HOMESET - Let's get together

This year, I have partnered with Pop Magic Productions for HOMESET, a quarterly salon series bringing artists together to share ideas. Each HOMESET will give 3 artists space to showcase their works in progress, lesser practiced skills, and interests in a casual atmosphere.

The thought behind the series is simple - artists flourish when they are in conversation with one another, and experiencing and examining one another's work -- especially in times of social and political unrest. It propels our aesthetic and understanding farther forward, and stokes the fire of active engagement. 

In an effort to cultivate these nurturing spaces for artists, and in response to the need for more cross-exposure in the Chicago arts scene, HOME SET was put into action. In collaboration with the magnificent Olivia Lilley, I'm doing something I'm really passionate about: bringing artists together to think together and grow collectively.
Join us in reactivating our community this winter. Connect with creatives whose interests and passions can bolster your artistic practice. Support the growth of Chicago’s independent art scene.


January 6th

February 4th
TICKETS ON SALE NOW. LIMITED SEATS AVAILABLE. RSVP $5


Sunday March 18th
April 14th

Follow @PopMagicProductions for updates!

 

Feature on Spiel Chicago: Episode 25 – DIY Theatre

Smyra Yawn (she/her) is on a mission to shine a light on the progressive and thoughtful work of women and genderqueer artists in Chicago Theatre. She brought together a really great panel of DIY Theatre Artists, that I was delighted to take part in.  Listen to the episode on Spiel Chicago. 

@SpielChicago on Twitter, Spiel_Chicago on Instagram, or Facebook.  

"Artist as Producer: This week on Spiel Chicago, we discuss DIY Theatre!  This is a special panel episode, with guests Savannah Reich, Denise Serna, Olivia Lilley and Katherine Lamb, each bringing a unique perspective on DIY theatre, theatre institutions, sustainability and how to get started putting your own work into the world."


More on Spiel Chicago

Carolina Migli on Nymph of the River - My colleague Carolina Migli on her piece The Nymph of the River, which she created for Climate Change Theatre Action.

Episode 14 – Avi Roque - My colleague Avi Roque was on an episode of Spiel. I collaborated with Avi for After Orlando, a international theatre movement created by NoPassport Theatre Alliance & Press and Missing Bolts Productions in observance of Pulse Nightclub shooting in Orlando, Florida.

Spiel Chicago Episode 9 – Mary Shelley, Feminism and DIY Theatre - Olivia Lilley of Pop Magic Productions about DIY theatre and her play Mary Shelley Sees the Future. Olivia and I curate a salon series called HOME SET, and you can expect to see more of our collaborations in the future. 

Climate Change Theatre Action Chicago: A Curated Conversation

A continuation of our work at CCTA International: Hive Workshop, Climate Change Theatre Action - Chicago was three evenings of readings and performances on the topic of global climate change in support of the United Nations COP23 meeting chaired by Fiji and hosted in Bonn, Germany. This multi-disciplinary international event featured short films, dance, puppetry, live performances, and a call to activism. Developed with artists from China, France, Italy, Slovakia, Spain, The United Kingdom, Canada, across the United States and Chicago, this collective effort supported and encouraged individual action on climate change and steps towards a better future for all.

Alexandra Ranieri, Denise Yvette Serna, Iris Sowlat, Carolina Migli-Bateson, and Olivia Lilley

Alexandra Ranieri, Denise Yvette Serna, Iris Sowlat, Carolina Migli-Bateson, and Olivia Lilley

I drove this project with co-producer Iris Sowlat at Chicago's Pride Arts Center. In an effort to reduce waste, we chose to go paperless for our play programs!
Check out the contributing artists on our digital program page.

Putting this event together required quite a lot of moving parts. Co-Founder of Global Hive Laboratories, Jack Paterson supported administrative tasks and cultivated submissions from our international colleagues. Co-Producer Iris Sowlat worked to livestream an evening of performance, which was central to our mission of providing as many access points to the conversation as possible. Global Hive Labs Partner Carolina Migli-Bateson was vital to our load in, installation, and display of our art installations. 

The New Galileos by Amy Berryman

The New Galileos by Amy Berryman

We were joined by playwright Amy Berryman, who flew in from NYC to join us and celebrate her play The New Galileos. We were joined by Carolina Migli-Bateson, who flew in from Piacenza, Italy to perform her piece Nymph of the River. Carolina and the significance of climate change for her hometown was featured on Spiel Chicago.

“I want [audiences] to feel a sense of loss … I want them to understand that nature is a living entity and looks at us puzzled, not understanding what we are doing and why we are destroying ourselves.  I also want them to feel the time ticking by faster and faster as we have raped nature and her revenge on us will be terrible if we don’t do something about it collectively.“
- Carolina Migli-Bateson

Aside from managing all the moving parts, stage managing, marketing, and hosting the event, I also directed three pieces from The Arctic Cycle.  The three scripts I chose allowed for unconventional presentation and devised performances.  For Minor Flood, Major Constellation: Sirius and the Cartographer Map the New World By Lisa Schlesinger I recorded an oral interpretation of the script at CCTA International this summer, and in rehearsal with Chicago based performers devised music and movement to layer upon it. In performance of Gaia by Hiro Kanagawa, the artists donned rain ponchos and threw darts at a map of the world while enjoying beer and bar mix.  As they articulated Kanagawa's poetic text, their dart game generated a new painting each evening. Rube Goldberg Device for The Generation of Hope by Jordan Hall, performers led the audience in a participatory artistic experience that ended with a little bit of hope and a whole lot of dancing.  It was a pleasure to tickle my directing and devising muscles, and we rehearsed each piece for a few hours and really put our focus into creating stimulating work. 


With collaboration from Global Hive Laboratories, Pride Arts Center, BoucheWHACKED! Theatre Collective, La Compagnie Certes, Fusion Theatre Company, and in association with the Center for Sustainable Practice in the Arts, NoPassport Theatre Alliance, The Arctic Cycle, Theatre Without Borders, and York University, the event included live performances directed by producer Denise Yvette Serna, producer Iris Sowlat, Olivia Lilley, Carolina Migli Bateson, Ryan Oliveira, and material developed with artists across the globe. Readings included new works by Elaine Avila, Carolina Migli Bateson, Amy Berryman, Clare Duffy, Angella J. Emurwon, Kendra Fanconi, Jordan Hall, Lisa Schlesinger, Marcia Johnson,  Hiro Kanagawa, Sarena Parmar, Katie Pearl, Ryan Oliveira, Caridad Svich, and Jordan Tannahill.

Second Annual artEquity Alumni Convening

The artEquity Facilitation Program is an annual training offering theatre professionals the opportunity to build the practical and analytical skills necessary to address diversity and inclusion issues at an interpersonal, group, and organizational level. Led by a diverse team of staff and facilitators, participants explore issues of identity, privilege, structural power and ally-building, as well as best practices for organizational change.

This year's cohort participated in two trainings in Los Angeles, California.  During their second gathering, October 18-20, alumni of the program came together for strategic planning, networking with the new cohort, and support of artEquity's work nationwide. 

It was a time of laughter, dancing, strategy, courage, and growth for alumni.  We also had opportunity to get to know the newest cohort members, and discuss the things they are passionate about. 

Alumni concluded the weekend with a strategy to cultivate and bolster artEquity's resources and influence in the arts community. 

 

Worldcon 75: Theatre, Genre Fiction, and the reality of Global Warming

Last week I attended the 75th annual World Science Fiction Convention in Helsinki, Finland. Worldcon is an international gathering of the science fiction and fantasy community. The first Worldcon was held in 1939, and, after a break during WWII, the event has been held annually since 1946, with the location changing each year. 

Modern Worldcons are held over five days and are attended by thousands of members – over 6,000 people attended Worldcon 75. Attendees included writers, artists, fans, editors, publishers, academics and dealers, all with an interest in science fiction.

Worldcons are not just about the written word. Over the decades Worldcons have grown to embrace science fiction in all the forms in which it appears, including film, TV, art, comics, anime and manga, and gaming. Attending this convention as a theatre maker (though I have attended Harry Potter and Teen Wolf conventions and The MCM London Comic Con over the past 8 years) was fascinating. I was able to attend panels, workshops and presentations exploring things like diverse representation in fiction and media, collaborative concepts, devised performance, and the science behind climate change and it's implications on the future.  All of these topics serve to inform my work and my creative process. 

IMG_20170810_094515.jpg

Some of the most immediately relevant sessions I attended were those relating to climate change, and humanity's perceptions of the natural world at different points in our history. As I prepare to join my colleague Jack for an international, Climate Change focused devising workshop in London next week, as well as work towards producing a Climate Change Theatre Action in Chicago in November, these conversations were both informative and inspiring. Speculative fiction and fantasy writers have been imagining a post-Anthropocene world for a long time. Chats with and presentations by scientific researchers, anthropologists, historians and novelists have proved to be some of the most valuable research I have done for this project. I look forward to how they will inform our work with the CCTA.

Another fantastic experience at Worldcon was a workshop I attended led by playwright Tajinder Singh Hayer. Over the course of the workshop we devised possible post-apocalyptic scenarios, and the social, political, and cultural implications of chemical, biological, and warfare related disasters on characters and narrative. The folks I was devising with were a retired parole officer and an astrophysicist. It was fascinating to see how our different experiences and knowledge bases affected the story and characters of our fictional world. 

Worldcon, though not explicitly marketed toward theatre practitioners, is a really wonderful opportunity for networking and professional and artistic development. I would definitely recommend checking out next year's Worldcon in San Jose, CA, or in two years in Dublin, Ireland! 

CCTA International: Hive Workshop

My great friend and collaborator Jack Paterson and I are up to something this summer in London! For the second year in a row, I will join NoPassport Theatre Alliance in a global theatre action. Last year, I participated in After Orlando at Chicago's Pride Arts Center. The theatre action centered around the tragic massacre at Pulse Night Club, and was a powerful coming together of the theatre community in remembrance and activism.  This year, our theatre action will focus our artistic efforts around the subject of Climate Change

In the spirit our training, and a further desire to collaborate internationally, we invite you to join us either in person or virtually for our first international laboratory. This laboratory process will begin in London, August 2017.

At the conclusion of the London session, work generated will be utilized to inform a CCTA event in Chicago, Illinois, as well as anywhere in the world our collaborators may choose to participate in the movement. Read on for more information, and if you're interested in joining us please fill out the form at the bottom of this post! 

London: The first phase in an international CCTA collaboration led by Denise Yvette Serna and Jack Paterson.

Artists and Directors will join together in a laboratory setting to

  • Workshop scripts from the CCTA Anthology

  • Create archival record of entire pieces or elements of pieces

  • Create and devise sensory elements that can be utilized by other artists at international CCTA events

  • Examine the potential of International Collaborative Creation & Presentation through technology

  • Explore the interaction between Technology and the Environment

Thought
If climate change is a global phenomenon affecting all without regard to region, race, or responsibility (though arguably, some regions of the world topographically suffer the effects more immediately than others), how can international collaboration bring relevance and dynamic conversation about the artist’s role in climate justice and civilian responsibility to the entirety of the population?

Action
Through creative use of technology to fuse international practice and aesthetic, our cohort will expand on the mission of No Passport and CCTA, creating a bridge between traditionally scripted and devised work inspired by climate change.

  1. Choose elements of, or entire pieces from the anthology provided by The Arctic Cycle, and create a digital record of it.  This can be images, sound files, musical composition, video, record of devised movement or choreography, puppet templates, translation - anything that is created in support or inspired by a text. Dream big here - it can be as simple as an audio recording of someone reading the script, to orchestrations of music made with garbage to underscore a text. Truly anything.

  2. Upload archival record of these elements in a drive to be shared by laboratory participants.

  3. Coordinate a conference call style collaboration between your work and the workshop in London, where international actors can devise alongside one another.

  4. Create archival footage of entire pieces that can be showcased at the Chicago production of CCTA, and/or livestreamed on HowlRoundTv.

  5. Organize a CCTA event in your region, and utilize the workshop and laboratory archive we create to inform, inspire, bolster your work.

We hope to foster a healthy collaborative spirit with our international colleagues, alumni and current students of E15, and our communities.

Additionally:

We invite you to join the Climate Change Theatre Action, from wherever in the world you are currently based. Please visit their website to learn more, register your participation, and obtain access to the anthology of scripts.

HIR

Opening has arrived at last for the long-awaited Steppenwolf production of HIR. For the past several weeks, I have been neck deep in Taylor Mac's magnificently re-imagined America. I've also been sharing space and creation with some of the most talented artists I have ever known.

The process has been fascinating. Understanding the world of people who have experienced extreme trauma has been both heartbreaking and a lesson  in the resilience of the human spirit. I took myself through a web based course in Skills Training in Affect and Interpersonal Regulation (STAIR) through the National Center for PTSD before rehearsals started, which helped me grasp how the characters might behave in light of their trauma. 

It has truly been a gift to collaborate with Hallie Gordon, an incredibly perceptive and creative director, along with a mostly female identified production, design, and artistic team. To share space with these powerful and talented women, and to observe and learn from the ease with which leaders in the field like Anna Shapiro and Ann Wrightson work has been invaluable. My analysis of the experience of women in this country has been sharpened and taken to new depths as the lives and experiences of the women I was sharing space with colored the shape the work was taking. The conversations over coffee, or late at night when the lights were up and the tables struck, were incredibly meaningful to me. Women in leadership at regional theaters hangs at just 25% - and here I was sharing space and soaking up the power of wildly talented, intelligent, compassionate female leaders. I cannot describe what this has meant to me.

I continue to learn new things about Paige, her strength, and the vicious cycle of violence that has entangled her family. What is to be said of the American dream if it is built upon a fantasy? What does it mean to construct a cheap version of a thing we always wanted to be better than, and how are we to respond when we realize it will never be better? 

What mercy do we owe to the broken pieces of the past? And what place do those pieces have as we inch ever further toward a better future? 

For the Love Of (or, the Roller Derby Play)

My first production with Pride Films & Plays has been a joy ride. This production of Gina Femia's world premiere of a bad-ass group of women doing what they love while fighting to love themselves found a great home in this company. Under the direction of Rachel Edwards Harvith, I've spent the last month surrounded by a diverse group of powerful, hilarious, and talented women.  

This has been my first time supporting a new work. Part of this process was bolstered by Gina's presence in rehearsals. With her eye and mind to support our exploration of the heightened realism, we were able to really push the boundaries of what the text had to offer. I've worked with many scripts in my life, but this was the first time where a difficulty with a moment or the flow of narrative was easily and swiftly adjusted by the playwright, to support the process moving forward. The spirit of this kind of collaboration made every aspect of the work exciting.

Rachel created a room where collaboration between the artist was paramount. From performers and directors working to embrace the architecture of the space, to the sound designer sitting in rehearsal, and creating sound cues based on what we had blocked, every idea was a possibility. 

We also had the joy of building a play based on real women. The world of roller derby was one I knew peripherally - a few buddies of mine skate with The Windy City Rollers. In preparation for this process, I did lengthy interviews with some of them about what the league and their teammates have meant to them.  What I found was an inspiring, intersectional community of athletes unafraid of female strength, and unapologetic for existing gracefully within it. Through these meaningful conversations we were able to inform the physical language of the play, and create a more truthful depiction of the sport.  As another part of this relationship, we were able to support for one another's work.  The cast and production team of For the Love Of attended the Juanna Rumbel Cup, to support the incredible athletes of The Windy City Rollers. In turn members of the Windy City Rollers came to see our show, taking a seat in our little Buena Park theatre and taking a ride with the Brooklyn Scallywags. 

This production's positive portrayal of women, queer relationships, and unconventional career paths has become a jewel in my body of work. The effort to maintain my artistic pursuits while balancing a full time job was strengthened as I surrounded myself with women who were doing the same - and doing so successfully. Previews for this work began just as Earthquakes in London was closing, which meant there were weeks where I was juggling all three things. And yet here was this story of these women who keep showing up, day after day - late night practices, brutal injuries, and more - for the love of the game. So I press on.  A little tired sure, but with my heart beating in time to my sisters. 

Earthquakes in London

Disco balls, robots, ukuleles and the end of the world.

We started this process just as winter was kissing the autumn goodbye. I came into a room of strangers, at the right hand of a director whose work I deeply admire, and try to ride out the socio-political maelstrom that gripped our nation. 

At a distance, it would seem this production could never be crammed into Steep Theatre Company's intimate black box, nor the dozens of roles spread among a small(ish) ensemble. And yet over the past several weeks, we have managed to craft an elegant, thoughtful, and exuberant eulogy for the planet -- and a prayer for the future.

Between the artful direction of Jonathan Berry, and the skilled stage management (not an over exaggeration - this show has SO many cues, and a single stage hand) of Jon Ravenscroft, I've learned how to effectively support a large ensemble performance. I've also had the opportunity to hone my ukulele skills, supporting the ensemble in learning and rehearsing a Deep Water by Portishead

For the first time, I am running understudy rehearsals. I will lead the 4 understudies in rehearsals as they learn the blocking and choreography for multiple roles, and prepare them to go on. I am no stranger to leading a room of actors. However, there is a weight to carrying another artist's vision, maintaining it's integrity, and allowing understudies room to build something for themselves as they prepare to own a role as much as the principle actors can.  I have found a lot of growth in myself as I articulate what Jon and I worked through with the actors to the understudies, abridging several weeks of rehearsal, analysis, and emails into just a few whirlwind blocking and note sessions. 

The last several projects I have worked on have been the sort where I wear multiple hats. Directing, producing, performing, creating sets or costumes - the sort of thing I've always done.  This process was the first time in a long time where I was invited into the room to simply be a director.  It brought a rejuvenation to my craft that I wasn't aware of sorely needing. I was there to be thoughtful, emotional, observant, supportive and creative. I've grown with and learned from a skilled and innovative artist. What a tremendous joy it has been.

(the)forget_me\knot

I spent the year after graduate school as a middle school teacher.  Of the many things I took from that year, one aspect of experience was the thread that became (the)forget_me\knot. I saw several physical confrontations between students that year, and was struck by the realization that so many of them enjoyed filming the fights. They did not try to stop the fight, did not try to help, and did not make it easy for adults to – but they filmed it. After fights, we’d have to round up phones and delete all the footage. I grew fascinated with the ability of a screen to simultaneously detach a person from their humanity, and with the social media revolution – affirm it. Utilizing the collage style I found while creating La Chingada, I began to piece together poetry, movement, and other cultural artifacts that followed that thought. As the piece came together I realized that throughout recorded history, a single cry has echoed from the lips of humanity: Don’t forget me. (the)forget_me\knot became an immersive, multi-sensory  piece that peered through the lenses we utilize to defy our mortality, and glimpsed into our determination to make even the most meaningless moments-and by extension, ourselves- last forever.
The hardest thing to stomach? We won’t.
Those photos in your attic? The people in them are dead.
We don’t know who her prom date was, or why his leg was in a cast. Their childhood home burned to the ground, and there’s a parking lot there now. But the lenses made us feel connected. And whatever the cost, for that moment, we were unforgettable.

It was important to the project that it generate more artistic observations of memory, and that the absurd beauty of the things we were creating compelled people to photograph or record them, creating a cycle of memory.  In one room of the venue guests were invited to create soundscapes, and surrealist snapshots, or join Loren Phillips in acro-yoga.  We also invited artists to join us for the show, sell their projects, and create new work as they watched. Artists such as Ruby Western, Kendra Strebig, and Sophie Wingland created work each evening that underscored performances, was given to audience members who joined the performance, and used to fill a growing gallery of work inspired by (the)forget_me\knot.