <strong>Best plays with an Irish lilt (always a crowded category in Chicago):</strong> a tie between <a href="http://www.seanachai.org/productions/shadow.html"><em>Shadow of a Gunman</em> at Seanachai</a> (directed by John Mossman) and <a href="http://www.theartistichome.org/index.php?option=com_content&amp;task=view&amp;id=136&amp;Itemid=261"><em>A Touch of the Poet</em> at the Artistic Home's new space at Stage 773</a> (directed by Mossman's wife, AH's Artistic Director Kathy Scambiatterra). Whether it’s O’Neill or O’Casey, you can count on a true feel of the Ould Sod from these two.<br> <br> <strong>Best plays about escaping from reality:</strong> There were a lot of these this year–--and, looking at the world as it is, can you blame us?&nbsp; <a href="http://www.redtwist.org/2010-2011Season.html#Neb">Red Twist’s <em>Man from Nebraska</em></a> heads the list, with a production of the Tracy Letts play that outdid its world premiere at Steppenwolf.&nbsp; <a href="http://www.strawdog.org/index.php?section=history&amp;production=conquest">Strawdog’s <em>Conquest of the South Pole</em> </a>(the <a href="http://www.timelinetheatre.com/pitmen_painters/">other play about unemployed miners</a>) showed us a group of East Germans whose fantasies of liberation involve death on the ice.&nbsp;<a href="http://eclipsetheatre.com/season/2011/">At Eclipse</a>, playwright Naomi Wallace limned the constraints of poverty, isolation, and gender in <em>The Trestle at Pope Lick Creek</em>, while the <a href="http://www.chicagoparkdistrict.com/index.cfm/fuseaction/news.detail/object_id/a3d49bc1-3d30-4d73-b050-c4ecafb365fb.cfm">same company’s revival of Arthur Miller’s <em>After the Fall</em></a> demonstrated that even people married to Marilyn Monroe occasionally need a break.</p><p>I realize I've spoken about companies more often than directors, so permit me a shout-out to Kimberly Senior, Jonathan Berry, Andrew Jessop, Seret Scott, Matt Hawkins, Blake Montgomery, Ann Filmer, Zeljko Djukic, Amy Morton, Vaun Monroe, Barbara Gaines, Penny Metropulos, Jessica Redish and Rachel Rockwell. And may I happily note an equal number of men and women in this group of those responsible for the great work here described?</p><p>Happy New Year.&nbsp;</p></p> Mon, 19 Dec 2011 15:00:00 -0600 http://www.wbez.org/blog/onstagebackstage/2011-12-19/you-missed-list-top-shows-2011-94979 The Don't-Miss List: A special Richard Pryor event http://www.wbez.org/blog/onstagebackstage/2011-12-15/dont-miss-list-special-richard-pryor-event-94907 <img typeof="foaf:Image" src="http://llnw.wbez.org/blog/photo/2011-December/2011-12-15/4182963569_35cb815190.jpg" alt="" /><p><div><p><strong><u>Kelly Kleiman</u></strong></p><p><span class="diffchange"><span><a href="http://www.chicagoshakes.com/main.taf?p=2,64"><strong><em>Elizabeth Rex</em></strong></a>: The late Canadian novelist/playwright Timothy Findley teased every dramatic possibility out of the fact that Shakespeare's company performed for the mis-described Virgin Queen on the eve of the execution of her long-time lover Robert Devereaux, Earl of Essex. The Queen is heartbroken over the beheading notwithstanding having ordered it herself, and she and the actors become locked in a competition over who is the greater performer of the role of man-dressed-as-woman. The gender-bending and feminism of the piece are right up director Barbara Gaines' alley, and Diane D'Aquila, who created the part at the Stratford Festival in Canade, hits every note and nuance in a performance so layered that my companion wondered whether Elizabeth was, in fact, being played by a man. Through January 22 at Chicago Shakespeare.</span></span></p><p><span class="diffchange"><img alt="" src="http://llnw.wbez.org/blog/insert-image/2011-December/2011-12-15/4182963569_35cb815190.jpg" style="margin-right: 10px; margin-top: 10px; margin-bottom: 10px; float: left; width: 250px; height: 250px; " title=""><span>Barbara Robertson is another woman who gives impeccable performances at Chicago Shakespeare, including an unforgettable turn as Kabuki Lady Macbeth, but on Monday night (the 19th) she'll be exercising a different part of her considerable talent, singing cabaret in a performance entitled "<a href="http://www.explorechicago.org/city/en/things_see_do/event_landing/events/dca_tourism/Cabaret_with_a_View_Presents_Barbara_Robertson.html"><strong>Stages of My Life</strong></a>." It begins at 7:30 onstage at the Pritzker Pavilion, with tickets $25 if you want to sit at stage level and drink, $15 if you're willing to be parched in the choir balcony. It's a one-night stand, so don't put off 'til tomorrow what's only available today.</span></span></p><p><span class="diffchange"><span>A very different sort of one-night stand will play tomorrow (Friday): an industry reading of <strong><em>Unspeakable</em></strong>, a work-in-progress biographical show about Richard Pryor. Co-author James Murray Jackson, Jr. plays Pryor, a role for which he won an Outstanding Actor Award at the 2005 New York International Fringe Festival. A number of other New York actors are participating in the reading, along with Chicagoans Wandachristine and Stef Tovar. The reading is free, but attendance is by confirmed reservation only. For reservations write to Unspeakablenyc@<span>mail</span>.com, providing your name, the number in your party and your industry affiliation. </span></span></p><p><strong>Laura Molzahn</strong></p><p>I’m running out of non-<em>Nutcracker&nbsp;</em>options here—but please don’t assume that the following shows aren’t worthy. No matter what the season, <a href="http://seechicagodance.com/reviews/#review_539">these artists promise good things</a>. &nbsp;&nbsp;</p><p><img alt="" class="caption" src="http://llnw.wbez.org/blog/insert-image/2011-December/2011-12-15/Khecari_photo_by_Dan_Merlo.jpg" style="width: 600px; height: 399px; " title="Khecari"></p><p><a href="http://www.khecari.org/events.html">Khecari</a> deconstructs the fairytale (take that, <em>Nutcracker</em>!) in <strong><em>The Clinking</em></strong>, performed by Jonathan Meyer and Julia Rae Antonick—who are real-life as well as onstage partners. Accompanied by multi-instrumentalist (and frequent player of inanimate objects) Joe St. Charles, Meyer and Antonick will heighten, not sugarcoat, the anxieties inherent in fairytales. <a href="http://www.brownpapertickets.com/event/210471">Thursday and Friday at the Hamlin Park Field House.</a></p><p>And to rouse yourself from any and all sugar-induced slumbers, try <strong><a href="http://www.tsukasataiko.com/">Tsukasa Taiko at JASC</a></strong>, performing its eighth annual show <a href="http://www.mcachicago.org/performances/now/all/2011/743">at the MCA Saturday and Sunday</a>. Chicago’s leading Japanese drumming ensemble this year also features a collaboration with AACM jazz musicians Edward Wilkerson and Coco Elysses-Hevia as well as “stylized kimono dance.”&nbsp;</p></div></p> Thu, 15 Dec 2011 10:46:00 -0600 http://www.wbez.org/blog/onstagebackstage/2011-12-15/dont-miss-list-special-richard-pryor-event-94907 The five faux essentials to a successful nonprofit, and the necessity of boards http://www.wbez.org/blog/onstagebackstage/2011-10-24/praise-having-board-directors-93380 <img typeof="foaf:Image" src="http://llnw.wbez.org/blog/photo/2011-October/2011-10-24/boardofdirectors_flickr_Metro Transportation Library and Archive.jpg" alt="" /><p><p>A new <a href="http://www.ssireview.org/opinion/entry/five_investments_you_can_skip">piece in the Stanford Social Innovation Review</a> argues that there are five things&nbsp;considered essential to the success of nonprofits that are, in fact, wastes of time. The author is&nbsp;wrong about every one of them (Don’t use volunteers? Skip social media?) but he’s especially&nbsp;wrong about Boards of Directors, of which he says,</p><blockquote><p>There is a tremendously high fixed cost to training your board to facilitate donations (in kind or cash). If your board can’t generate a large part of your budget (say, 20 percent), you are likely to find them getting in the way of fundraising success...</p></blockquote><p>I started thinking about this in connection with theaters when I chatted last week with the chair of&nbsp;a local theater Board, who was extolling the virtues of the master-carpenter Board member&nbsp;who’d built the theater and the advertising-executive Board member who’d created its awareness campaign. “We started out with all attorneys and CPAs,” he said, “and then we figured out that we needed people who could actually do something useful.”</p><p style="text-align: center;"><img alt="" class="caption" height="350" src="http://llnw.wbez.org/blog/insert-image/2011-October/2011-10-24/boardofdirectors_flickr_Metro Transportation Library and Archive.jpg" title="A very old board of directors. (Flickr/Metro Transportation Library and Archive)" width="500"></p><p style="text-align: left;">Very funny, and he’s right, of course, that Boards should include a diversity of skills. But here’s&nbsp;the deal: if you regard any member of your Board as unable to do something useful, or the Board as a whole as a waste of time, that means you’re wasting your Board. These volunteers who can represent your performance group to the wider community, and who’ve pledged to help you secure the resources you need to go on performing, are absolutely essential to your success. Does anyone imagine Chicago Shakespeare would have a space on Navy Pier without its Board’s efforts and connections? Or that TimeLine would be raking in the accolades without a group of people devoted to providing the infrastructure for the company’s excellent work? There are dozens of other examples, and very few counter-examples–because the companies with lousy Boards simply aren’t around anymore.<br> <br> Yes, of course you have to train them–no one is born knowing how to be a nonprofit Board member, and you can’t just say, “Raise money” and leave them to their own devices. But training them is remarkably easy–most Board members, after all, want to do a great job–and if you think you don’t have the expertise to do it yourself, ask the Arts Work Fund for a grant to bring in a trainer. (I have nothing to gain from giving this advice: though I do this kind of work, I don’t do it for theater or dance companies.) Every member of your Board can do something useful; it’s your job (Managing/Artistic Director) to make sure they know what it is and how they’re supposed to do it.<br> <br> Some years ago the Whitney Museum received a remarkable gift from its Board of Directors: a significant painting from each of their private collections. I was praising Boards to a skeptical theater manager using this particular example, and she said, “Why didn’t I think of that? We’ll just run downstairs and haul out our Monets.” But whether your Board is big money or just big effort, it’s the shoulders you're standing on to reach the stage.<br> <br> So: have you hugged your Board today?</p></p> Mon, 24 Oct 2011 11:00:00 -0500 http://www.wbez.org/blog/onstagebackstage/2011-10-24/praise-having-board-directors-93380 A rave for Writers' Theatre's "A Minister's Wife" http://www.wbez.org/blog/onstagebackstage/2011-05-09/rave-writers-theatres-ministers-wife-86252 <p><p><a href="http://theater.nytimes.com/2011/05/09/theater/reviews/a-ministers-wife-at-mitzi-e-newhouse-theater-review.html?nl=todaysheadlines&amp;adxnnl=1&amp;emc=tha28&amp;adxnnlx=1304952605-VIy3qgRmsQYVEM1RbRHdSw">A rave from the usually or</a><a href="http://theater.nytimes.com/2011/05/09/theater/reviews/a-ministers-wife-at-mitzi-e-newhouse-theater-review.html?nl=todaysheadlines&amp;adxnnl=1&amp;emc=tha28&amp;adxnnlx=1304952605-VIy3qgRmsQYVEM1RbRHdSw">nery Charles Isherwood</a> for Writers' Theatre's&nbsp;<em>A Minister's Wife</em>, a musical retelling of Shaw's <em>Candida</em>, remounted at Lincoln Center.</p><p>Kudos to creator/director Michael Halberstam (Writers' Theatre's Artistic Director), bookwriter Austin Pendleton (of the Steppenwolf ensemble) and Kate Fry, whose Candida succeeds her brilliant turn as Rosalind in <em>As You Like It</em> at Chicago Shakespeare in the fall.</p></p> Mon, 09 May 2011 15:50:00 -0500 http://www.wbez.org/blog/onstagebackstage/2011-05-09/rave-writers-theatres-ministers-wife-86252 Mueller family making the mortgage through local theater http://www.wbez.org/blog/city-room-blog/onstagebackstage-mueller-family-making-mortgage-through-local-theater <p><p>The Mueller family of Evanston should have no trouble paying the rent this winter, due largely to the Marriott Theatre in Lincolnshire where the family is triple-dipping for the next few months. The upcoming Marriott production of &quot;Guys and Dolls&quot; stars sisters Abby Mueller and Jessie Mueller as the romantic and comic female leads respectively, Sarah Brown and Miss Adelaide, while their proud papa Roger Mueller offers support as kindly Arvide Abernathy. &quot;Guys and Dolls&quot; begins previews Jan. 26 and runs Feb. 6-March 27, however those Muellers already are drawing rehearsal pay.</p><p>But wait, there's more! Parallel to the Marriott musical the two Mueller sons also are trodding the boards. Chicago son Andrew is making his debut at Chicago Shakespeare Theater in &quot;As You Like It&quot; (running through March 6) while Denver son Matthew Mueller appears in &quot;Boeing! Boeing!&quot; in Colorado Springs. Matt Mueller is a summertime regular with the Colorado Shakespeare Festival.</p><p>Proud mama Jill Shellabarger also is no slouch as an actor, but is taking some time off. We hear she's in negotiations with Actors Equity Association to establish a special &quot;clan plan&quot; for hiring all the Muellers at once.<br />&nbsp;</p></p> Tue, 04 Jan 2011 20:53:00 -0600 http://www.wbez.org/blog/city-room-blog/onstagebackstage-mueller-family-making-mortgage-through-local-theater