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  • 15 Oct 2018 11:34 AM | Tara Branham (Administrator)


    SPOTLIGHT Series: Kristin Idaszak, Resident Playwright

    Monday Night Drama gives me an opportunity to spend time with some incredibly talented and inspiring playwrights. With so many, I've seen or read their work before I ever get to meet them. So I figured what better way to get to nerd out on these playwrights than to interview them. 

    I want to get to know the person behind the play.

    So I asked.





    CEREBRAL

    AMBITIOUS

    TENACIOUS

    ARBOREAL

    BLUE

    Tara Branham, Artistic Producer: What are 5 adjectives that describe yourself.

    Kristin Idaszak, Resident Playwright: Cerebral, Ambitious, Tenacious, Arboreal, Blue

    TB: (I definitely just googled "arboreal" and it means "of or relating to trees".  So she's "treelike".) What made you decide to become a playwright?

    KI: I started doing theatre when I was in grade school, and I've loved reading and writing for as long as I can remember. It seems inevitable that those two facets of myself would come together. 

    TB: If you weren't in theatre, what would you be up to right now?

    KI: I'd be a private detective. Or a professional rock climber. Or a neurologist. But really I need to be a writer to have all the lives I dream about.

      

    TB: Who are your theatrical heroes? 

    KI: Caryl Churchill, Naomi Iizuka, Young Jean Lee, Christopher Marlowe, 13P

    TB: If you could eliminate one thing about theater, what would it be?

    KI: I would eliminate class-based barriers to entry for both artists and audience members. 

    TB: What advice do you have for playwrights just starting out?

    KI: Figure out what you value and build your life and work in service to that. Cultivate a life outside of playwriting for moments when everything seems insurmountable.

    Cultivate a life outside of playwriting for moments when everything seems insurmountable. 

    TB:  What inspired you to write Tar and Feather?

    KI: Tar and Feather was originally commissioned by Westmont College in Santa Barbara, and the director and I had discussed my writing a play that used Greek tragedy as its formal inspiration. So I was attuned to contemporary stories that resonated with a tragic structure. We knew we wanted to center the story on complex, deeply flawed female characters. I was thinking a lot about the intersection of shame and misogyny at the time. I was in Krakow, at MOCAK, when all the disparate ideas I’d been mulling over came together to incept the play.


    TB: What was the last picture you took on your phone?

    KI: We all contain multitudes. 

    Kristin Idaszak, Playwright

    "We All Contain Multitudes" 

    TB: How has your experience at Chicago Dramatists benefitted you?

    KI: A nexus. We can't make theatre without space to come together. 

    We can't make theatre without space to come together.

         

    Join us 10/15 for Monday Night Drama: 

    Tar and Feather by Kristin Idaszak


  • 06 Oct 2018 1:35 PM | Tara Branham (Administrator)


    Toni Stone by Lydia R. Diamond

    09/17/2018 Run Time: 02:03:27


    Lydia R. Diamond is kind of a huge name in Chicago. This I knew, but didn’t understand, until after our first reading. I’m a big fan of historical fiction. It’s the best way to retell history, in my opinion, and gives you a fuller version of the real person inside the historical figure. Granted, the writer fills in some of the blanks, but isn’t this what we do in our minds anyway, dear reader?


    Smart, unequivocal, hilarious– Toni Stone is poetry, through and through. In fact, it was channeling W.E.B Du Bois to me, even before a character quoted him directly. But enough of my thoughts, here’s the casts original responses:

    “Beautiful constant image of reaching”

    “Smooth talking”

    “Redefining gender roles”

    “The character’s own their own narrative”

    Toni is one of the most engaging characters I’ve ever read. Too smart for her own good, she constantly required the help of other character’s to reign her in and remind her that life doesn’t follow the same rules as baseball (or any at all, really), and that she can’t just say aloud all of her astute observations. The characters of Millie (her close friend) and Alberga (her eventual husband) are ever present in Toni’s mind, and we get to observe Toni recalling advice they’ve given her, in real time, when she needs it.  Cast member Xavier Roe said of Toni that “when she lets us into her world, we find it’s the most human of any character’s. She speaks to doubts, the past, checking in with people who aren’t even there. You get to see her, really see her.” Frankly, I couldn’t have said it better myself.


    The audience loved it. I know this because I often had to wait what seemed like a very long time to read the next stage direction, and sometimes, stutter nervously when I said it too early, as laughs would creep up after I thought they were done. From what I could hear of post reading conversations, the actors and show were well praised.

    With a run time of about two hours and three minutes, the audience is given light on how much time Toni had to spend playing a game. Call it life, call it baseball, call it racism, call it love, call it reaching. Our cast was truly a joy to work with, and if you did not get the chance to see them in our reading, I implore you to find out what they’re working on and check it out. Furthermore, if you’re in New York, or going, Toni Stone will be going up at Roundabout Theatre with Uzo Aduba ("Orange Is the New Black," Godspell, The Wiz) as Toni, more details TBD.


    Here’s photographic evidence of me wondering if I’m cool enough to approach these people and their stunning energy:





    About "From the Stage Manager's Clipboard"

    As a playwright and director, the stage management perspective lends itself to an education I never got in school or through reading. I get to be the observer, while keeping matters organized, running smoothly--I like systems that work. So, it was no surprise that I’ve found myself at Chicago Dramatists as the Producing & Stage Management Intern. My name is Sofia Fey and I am an artist of many mediums. I went to school for directing and playwriting and just moved to Chicago in August. Primarily I write poetry, plays, short films, cartoons, and short stories. It's helpful for me to connect all the dots and remind myself what I can take away from the experience, and extremely important to spread the word about playwright’s to watch.  I'm proud to be a part of championing new work at Chicago Dramatists, and looking to bring you what I observe in the making of each reading.


  • 01 Oct 2018 7:05 AM | Tara Branham (Administrator)


    SPOTLIGHT Series: Isaac Gomez, Resident Playwright

    Monday Night Drama gives me an opportunity to spend time with some incredibly talented and inspiring playwrights. With so many, I've seen or read their work before I ever get to meet them. So I figured what better way to get to nerd out on these playwrights than to interview them. 

    I want to get to know the person behind the play.

    So I asked. 








    RIGOROUS

    METICULOUS

    EMPATHETIC

    MENTOR

    MEXICAN

    Tara Branham, Artistic Producer: What are 5 adjectives that describe yourself.

    Isaac Gomez, Resident Playwright: Rigorous, Meticulous, Empathetic, Mentor, Mexican (it’s an adjective to me haha).

    TB: Who are your theatrical heroes?

    IG: Lynn Nottage, Tanya Saracho, Luis Alfaro, Branden Jacobs-Jenkins, Suzan-Lori Parks, Paula Vogel, Karen Hartman, so many... (See Isaac & Tanya Saracho on the right.)

    TB: What made you decide to become a playwright?

    IG: Can't see myself doing anything else.

    TB: If you weren't in theatre, what would you be up to right now?

    IG: I'd be a talk show host. Or a lawyer. 

    TB: What was the last costume you wore? 

    IG: Uhhhh. I think I was Bianca del Rio from RuPaul's Drag Race? I can't remember haha. 

    TB: What advice do you have for playwrights just starting out? 

    IG:  Keep writing. Use any strange and obscure opportunity to hear your plays out loud when you’re just starting to make connections. Even if it’s hearing them around a living room table with friends and wine. Those are often my favorite table reads.

    Keep writing.

    TB: If you could change one thing about theater, what would it be?

    IG: Accessibility. In every way – but especially financial. Artists should be paid well for their work, but theater should be free. How does the math work in that equation – no idea. I leave that up to the math people haha.

    TB: What was the last picture you took with your phone? 

    IG: I was watching the latest Netflix documentary ROE (watch it) and there’s a whole section from the Wendy Davis fillibuster in Texas (my childhood best friend and I were there, protesting, all week.) There’s a clip where we show up in the senate chamber so I took it to send to Genesis, my childhood bestie.

    TB: What's the first hook that gets a new play started for you? An image, a theme, a character? 

    IG: Usually an image, or an event. Then I watch and see how it spirals out of control, how people recover, how they make it worse, etc. 

    TB: What inspired you to start Throwaway Kids?

    IG: For Throwaway Kids, it's always been about the youth on trains. I can still remember seeing them from my childhood. I grew up by a freight train track and a ditch  and from time to time I would see these young people riding these trains and I'd think to myself, "Who are they? Where are they going?"

    TB: How has your experience at Chicago Dramatists benefitted you?

    IG: In a million ways. But mostly, it was and is about having a home. I don’t have one, artistically, as a playwright. Ive had the unique privilege and honor to be a guest at other people’s homes (theaters), but not one to return to over and over again. Chicago Dramatists is that for me. It’s always nice coming home.

        


    Chicago Dramatists is an artistic home for me. It’s always nice coming home.


    Join us tonight at 7pm for Monday Night Drama!

    Throwaway Kids by Isaac Gomez


  • 24 Aug 2018 7:15 AM | Tara Branham (Administrator)


    SPOTLIGHT Series: Vanessa Bamber, Executive Director

    As we approach a year under the stewardship of Vanessa Bamber, I really wanted an excuse to share adorable/incriminating photos... 

    I mean... 

    I wanted to get to know the Disney kid behind the Executive Director. 

    So I asked. 




    FEARLESS

    DIRECT

    KIND

    Tara Branham, Artistic Producer: If I were to say to a bunch of people who know you, “Give me three adjectives that best describe Vanessa,” what would I hear? 

    Vanessa Bamber, Executive Director: Fearless. Direct. Kind.

    TB: So…you’re the Executive Director. What is your favorite thing that you get to do in that role?

    VB: I get to be responsible for the future success of a Chicago Dramatists. Now some may put up their hands and say “No way would I want that weight of responsibility,” but “responsibility” is the key word for me. My responsibility is to apply all that I know to keeping Chicago Dramatists around for a very long time. To do otherwise would feel less than I’m capable.

    TB: In your time so far at Chicago Dramatists, what are you most proud of? 

    VB: I am most proud of being a part of something special. Every day I come to work is a day that I get to drink the energy of a space where new work is created, artists are engaging, and those around me pour their hearts into making it all go. 

    TB: I’m about 20 feet from your desk every day…and because of that I know you love Disney tunes (also Iknow you used to work at Walt Disney World). What’s your favorite Disney lyric? And why?

    VB: I can't just give a lyric here, it demands the whole song: "When You Wish Upon A Star." I have immense faith in myself, that I can achieve anything I put my mind too, and I’ve proven that to myself and others many times over. But I still have many wishes left to fulfill. So I keep wishing and working towards those things my heart desires. To understand me is to understand that I am a Disney kid through and through. It’s my sanctuary, a place where anything is possible. 

    I believe in true love, that good overcomes evil, magic is real, and anything is possible with a bit of faith, love, and pixie dust.

    TB: What are you working on right now? 

    VB: Strategic plans for annual and major giving, marketing, and operations. Oh, did you mean something creative? That’s on pause but when I can get back to it I’m working on 3 new musicals and one interactive play. Head over to spellcastentertainment.com for the goods on my creative side.

    TB: What’s the best piece of management advice you ever received? Who was it from? Did it come from Coach Taylor on Friday Night Lights? Be honest.

    VB: I’ve actually never seen Friday Night Lights. Best piece of management advice is something I took out of business school and made my own, “Preparation is everything. Be so prepared there is no argument to make against your plan.”  

    TB: Who's your favorite employee? Why?

    VB: My favorite employee is one who leaves their ego at the door, rolls up their sleeves and asks, “What can I do?” The work we do in the the arts is messy, emotional, often hard to manage, and takes a special stock of person to show up every day and do the work well. 

    TB: And at Chicago Dramatists that is....

    VB: I believe that Glenn the Copier truly exemplifies the spirit of the team at CD. 

    TB: Rude. 

    (Follow Glenn on Instagram @Glenn_the_Copier)

    TB: In your time so far at Chicago Dramatists, what are you most proud of? 

    VB: I am most proud of being a part of something special. Every day I come to work is a day that I get to drink the energy of a space where new work is created, artists are engaging, and those around me pour their hearts into making it all go. 

    TB: What was the last picture you took with your phone? 

    VB: This is my 6 month-old puppy Maximus. He is part German Shepard and Labrador Retriever. 

    TB: What song would you sing at the top of your lungs at the office…if no one (::side eyes Tanuja, Operations Manager::) would judge you? (I’m still not allowed to play Norah Jones...)

    VB: Bring on the judgement! I sing to music based on my mood; if I feel it large enough—I’ll sing it. Though mostly you’ll catch me singing, “Don’t Stop Believing” by Journey at full blast (especially on Fridays).

    TB: There’s so many theatres in Chicago. And so many more across the country. What made you choose to move to Chicago and come to Chicago Dramatists? 

    VB: My choices have to call to me. When I read the job posting for the Executive Director position, it struck me in that psychic-pull sort of way. Having recently gotten into producing new work and book writing, working in a place that provides the training, space, and connections to create new work was a golden opportunity.  I love the work I do and I want to be a part of a thriving theatre community, so what better way to combine my love of organizational refinement and growth with (in my opinion) the best theatre community in the US, than to come to Chicago!

        

    I love the work I do and I want to be a part of a thriving theatre community.

    Check out what Vanessa's been working on at Chicago Dramatists!

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