Piccolo Theatre

Commedia Character Shorts- Smeraldina (Chapter 6)

noreply@blogger.com (Moxie) — Thu, 07 Apr 2011 17:12:00 +0000

Smeraldina!

Truffaldino (Arlecchino) has met his match in this high-spirited female servant (Servetta)! She occupies a special place among the Commedia characters, being one of the highest-ranking of them all. Often the only functional intellect on the stage, Smeraldina assists her mistress (the innamorata) to gain the affections of her lover, often while simultaneously managing the whereabouts and moods of the innamorato AND managing the advances of her employer, Pantalone. She may be a flirtatious and impudent character, indeed a soubrette, but unlike any of the other servants, she never loses her keen judgment. Smeraldina is what the Innamorata is not: free, insolent, not slave of love bonds. She is sometimes brilliant, vain always, a chatter-bug and gossiper, and always prone to intrigue at somebody else's expenses.

Carlo Goldoni uses the Colombina character quite a bit in his plays, clearly enjoying her simply wisdom and non-nonsense approach to life, truth and love. (She also is lucky to marry Truffaldino at the end of Servant of Two Masters!) Although Columbina became the most widely-used name for this Servetta, other names under which the same character is played in Commedia performances include: Franceschina, Smeraldina, Columbina, Mirandolina, Spinetta, Ricciolina, Corallina, and sometimes in disguise as Arlecchinetta (Harlequina).

Smeraldina's costume is that of a high ranking servant. As she sometimes appears as a sort of Harlequin in female clothes, she may be costumed in a dress that is a patched duplicate of Harlequin's. She has also been known to wear heavy makeup around her eyes and carry a tambourine which she could use to fend off the amorous advances of Pantalone.
Smeraldina is most usually without a mask, even though all other servants are masked.
Smeraldina's light foot work matches that of the servants, with her weight shifting quickly and deftly between her two feet. She also usually has her hands on her hips, with wrists bent an fingers pointing behind her. They look almost like little wings, and aid her in her flirtatious ways.

Here is the delightful Vanessa Hughes, who plays Smeraldina in our production of "Servant of Two Masters".

As of this posting, only two performances of Servant of Two Masters remain, and only a handful of tickets are left. Be sure to see this amazing production before its gone for good!

What's so funny about an April Fool?

noreply@blogger.com (Moxie) — Fri, 01 Apr 2011 17:45:00 +0000

At Piccolo, we sure love our fools. So in honor of fools and foolishness, I set out to see what I could find about the origins of April Fools Day. It seems I set out on a fool’s errand, because the origins have not conclusively been traced.

There are all sorts of references in early European literature to April 1^st as a fool’s day, as far back as the 1500s. But Shakespeare, who is usually so fond of fools, never mentions it. According to www.museumofhoaxes.com, there was no scholarly curiosity about the origins of April Fools until the 18^th Century. By then it was so ingrained as an ancient custom that when scholars asked revelers in the street where it had come from, all they could say was “the ancients, man. Hey, what’s that big hairy thing over your left shoulder?”

The New Years Swap Theory

The most popular theory about the origin of April Fools takes us back to France in 1563. The idea is that when Charles IX reformed the calendar, New Year’s Day was moved from April 1^st to January 1^st. Instead of the eight raucous days of springtime partying the French were accustomed to, they got one measly day in the dead of winter. So a bunch of them decided to celebrate in April anyway- or they just didn’t get the news because they lived so far from the local newsstand- and they let loose with the hooplah in Spring like usual. Their neighbors, instead of informing them about the changes like one might expect a neighbor to do, stuck a paper fish on their backs and called them Poisson d’Avril, which is still what the holiday is called in France to this day.

Poisson d'Avril

1632: Escape of the Duke of Lorraine

My favorite antique April Fools plot concerns the legend of the Duke of Lorraine and his wife. They were in prison, but on April 1, 1632 they had the brilliant idea to disguise themselves as peasants and just walk out through the front gate. Someone told the guards, who were certain the warning was a “poisson d’Avril” and laughed at it- they were no fools! While the guards refused to fall for the prank, the Duke and his wife made their escape. This just goes to show how much fun you can have when you dress as a commoner. I do it all the time.

1686: The English Get the Joke

In 1686 the English antiquarian John Aubrey wrote, “Fooles holy day. We observe it on ye first of April. And so it is kept in Germany everywhere.” So the British, always a little late to get in on the party, were finally in on the joke. By recording this, the scholar Aubrey managed to get in a good dig at the foolish Germans. I can picture him rolling his eyes and underlining the word everywhere three or four times. What a good prank! The Germans wouldn’t know what hit them until after his death when Aubrey’s notes were published posthumously.

April Fools as a Renewal Festival

There are plenty of holes in the prevailing New Years Swap theory, including the argument that the French never actually celebrated the New Year on April 1^st to begin with. Some say that was the British, and you know how the French and the English hate it when people get them confused.

To me, the best theory is that April Fools or All Fools Day joins the ranks of the many ancient renewal festivals that marked the coming of Spring. Is there anything better than a festival creating a ritualized opportunity for mayhem and misrule? These festivals usually flipped the social order and allowed the riffraff to be king for a day. They involved disguise, deception, and the general airing out of social tensions in a way that could induce laughter instead of conflict.

Couldn’t we use a bit of that ourselves? As Shakespeare shows us, the best Fool is an honest fool. By staying honest to the real hypocrisies, weaknesses (and strengths) she witnesses, the fool keeps the rest of us honest. I think we could really benefit from the opportunity to dress up like the politicians, CEOs, and Barons of Oil & Industry and prance around with them, eating and drinking and making them shine our shoes. (Or better yet, put on a play for us!) These festivals weren’t mean spirited. They were about releasing the phenomenal power of laughter to defuse dangerous, and very real, social tensions.

April Fools Day bears all the marks of these ancient, powerful festivals: disguise, lying, pranks, and a one-day challenge of social rules of proper behavior. Tomorrow, it’s over. We can be secure that by morning we will be re-affirming society and carrying on as usual; just as the warmth and bounty of Spring is bound to return after even the most brutal of winters.

-Brianna Sloane, Piccolo Theatre Ensemble Member

Piccolo Theatre and "il Piccolo"

noreply@blogger.com (Moxie) — Wed, 23 Mar 2011 19:48:00 +0000

You may not know that your favorite Chicagoland Piccolo Theatre named itself after The Piccolo Theatre of Milan, or, as the Milanese call it, il Piccolo. Back when our ensemble was forming, there was no question what our name would be. The Piccolo Ensemble did not simply hope to pattern ourselves after this venerable theatre. Our love of Commedia dell'Arte and our intellectual approach to the art form seemed to to be rooted in the same traditions as il Piccolo.

Our ensemble was lucky enough to see them perform Servant of Two Masters in 2005 at Chicago Shakespeare Theatre. (With the famous Ferruccio Soleri as Truffaldino!) And to top the evening off, we were able to meet the Teatro Piccolo actors at the post production party. What a night! Bella!

Ferruccio Soleri (il Piccolo), John and Jan Szostek (Piccolo Theatre)

What do you know about il Piccolo? Unless you're really into Commedia or are in the habit of Googling unusual Italian theatres, probably not a ton, right? Just in case you're curious for a tidbit of Italian history, read on!

Piccolo was the first public resident theatre company in Italy. It was founded by Giorgio Strehler, Paolo Grassi and Nina Vichi, and inaugurated on 14^th May 1947 with Gorky's L'albergo dei Poveri (The Hotel for the Poor).

Lady with Ermine- Leonardao da Vinci

Its first location was in Via Rovello 2, in the old Broletto cinema in the 15^th century Carmagnola building. In this building lived Cecilia Gallerani who was Ludovico il Moro's lover and the who was the model for the ‘Lady with Ermine’ painted by da Vinci. This site was restored to improve the hall and the stage. The initial restoration project did not include the restoration of the cloister, but the discovery of some 1400s frescoes (attributed to Bramanteand da Vinci) led to the recuperation of this place too. The restoration works were completed in 2009.

The small dimensions of the hall and of the stage pushed Grassi and Strehler, during the 1960s and the 70s, to ask for a new site for the theatre. During the 80s, Strehler repeatedly resigned from his Art Director position, hoping that his protest would move the cranes that for years remained uselessly parked nearby the Sforzesco Castle. The New Piccolo Theatre was inaugurated only in 1998, a year after Strehler's death. (Chicago's Piccolo Theatre considers is extremely lucky to have a home in the Evanston Arts Depot, and that artistic director John Szostek embraces our small theatre instead of resigning out of protest.)

Today il Piccolo is comprised of three theatre spaces:

Teatro Strehler (new site)

Teatro Grassi (the historical base of Via Rovello)

Teatro Studio (mostly for experimental works)

Since its early beginnings the aim of il Piccolo has been to deliver drama to those categories of people (retirees, workers and students) who traditionally do not go to the theatre. In the Manifesto of the Piccolo we read:

This theatre (that is ours and yours), the first public City theatre in Italy, is promoted by the initiative of men of art and study, and is supported by the executive authority of those who are responsible for the city life. We do not believe that a theatre is what is left of mundane habits or an abstract tribute to culture. A theatre is the place where the community, meeting in order to contemplate and to re-live, reveals itself; it is the place where it tests a word, to accept it or to refuse it, and where that word, when accepted, becomes the centre of the city's activities and it suggests its rhythm.”
(translated from Italian by Claudia Zanella)

The repertoire of the Piccolo is both international and rooted into Italian tradition: Gorky, as previously mentioned, and Chekhov, but also Goldoni and Pirandello. Brecht has been performed since the late fifties and his theories on dramatic art deeply influenced Strehler. Other tremendously successful and popular works include: The Tempest by Shakespeare, The Thunderstorm by Strindberg but, most importantly, The Servant of Two Masters by Goldoni. This last piece was started to give Strehler some “rest” from his more philosophical works on the role of art, but proved itself to be the ideal play to provoke thoughts on dramatic art; it became very popular, and has been performed around the world for the last 70 years or so.

Thank you to Servant of Two Masters dramaturg, Claudia Zanella for the research and help with this post!

Commedia Character Shorts- Brighella (Chapter 5)

noreply@blogger.com (Moxie) — Thu, 17 Mar 2011 20:39:00 +0000

Brighella!

If you find yourself playing a servant on a Commedia stage, you had better keep your eyes on Brighella! He is essentially Arlecchino's smarter and much more vindictive older brother. In fact, he has few good qualities save for his ability to entertain the audience. He's a masterful liar, and can make up a spur-of-the moment lie for any situation. He is an inveterate schemer, and is good at what he does. If his plans fail, it was almost always out of luck on behalf of the other characters. Brighella is loosely categorized as one of the servant (zanni) characters, although he is often considered a member of the middle class, for instance, the owner of an inn in Servant of Two Masters. As a servant, he will do whatever he can to put himself in a good light and gain his master's approval. The nobles usually know Brighella to be trusty, helpful and resourceful. However, the other side of his personality is most cruel to those beneath him on the social ladder; he even goes so far as to kill on occasion. He will do anything that is to his advantage, no matter what the cost to those below him. It's probably not stretching the truth to say he would sell his own mother if it would benefit him!

He is an observer, and always keeps his cool...for is something upsets him he will get his revenge later either upon his aggressor or whoever is unfortunately near. His character is usually from Bergamo, same as our beloved Truffaldino. His name by itself briga, brigare is Italian for quarrel, trouble, intrigue.

Brighella mask by Antonio Fava

Brighella's costume consists of a loose-fitting white smock and pants with green stripes and accents. He often carries a knife in his belt which is useful as he is often in charge of the kitchen in his tavern or inn...and it's a good reminder to other servants who is really in charge.
His mask is a half-mask displaying a look of lust and greed.Traditionally the mask is colored olive green.
Brighella moves like a cat or panther...sly, quiet and light on his feet and always on the prowl. His chin and chest are carried forwards in the manner of a traditional zanni.

Check this out for an insider's look into how Piccolo Ensemble Member David W.M. Kelch approaches the role of Brighella and the form of Commedia dell'Arte in general.

Haven't seen Piccolo's acclaimed production of Servant of Two Masters yet? Basta! You only have until April 9 and tickets are selling quickly!
Get your tickets online at www.piccolotheatre.com or call our box office at 847-424-0089.

Commedia Character Shorts- Il Dottore (Chapter 4)

noreply@blogger.com (Moxie) — Thu, 10 Mar 2011 03:32:00 +0000

Il Dottore!

Il Dottore is not a physician, he just has a university degree. To hear him tell it, he probably has several of them. He and Pantalone function together as the old men trying to marry off their children and generally making a mess of it. Pantalone and Il Dottore are the alter ego of each other, Pantalone being the decadent wealthy merchant, and Il Dottore being the decadent erudite.

They alternate between being each other's best friend and worst enemy and are often the victims of each other's biased advice, but their schemes and machinations always seem to end up in much the same fashion: backfiring on them. Whereas Pantalone can always take solace in his money, Il Dottore is happy to wax philosophical and will always be ready with a high-sounding misquotation or an elegant malapropism to give closure to yet another misadventure.

The Doctor is a local, disruptive busybody who doesn't listen to anyone else from any of the fields that he claims to know about, which is many (medicine, law, literature, etc.). There is not a subject that he doesn't know everything about. He is traditionally portrayed as having been educated either in Bologna (he is full of bologna!) which since the Renaissance had one of two of the most prestigious universities of Italy and Europe. He is often extremely rich, generally with "old" money, though the needs of the scenario might have things otherwise. He is extremely pompous, as quick-tempered as Pantalone, and loves the sound of his own voice, spouting nonsensical Latin and Greek in phrases that can go on, and on, and on, and on and onandonandonandonandon.......

His mask is unique in that it is the only mask in commedia dell'arte to cover only the forehead and nose. It is sometimes black, or else flesh-toned with a red nose. He also reddens his cheeks.
His costume usually includes a large stomach pad so he looks rather fat (fat = rich), always dresses in black, is well groomed, rich looking.
Dottore's movement is often in a figure 8 pattern, with his weight back on his heels and his belly forward. His gestures are as expansive as his knowledge appears to be.

Joel Thompson plays the pompous and hilariously long-winded Dottore in our Servant of Two Masters.

Get your tickets to Servant of Two Masters today, and laugh with us soon! Want to see what the critics have to say? Click on our review round up here.
Piccolo Box Office: 847-424-0089 or online at www.piccolotheatre.com

This Just In! Early Praise for Servant of Two Masters

noreply@blogger.com (Moxie) — Thu, 03 Mar 2011 19:13:00 +0000

We had such a fantastic opening night with Servant of Two Masters! I'm not sure who had more fun- the audience or the actors. Well, we do know that the critics enjoyed it. Take a peek at what they have to say, and click the links to see the entire review. We have absolutely nothing to hide with these reviews!

Highly Recommended! "The folks at Piccolo Theatre have emerged as one of the few theatre troupes skilled and disciplined enough to create wonderful Commedia dell’Arte."
-Tom Williams, chicagocritic.com

Recommended! "Omen Sade is a spectacular highpoint as the title servant. Sade is more than just quick on his feet--he exemplifies physical comedy."
-Dan Jakes, chicagoreader.com

Photo by REP3.com

"...a kinetic exploration of the art of performance...This successful venture is another testament to Mr. Szostek and his cast's love of performance."
-Brian Murphy, Evanston Roundtable

"...A fresh, delightful, and laugh-out-loud funny production. Physical comedy is the order of the day, and director John Szostek has brilliantly coordinated the interactions of a very energetic and acrobatically talented cast."
-Laura Kolb, centerstagechicago.com

"...this company performs pure “Commedia dell’Arte”! And what they do is sheer perfection." -Alan Bresloff, aroundthetownchicago.com

Photo by REP3.com

"This The Servant of Two Masters offers an embarrassment of comedic riches." -Tom Wittom, Evanston Review

"...[Omen Sade] really got to the heart of Truffaldino, and the quick physical movements, the flights of fancy, and the schemes. He was a delight to watch. -Adam Gertsacov, www.clownlink.com

"...the production delivers charm as well as energy. The simple pleasure of buffoonery – that is the hearty spectacle that Piccolo achieves in its economically tiny space."
-Paige Listerud, chicagotheaterblog.com

Photo by REP3.com

Now what are you waiting for? Don't get caught in the "I'll buy tickets later" trap. Get them today, and laugh with us soon!

Piccolo Box Office: 847-424-0089 or online at www.piccolotheatre.com

Commedia Character Shorts- Innamorati (Chapter 3)

noreply@blogger.com (Moxie) — Wed, 02 Mar 2011 17:43:00 +0000

Innamorati!

The Innamorati, or Lovers, are delightful characters! They create situations of desperation, gossip, envy, and are always stumbling upon obstacles that keeps them apart from their lover...all excellent material around which action can be developed for all of the other characters. Being separated from their lover (could there be anything worse?) gives them reason to strongly lament and moan their state, although when finally face to face, they are at a complete loss for words. Or they speak in an elegantly heightened speech of the upper class, close to poetry and sonnet. In dire situations, they have the habit of enlisting the help of a servant to act as a medium between the two of them, which of course only opens the door for confusion and hijinks caused by their hapless servants. Very selfish and self-centered, the Lovers are in their own worlds in which they themselves are the most important subjects. Along with loving themselves, they are in love with the very idea of love and what it pertains to. They are vain, thoughtless, change emotions on a whim, and could be cruel and callous while professing the most profound of loves. Attractive and elegant, they can still be as comic and as flawed as any of the other characters.

There can be two sets of lovers in a Commedia dell'Arte play/scenario. The First Lovers, usually more intelligent and serious, and the Second Lovers, usually flighty and slightly silly.

The First Lovers (sometimes called the straight lovers) in Goldoni's Servant of Two Masters are Beatrice and Florindo. They are cultured, educated, and seem to have a much broader life experience than the Second Lovers. Their attraction and love for each other is based on the feeling that they are true equals both in character, social status, and intelligence, and as a team they would be quite a force to be reckoned with. Even though the First Lovers are usually the most grounded characters on stage, they are still prone to bouts of deep melancholy, selfishly pursuing their needs with little heed to anyone else, and taking their frustrations out on servants. Their manner of dress and movement is stylized (see 'posture' below).

The Second Lovers in Goldoni's Servant of Two Masters, are Clarice and Silvio. They appear quite young and their love for each other is similarly immature in nature. While still professed as true love, theirs is rooted in image, pretense and pure fluffy romance (think a sappy romance novel). When things are not going their way, they throw tantrums, pout, hurl insults, cry and whine. Their manner of dress and movement is highly stylized (more so than the First Lovers), making Silvio is quite a fop and Clarice a brilliant coquette.

The Lovers elegant costumes were always in the latest fashion, (often to styled to excess) and usually of the same color, just in case another couple of Lovers was in the play too. This only reaffirms how much they were made for each other. Just like couples who wear matching outfits today!
The Lovers are the only Commedia characters who are not masked. (With the occasional exception of the Smeraldina/Columbina character.)
The posture that the Lovers take on is that of strong pride. Their chests are expanded and thrust out so that the heart essentially leads them, sometimes seeming to literally pull them across the stage. They balletically point their toes while standing, and when moving, take light, quick steps, giving them a floating appearance. Overall, they lack contact with the ground and seem to float rather than take steps. Their hand movements and gestures are very grand, expansive and expressive.

Actors Denita Linnertz and Tommy Venuti play the heroic and tragically separated Beatrice and Florindo in Servant of Two Masters.

Actors Deborah Craft and Glenn Proud (married to each other in their off-stage lives) are playing the passionate and hilarious Clarice and Silvio.

Opening weekend was a raving success for Servant of Two Masters! The reviews are rolling in, and the critics LOVE what they are seeing. We want to have you rolling in our aisles. Visit the Piccolo Theatre Website for information on how to get your tickets today.

Check back soon for links to the great reviews and the next installment of Commedia Character Shorts!

The Music of Piccolo's Servant of Two Masters

noreply@blogger.com (Moxie) — Fri, 25 Feb 2011 19:25:00 +0000

From the very first meeting I had with Director John Szostek, it was clear that we wanted to use the music in Servant of Two Masters as a nod to some of the oldest Commedia dell'Arte musical traditions. Music is as deeply rooted in this tradition as the masks worn by the actors. But it was equally important not take ourselves too seriously in the process.

The show opens with a rousing version of "Two Fools Went to Venezia", which is based on an old Italian folk song about some gentlemen who go out to show themselves a good time, but end up just getting drunk and sick. See if you catch the name of one of the 'gentlemen'.... as he will reappear later in the show.

The lovers (with the exception of Silvio) all sing songs made famous by Virginia Andreini, one of the most famous prima donna innamorata of Commedia's golden age, generally accepted as the late 1500s-mid 1600s. (This was also simultaneously the beginning of operatic history.)

Innamorati

Clarice sings "Care gioie che le noie" in a setting by Claudio Saracini (Seconde Musiche, 1620). The dark and romantic tone of the lyrics are particularly suited to the scene, as Clarice is just about to kill herself in response to being jilted by her lover, Silvio.

Dear joys that banish the suffering of sighs, that pleasure I have in my breast those scintillating eyes reveal. Now that vain dream with is false and fair company doesn't feign, doesn't advance that hand with so sweetly wounds my breast.

Unfortunately for Clarice, not only is the sword too large to gracefully pierce her breast, but I set this song to be played by an accordion in the style of a folk tune. A wink to the audience that we are not to take her too seriously, in spite of her despair.


Guilio Caccini

Beatrice and Florindo both sing "Tu ch'hai la penne", which is the theme of their romantic journey through the play. Giulio Caccini composed this piece in 1614 for Lo schiavetto, a comedy made very famous by Andreini. Andreini sang this piece at the end of that production (accompanying herself on the lute), disguised as a man, and in despair of her character's plight. It seemed so fitting for Beatrice and Florindo, as they are both in danger, Beatrice in man's dress, and thinking each other dead.

You, Love, who have wings and know how to spread them in flight, ah! fly quickly to where my heart is: and if you do not know the way, follow my sighs.

This is one of the only times in the play that we are allowed to take seriously, as Beatrice and Florindo are the "straight" or "dark" lovers, meaning that their plight carries the plot and gives the play the weight it needs to carry the rest of the comedy.

But lest we take ourselves too seriously and get too buried in all of this beautiful tradition, Truffaldino has a love song too. He must impress the delightful Smeraldina somehow....and he does that with a ridiculous rendition of Louis Prima's "Angelina", played on his mandolin. Embraced by fans as the Italian-American from New Orleans, his lively love song fits right in to our score.

We bookend the show with another Italian folk song, Notter de Berghem, in honor of Truffaldino, our comedic servant who reminds the audience several times how proud he is to be from Bergamo, a small town 230km from Venice.

-Denita Linnertz, Music Director, Servant of Two Masters

Commedia Character Shorts- Pantalone (Chapter 2)

noreply@blogger.com (Moxie) — Tue, 22 Feb 2011 23:00:00 +0000

Pantalone!

You will see a lot of this hilarious character in Servant of Two Masters! Pantalone is thought, for the most part, to be based on the old Venetian merchants and tradesmen, known for their stingy and less-than-pleasant personalities. Pantalone is entirely fixated on money and ego, and has the highest regards for his intelligence, but is actually somewhat stupid. He is fond of food and pretty women, gullible, hot tempered, and the butt of every conceivable kind of trick. (If you read last week's post on Arlecchino, you can guess who will be instigating most of these tricks....) Pantalone is usually the father to one of the lovers, and driven to arrange a suitable marriage for his offspring. In this play, it is the sweet and simpering Clarice. Pantalone is presented either as a widower or bachelor, and despite his age, makes numerous passes at the women within the commedia world, though he is always rejected. Despite his sinister and often inhumane treatment towards his fellows, Pantalone is perceived to be a pivotal part of commedia. His importance is represented in almost every commedia production; and following tradition, we place him at the beginning of our show to introduce the comedy.

Pantalone's costume consists of tight red trousers or stockings, a long, loose black cloak with free-flowing sleeves, a brimless red hat and slippers. He usually wears a giant codpiece to advertise his virility (which everyone knows to be long gone) and wears a pouch of money on his belt that usually hangs suggestively next to his cod piece
Pantalone's mask has a long, hooked nose and small, beady eyes and a moustache, which is part of his mask
This character moves very stiffly and walks hunched over to show how old he is and possibly to also better protect his money pouch. His knees are bent and his feet shuffle quickly along the ground. His hands and arms also move quickly, often gesturing wildly. At bad news (usually that he has lost a coin), Pantalone is prone to heart attacks, falling onto his back with legs up like a beetle, stuck there until someone comes by to help him.

Here's more from the hilarious Lucero Less, who plays Pantalone in our production.

Opening night for Servant of Two Masters is quickly approaching, Friday, February 25! (Which non-so-accidentally also happens to be World Commedia Day.) We are READY to have you rolling in our aisles. Visit the Piccolo Theatre Website for information on how to get your tickets today.

And check back here for the next installment of Piccolo's Commedia Character Shorts, to get some thoughtful info one set of our Lovers.

Commedia Character Shorts are here! (Chapter 1)

noreply@blogger.com (Moxie) — Tue, 15 Feb 2011 19:01:00 +0000

Arlecchino!

Arlecchino is always a Commedia favorite. Traditionally he is a servant (zanni) to Pantalone, Capitano, or Dottore, and is generally accepted as the most intelligent of the zanni characters. He tries to trick his masters, but usually fails. In Goldoni's Servant of Two Masters his name has been changed to Truffaldino (roughly, "Little Trickster") and much of the action exists because he tries to outwith everyone and serve two masters at the same time. Food holds amazing power over all of the zanni, but particularly this chap, so you can easily understand that two masters means twice the pay which means....twice the food! He is also very much in love with Smeraldina, one of the other zanni in the play. Will he win her over AND get permission to marry her AND serve two masters? You'll have to see Truffaldino live and in action!

Arlecchino, PiccoloTeatro di Milano

Arlecchino's costume is a rather tight jacket and pants, with bright multi-colored patches, usually in diamond shapes. They can be in a symmetrical or asymmetrical pattern.
Arlecchino wears a belt and a slapstick. (This is where "slapstick comedy," comes from). A slapstick is made out of two thin strips of wood separated at the handle by a half an inch or so. When the slapstick hits an object, the two strips of wood slap against each other to make a loud sound, without hurting the person being hit.
Arlecchino's mask consists of a black half-mask and a black chin-piece. The mask's forehead is strongly lined with wrinkles, accentuating a slightly quizzical arch to the eye brows. The eye holes are arranged in such away as to convey and expression of astonishment, sensuality and craftiness. There is traditionally a tumor like growth billowing out under one eye along with a wart. The eyebrows and beard are bushy consisting of stiff bristles. This ensemble of characteristics portrays something savage and fiendish, with cat like qualities. The mask is such that it opens many possibilities to character and action.The nose is not very big, since he is very intelligent.
Arlecchino is always moving, in acrobatic and agile ways. Therefore, the actor who plays him should be very flexible. His knees are always bent, as if he could spring up at any minute into a leap or acrobatic move. Like Zanni, Arlecchino is led by his nose--his head follows an object, and then his body goes after it.

Here's more from the amazing Omen Sade, who plays Truffaldino in our production.

Check back here regularly over the next few weeks and we'll guide you through the basics of traditional Commedia characters and give you an insider's look at our production of Servant of Two Masters. Want more information on Commedia? Visit the Piccolo Theatre Website or email info@piccolotheatre.com with specific questions.

Giants of Commedia and Commedia Character Shorts

noreply@blogger.com (Moxie) — Thu, 10 Feb 2011 21:58:00 +0000

Did you see the video of our first rehearsal? Looks like fun, doesn't it? We have so much more in store for you here- more sneak peaks into our rehearsal process, photos, fun historical facts, and our upcoming "Commedia Character Shorts" series. Once a week, we'll post some info about the characters in Servant of Two Masters alongside a candid video interview with the actor who will be performing that role. Whether you are a Commedia dell'Arte junkie, or have never heard about it before reading this post, you're going to love these! Keep your eyes peeled for the first installment about Truffaldino!

In the meantime, we thought we'd pass along this great blog to you: Clownlink
A lot of the blog topics are right up Piccolo's alley, and the author is doing some special posts in honor of World Commedia Day (which happens to fall on opening night of Servant!). Check it out to find some info on Giorgio Strehler, Dario Fo, Flaminio Scala, Carlo Mazzone-Clamenti, and much more!

Carlo Goldoni and Commedia dell'Arte

noreply@blogger.com (Moxie) — Wed, 26 Jan 2011 17:48:00 +0000


Carlo Goldoni

Carlo Goldoni's famous Servant of Two Masters was written in 1743 near the end of Commedia's golden age. This masterpiece obviously owes its success to the multitude of traditional and beloved Commedia elements he utilized: characters, situations, masks, etc., but the manner in how Servant is performed is slightly different than what was considered "Commedia" at the time in 1743.

Goldoni had conceived a new type of theatre, a new way of acting, and a new way of perceiving the role of the playwright. Up until this point, Commedia actors were used to creating plays themselves using a great deal of improvisation. The subject was chosen (usually love intrigues, clever ways of getting money and outsmarting simpletons), the characters conceived and named, their relations to one another determined, and the situations clearly outlined, all beforehand. The material was then divided into scenes and lazzi, and the situations were made clear. When this general outline was deemed satisfactory, the actors were then given the freedom to heighten, vary, and embellish their parts as their genius might suggest. But with the Servant of Two Masters script, Goldoni took the reins and wrote everything down in a script. Earth shaking? It was in at the time in Italy.

So what does that mean for Piccolo's performance of the piece? Will this "scripted" play make us LAUGH??? What about the hilarious, creative brand of Piccolo-style improvisation and general goofiness? Aaaaaaahhhhhhhh!!!!

Have no fear! Artistic Director John Szostek has already thought this through.

"There is a trap in attempting to present The Servant of Two Masters and that is how to allow the comic instincts of skilled actors to overcome a tendency to be a servant to the text. It has been said that commedia is the riskiest form of comedy. True, but worth the risk. When the moment of inspired improvisation happens it is like a lightning strike and time seems to be in suspension while a wonder takes place. Fortunately Goldoni’s text is so perfectly balanced and adhering to pure form that it allows us to perform under, through, over and behind the text." -John Szostek

See the show yourself (opens February 25!) and the Piccolo Ensemble will treat you to a Commedia experience that will make you wonder why this conversation about Goldoni's script seemed like such a big deal.

For some more info on Goldoni, you may enjoy this video fro our namesake and inspiration, Piccolo Teatro di Milano (particularly the section right around the 4:00 mark). English speakers, don't fear, the narrator speaks your language. Plus there is also some great material on everyone's favorite character, Arlecchino. Enjoy!

Arlecchino servitore di due padroni | Giorgio Strehler e Ferruccio Soleri

Thanks to our dramaturg, Claudia Zanna for her research and Artistic Director John Szostek for his quote!

The Servant of Two Masters

noreply@blogger.com (Moxie) — Thu, 20 Jan 2011 17:06:00 +0000

"Most people are looking for a job...he has TWO!"

The cast of Piccolo Theatre's Servant of Two Masters has been in rehearsal for a little over a week now, and we thought you might like to meet the cast and crew of our upcoming Commedia production! Check out this great footage from our very first rehearsal last week.

Who is this "Federigo Rasponi of Turin", and why is everyone so interested in him, particularly since reports are that he was recently killed in a duel? Stay tuned....or better yet, buy a ticket to the show!

Servant of Two Masters

By Carlo Goldoni

Translated by Tom Simpson

Directed by John Szostek

Previews: Feb 18-20, 2011

Opening: Feb 25 – April 9, 2011

Days & Times: Fri at 8pm, Sat at 8pm, Sun at 3pm

Location: Evanston Arts Depot, 600 Main St., Evanston

Tickets: $25 for Adults, $20 for Seniors, $15 for Students, call for group rates.

Call for reservations 847-424-0089 or order online www.piccolotheatre.com

We have so much more to share about this show- about our brand new masks (made by our friend Antonio Fava), the music we've chosen, the crazy characters, the history of the show as it relates to the art of Commedia AND the role it plays in Piccolo's beginnings. You're going to love it! Stay tuned for more sneak peaks into the rehearsal process.

Oh, and did I mention that we have new ensemble members!! A belly laugh and hearty congratulations to costume designer Joshua D. Allard, lighting designer Eric Branson, and actors Nicole Keating, Jessica Puller, Vic May, Andrew Roberts, and Laura "Berner" Taylor.

Thanks to our good friend Rachel for the video! You'll be seeing a lot more work from her in upcoming blog posts.

A Piccolo Panto Dame

noreply@blogger.com (Moxie) — Tue, 14 Dec 2010 16:34:00 +0000

The Panto Dame is one of the most loved characters in every panto Piccolo Theatre has produced. She's bawdy, flirtatious, big-hearted, and doesn't mind being the butt of everyone's jokes. She is also usually the first character to connect with the audience and her goofy charm welcomes everyone into the fractured and fun world of the Panto. Piccolo has had the good fortune of having three extraordinary men step into this role. Artistic Director John Szostek, Ensemble Member Glenn Proud and Piccolo's dear friend Andrew Roberts have all donned massive amounts of makeup to hit our stage as Panto Dames.

John Szostek as the Dame in Piccolo's 2005 Panto, Mr. Punch or Jack and the Blase Bride
All photos in this post by rep3.com

I recently talked to Glenn Proud, director of Robin Hood: The Panto! about his experiences playing the Dame at Piccolo pantos Sinbad and Robinson Crusoe. I think you'll get a kick out of his responses.

Denita: As an actor, why is playing the Dame attractive to you?
Glenn: The attractive thing about playing the Dame is that you as an actor can really do NO wrong. She's a character that lives both in and outside of the world of the play, which provides an actor the freedom to stop the action and take control of the stage. It's role that's well suited for a "Ham" actor. Who doesn't love getting laughs and attention?

Denita: Which Dame was your favorite to play?
Glenn: Dame Emphasema from Sinbad.

Glenn Proud as Emphasema

Denita: Did you research any famous Dames to prepare yourself for the roles? If so, who influenced you?
Glenn: I always do research when preparing for a role, and past Dames are my biggest inspiration for my style of make-up. The influences for the Dame characters I create are Monty Python (anytime the men play the women), Hyacinth Bucket from Keeping Up Appearances, Mrs. Slocombe from Are You Being Served?, and countless crazy old women that I've studied while working in a doctors office for ten years.

Denita: What is the biggest challenge for an actor playing the Dame?
The biggest challenge I had was overcoming my fear of talking directly to the audience in the opening monologue of the shows.

Denita: What is the funniest thing that happened to you on stage while playing the Dame?
Glenn: That's a really hard question. I can't really isolate a specific instance, but the most fun I had was working with my wife, Deborah in Sinbad. She played the character Sinbad and I was playing Emphasema. There were some great moments where we'd start to bicker at one another in "character" and she once called me out in front of the audience for referring to her as a "Her" when in fact she was playing a "He." The entire audience started laughing including Deborah. I could just feel my face blushing from under all that makeup. I was speechless for once in my life.

Denita: Is there anything specific that you do/did to get ready to prepare yourself to go on stage for performances?
Glenn: I'm a rather "method" actor when it comes to my process, and once I have all my makeup and hair in place, and in my dress, I'm in character till the end of the evening. I play a lot of grab ass backstage, it helps keep the character feisty.

To see the hilarious Andrew Roberts play the Dame in this season's Robin Hood: The Panto!, check out our final weekend of performances.

Andrew Roberts as Bess Flatbottom in Robin Hood: The Panto!

Robin Hood: An Understudy's Experience

noreply@blogger.com (Moxie) — Thu, 02 Dec 2010 16:41:00 +0000

Ensemble Member Deborah Craft paints a picture of what it was like to go on stage for another actor over Thanksgiving weekend.

Last weekend I had the stressful joy of going up on stage in the roles held by ensemble member Amy Gorelow. You’ll notice that last weekend was indeed Thanksgiving weekend and Amy, being from Atlanta, was away with family – like you do – to celebrate the holiday properly. I was also with family, but they’re in the area, so it all worked out that I was able to go up on stage to play around with this gaggle of goofy performers.

Being an understudy is an experience unlike any other in the theatre. Understudies don’t have the same rehearsal experience the regular actors do and need to pick up what they can on the fly in a way. For me, it’s a stressful position, but also one with the strongest adrenaline kick. It’s steps away from being an actor’s nightmare at all times: it’s kind of thrilling and totally intimidating.

So on Tuesday of last week the cast was called in for a put-in – where I was able to walk the blocking (stage movement) with the other actors and get a feel for speaking my lines against the other actors. I was also in costume for this rehearsal. Amy plays 4 different people in Robin Hood and some of those changes she and Vanessa Hughes have are as fast as any I’ve experienced.

It wasn’t just a rehearsal of the on stage work, but the back stage work too. Every actor in a Piccolo Panto works backstage just as hard as they work on stage handing off props, helping with quick changes, and turning flats in scene changes. The behind the scenes work is as choreographed and blocked as the on stage work, believe me. The rehearsal went well so it was left until Friday – in front of an audience – to see if I really knew the part(s).

I got to the theatre dressing room on Friday and the rest of the cast also started streaming in as usual. Vanessa and I started running lines as we put on our makeup and Ben joined in as well to help remind me that I knew what I was doing. I got into costume, handed off my quick change cheat sheet to Sarah, the ASM (Assistant Stage Manager) to tape to the wall backstage (there’s lots of little cheat sheets on the walls at Piccolo during a Panto – next time you’re there, see if you can spot them!), and at the places call went upstairs to wait my turn.

The next two hours went by in a blur. I went on stage and played to my heart’s content. I have to give credit to Vanessa and the whole cast of Robin Hood for making it all feel so relaxed and easy. If I was in the wrong spot on stage I was gently nudged, if I forgot a line (and I did!) my scene partners picked it up and kept the scene moving. Exhilirating. Scary. Stressful. And absolutely fantastic.

I was schmootzed in the face with whipped cream for the first time, I was the head of a cow for the first time, and I lived and breathed the energy of the audience. Thank you for allowing me to play!

Robin Hood: the Panto! a Must See!

noreply@blogger.com (Moxie) — Wed, 01 Dec 2010 19:02:00 +0000

Whether you are the type that likes to research before heading to a show, or if you just want to bask in the loveliness with us, you should check out what critics are saying about Robin Hood: the Panto! Click on the links to see the full reviews.

A "Must See" Show! "Jessica Puller's script...captures the fun-loving spirit of the panto. All the actors throw themselves wholeheartedly into their roles. Amy Gorelow and Vanessa Hughes, the ugly sisters/forest sprites, work together in perfect sync like the best comic duos, and Ben Muller's germophobic villain/Guy of Gisbourne injects just the right amount of wide-eyed crazy into his part. ...the audience was rolling in the aisles from beginning to end."
- Lisa Findley, CenterstageChicago.com

"Really. Go. Take the kids. Take anyone who needs a good laugh. For your helping of holiday cheer, this is the genuine article!"
- Patricia Simms, LaSplash.com

"...the cast excels at driving a sassy pace and playing every moment with gusto. What is even more important is the spot-on improvisation and interaction with the audience that they deliver....memorable moments include Noah Ginex’s magic scene and puppetry design, as well as Vanessa Hughes and Amy Gorelow playing the evil spirits of the Dark Forest, busting out a power ballad just like the 1980’s duo, Heart. But the show really is about the pact between audience and players to have a ridiculous, raucous good time. To that end, bring your friends and family. And watch out for the whipped cream."
-Paige Listerud, Chicagotheatreblog.com

"A Hoot and a Holler!" - Katy Walsh, The Fourth Walsh, ChicagoNow.com

"Performed with unstoppable gusto and unfailing impudence...louder than life and beautifully burlesque." - Lawrence Bommer, SteadstyleChicago.com

Need more Robin Hood? Check out this fun game!

noreply@blogger.com (Moxie) — Tue, 30 Nov 2010 20:21:00 +0000

It's like this company read our minds! A computer game called Robin Hood- A Twisted Fairytale! What?!?!

If you or your kiddos love matching games, head over to Adobe Marketplace, where you can check out this great Robin Hood game and even download it for free! (I did it, and promptly forgot everything else I was doing as I played it.)

This game IS an twisted fairytale, but you won't find the dame, a slop scene, fun 80s pop music or a thieving cow. You can only find those at Piccolo Theatre!

Have fun matching!!

Interview with Jessica Puller, author of "Robin Hood: The Panto!"

noreply@blogger.com (Moxie) — Tue, 30 Nov 2010 19:12:00 +0000

A couple of weeks ago, Piccolo Ensemble Member Brianna Sloane sat down with playwright Jessica Puller, who wrote this year's hit Robin Hood: the Panto, as well as last year's successful panto, Perseus and Medusa. Here Jessica tells us how she got involved with the Piccolinis and then started writing pantos for the ensemble. She also gives some hints about what you might be seeing on the Piccolo stage next year around this time!

Brianna: How did you originally get involved with Piccolo?

Jessica: That's actually a bit of a funny story. After graduating from college, I was looking to get into theatre administration. I decided to start blindly sending cover letters and resumes out to local theatres. Piccolo was one of the many theatres on my list, so they got my business resume. About two months later, I got an email back from Piccolo. It said something along the lines of, "We found your resume and headshot and were wondering if you'd be interested in auditioning for our production of Sinbad." Well, to this day, I have no headshots, but I thought it sounded like a lot of fun, so I asked to audition! On Monday, I did a monologue for Piccolo. On Tuesday, I was cast as the rear end of a camel. On Wednesday, I started rehearsals. And I've been in love with the company ever since!

B: How long have you been writing plays? What are you working on right now?

J: I think I wrote my first play in fifth grade. It was my attempt at science fiction and was basically, I realized, a spec script for Star Trek: The Next Generation, only with the names of the characters changed. Too bad the show was off the air! After that, I don't think I got very serious about playwriting again until my junior year of college. At the time, I was enrolled in all my serious acting classes, but I applied to, and got into, the Northwestern playwriting program. By the end of the year, I was absolutely in love with playwriting and basically switched my concentration and my energy to playwriting.I have a few current projects up in the air right now. I'm working on an adaptation of The Breadwinner, by Deborah Ellis, for the Citadel Theatre. The Breadwinner is an amazing young adult novel about a young girl living in Afghanistan who has to dress up like a boy in order to go out and earn money for the rest of her family. Adapting it has been an interesting challenge. I love writing adaptations, but I've never written one of a book before. I much prefer mythology. Nevertheless, I've found a way to apply my own, unique style to the dialogue of the novel. I'm really looking forward to seeing how it turns out. At the same time, I'm working on a new piece called The Trojan War...or how one bad apple spoiled the world for a new company called the Inconceivable Theatre. Greek mythology has always been a passion of mine, especially when it's used to examine modern day issues, in this case, war. I can best describe this play as a combination of The Complete Works of Shakespeare (Abridged), No Exit, and A Company of Wayward Saints, with maybe a dash of Kevin Sorbo's Hercules: The Legendary Journeys. Finally, I'm also writing a murder mystery dinner for a fundraiser with a theatre group up in Niles, Michigan called The Swansong. All in all, I'm a very busy playwright!

B: What is the most fun about writing Panto?

J: Oh, I absolutely love Panto. I often tell people that it reminds us that in the theatre, it's called a "play" for a reason. I suppose my favorite thing about writing a panto is that I get to work with folktales. They're my favorite kind of play to watch, so therefore, they're my favorite kind of play to write.

B: Is it tricky to adapt a folktale into something like a Panto? Do you find the Panto a rigid or freeing format to write for?

J: I actually enjoy the challenge of adapting a folktale to the Panto format. I think of it like putting together a puzzle. There are all these pieces that need to be included (a shaving cream battle, an old woman played by a man, a scene with magic, etc.) and it's my job to find a folktale that can incorporate all of them. With all plays that I write, I'm an obsessive outliner. I won't begin writing a script until I have all of the scenes mapped out and I know that the beginning, middle, and end are all connected and in place. Writing a Panto just means that when I'm outlining, I have to take an extra step to ensure that all of the pieces are in place. I'm very selective about what stories I choose to work with. Generally, I spend some time on the internet, researching folktales and myths to decide which would best work in the format. Some stories that I absolutely love just won't cut it. Others, that I've never even heard of before, work brilliantly.

B: What is your experience working with the Piccolo directors these last 2 years in the development process we have found together? Or alternately what is it like working with a composer?

J: I love working with Glenn and Brianna on the Panto. The great thing about writing it and producing it pretty much at the same time is that there are three sets of eyes on the script that can see three sets of opportunities. Glenn and Brianna have made such wonderful discoveries that I might have absolutely missed. Likewise, I've been able to come up with some solutions to practical problems. For example, the character of Nestor in last year's show become an entirely different person from the beginning of the process to the end. When I first wrote the script, I pictured Nestor as a sort of Phil Silvers wannabe, a weasely, silly man. By the end of the process, Nestor had become Natasha from Rocky and Bullwinkle, with super powers and a sexy, sleek delivery that was absolutely hilarious. It was beautiful. All three of us, and the brilliant Deborah Craft as well, contributed to the complete transformation of the character.

As for Tyler Beattie (Composer for Robin Hood: The Panto!), he's absolutely amazing. He and I went to Northwestern together, although we never met. I remember seeing some of his work and thinking, "Wow, this guy is good." When I began working on the Panto last year, I knew I needed to find someone to write the songs. I can, and often do, write lyrics, but my musical talents are somewhat limited. On a total whim, I went onto Facebook and looked for Tyler. I found him and sent him a message, asking if he was interested in the project. He said he was! I think I did a happy dance. On Perseus and Medusa, the script was written completely before he wrote the songs. Tyler brilliantly managed to write songs that fit the piece so well, you would never have known. This year, Tyler and I met a few times before I began writing the script, looking for opportunities for music. At the same time, we've also started talking about doing some other collaborations. We both love children's theatre and we both love musicals. I only wish we had met in college!

B: What do you love most about your "Robin Hood"?

J: The cast, of course! They're an incredible group! They're a wonderful group of actors and they've managed to crack me up. And I already know all of the punchlines ahead of time! Without a question, my favorite thing about Robin Hood script itself is the character of Scarlet. She was the very start of the whole story. As I was considering Robin Hood as a possibility for a panto, I started to ask myself questions: Who's the dame?" Maid Marian's nursemaid. "Who's the comic duo?" Little John and Alan-a-Dale (he's always been my favorite Merry Man!). "Who's the good fairy?" That was a question that gave me pause. I thought about it and I thought about it and gradually, the character of Scarlet formed in my head. I enjoy writing spunky female characters, as many of my plays will attest. I think I put a little bit of myself into every character, but Scarlet is the most obvious. I tend to be pretty snarky. I find pleasure in writing adventures I've never had. I have big dreams. All of these elements have been incorporated into Scarlet.

B: What stories are you dreaming of making into Pantos of the future?

J: I've actually collected quite a stockpile of Panto outlines on my computer. I honestly think that I could happily write Pantos for the rest of my life! Right now, I have King Arthur, Puss in Boots, Eros and Psyche, The Snow Queen, and Rumpelstiltskin all sitting on the back burner. Whenever I'm surfing the net and I come upon a story that I think would make a good Panto, I immediately sit down and try to write an outline. The great thing about most of the stories is that any of them could also be written into a children's theatre play with just a few tweaks, so stories that don't make it as Pantos still have life elsewhere.

You can get tickets to Piccolo's annual Holiday Panto, Robin Hood: the Panto! online or by calling the box office at 847-424-0089.

Interview with Artistic Director, John Szostek

noreply@blogger.com (Moxie) — Fri, 15 Oct 2010 16:22:00 +0000

The artistic head of Piccolo Theatre, John Szostek was interviewed recently by Behind the Fringe.com, a fantastic website that casts its spotlight on smaller theatres. They give smaller "fringe" theatres and emerging artists in Chicago, New York, London and beyond a place to tell the world about their artistic mission, what projects they are doing, and why you should see them. Check it out!

Excerpt from interview with Behind the Fringe.com

BTF: Will you tell us about your show?

JS: Housewives Antonia and Margherita, fed up with high prices in the supermarket, take matters into their own hands and "liberate" some items from the local grocery store. Keen to hide their light-fingered antics from their hot-headed husbands, Giovanni and Luigi - not to mention the pol

Piccolo Theatre: LOW PAY? DON'T PAY!

ice - the women are forced to resort to more and more inventive hiding places, as slapstick confusion leads to rollicking chaos. The first version of Dario Fo’s We Won’t Pay! We Won’t Pay! was presented in 1974 and was what he described as a "story that was pretty much impossible, if not downright surreal." A few months later the events of the play happened in Milan. The shoppers that went in for "proletarian shopping" were arrested and put on trial.

BTF: How and when did it come about?

JS: Piccolo Theatre’s first full production was We Won’t Pay! We Won’t Pay! presented ten years ago at Next Theatre. In celebration of our tenth Anniversary we decided to remount the show. It was recently updated by Dario Fo and re-titled, Low Pay? Don’t Pay! I had the honor of making the American version of the play.

BTF: What's your story?

JS: I began my love for Commedia dell'Arte while performing in Geoffrey Buckley's Commedia dell'Arte Troupe in Stratford-upon-Avon, England. I have performed as a featured actor in the Lyric Opera productions of Don Quichotte(Arlecchino) and Cosi fan tutti (Pulcinella) and performed in the American Ballet Theatre production of The Firebird and the Chicago Symphony Orchestra production of Beauty and the Beast. I was also played Dan Farblundget in the Emmy Award winning season of Beyond the Magic Door. Since founding Piccolo Theatre I have directed the company in, We Won't Pay! We Won't Pay!, The Artful Widow, Scapin, Mistero Buffo, Sinbad, Vaudeville and Robinson Crusoe. In 1997 I undertook the restoration of the Main Street Metra Station and turned it into a cultural center and theatre. In 2008 I was honored with the Artist of the Year Award by the Mayor of Evanston. I am currently the Executive Director of Evanston Festival Theatre which produces the annual Custer Fair.

To read further about John's theatrical influences and what you should never expect from him, reach the full interview here.

Show photos!

noreply@blogger.com (Moxie) — Sat, 02 Oct 2010 15:51:00 +0000

The first round of Low Pay? Don't Pay! production photos have arrived! Check out the Piccolo Facebook page to see more.

Photos by Denita Linnertz

Are you in the mood for a heavy handed, in-your-face, hilarious, agitprop farce? Oh, you are? Well check this out... a play that'll make you think, make you laugh, then punch you in the nuts!

(Thanks to Ensemble Member Glenn Proud for summing up the show so beautifully!)

Critics love "Low Pay? Don't Pay!" and Piccolo loves it's critics

noreply@blogger.com (Moxie) — Fri, 01 Oct 2010 00:36:00 +0000

Well, we love them most of the time. And to be fair, they've probably only loved us most of the time. Theatres and critics have always had an uneasy relationship, and Piccolo is no different from other theatres in that respect. We've had rotten reviews and we've had amazing reviews, often for the same show.

But no matter a theatre's relationship with the critics, we have to admit it's been a tough year for arts critics in Chicago.

Those who are not closely tied to the arts may not have even noticed the changes. But to those of us in the field, it's very clear that we are entering a new era. Because of shrinking budgets, the newspapers, magazines and journals you read every day have had to cut back on feature articles, trim the amount of staff covering the arts, or just plain limit the number of performances they review. While this news may not seem like a big deal, you'll find that arts organization and performers rely heavily on these reviews and feature articles.

Picture this: you see a listing for a show and can't find anything good that anyone has said about it. Your eyes skim past it to........a listing accompanied by a photo and article about the famous Italian Director-in-Residence, or even simply the words "Highly Recommended!". Chances are that you are much more likely to spend your money and time to see that show. Aside from personal word-of-mouth, those feature articles and reviews are the next best thing artists have to reach out to you, our patron. Artists depend on the critics to truthfully convince you to pay for tickets and patrons depend on the critics for thoughtful reviews when choosing what to spend their money on. Granted, there is no possible way to guarantee that all critics are ingenuous and discerning, just as there is no way to assure that every theatre out there is putting on life-changing, wonderful work. That's an entire separate blog entry!

So, back to the topic at hand. How do we all accept and embrace the change as the media moves away from old (paper) traditions and into the digital realm? I can only tell you from Piccolo's perspective. This is why you won't see Piccolo taking out traditional ads. It's why Piccolo is developing a strong presence on Facebook, in your email, and here on this blog. It's why we love to hear your thoughts on blogs and hear your reviews on Yelp!. This is why we are spending some of our hard-earned dough on updating our website to accommodate iPads and mobile devices. It's all because we want to make a connection with YOU! And that's why we have been welcoming reviewers and critics from sources in addition to the stalwart, old standbys. Have you seen the reviews for our current production of Low Pay? Don't Pay! ? You may not recognize all of the publications, but we urge you to become familiar with them. Check them out!

“Enthusiastically Recommended!”
–Patricia Simms, LaSplash.com

“Piccolo takes this farce and runs with it…[an] inspired production…"
– Brian Murphy, Evanston Roundtable

“Director John Szostek and [the] cast rock it till it pops…goofy, good-natured fun.”
–Paige Listerud, Chicago Theatre Blog

“…a goldmine of physical humor and sight gags…Piccolo’s savvy cast shines.”
– Tom Wittom, Pioneer Local

“[Playwright Dario] Fo will be proud”
– Charlie Trimarco, EvanstonPatch.com

Notice the new publications? We at Piccolo Theatre are so thankful to the local papers and established blogs who still send critics to see our work. And we welcome the newcomers, hoping the addition of their voices and thoughtful opinions you can trust will convince you to walk through our doors and have a good laugh with us.

By the way, there is still time to catch Low Pay? Don't Pay! Laughs and biting political/economic commentary will be running through October 23.

Want to know more about the the changes taking place in the media or the current state of arts critics? The following readings might be of interest to you.

"What is it About 20 Somethings?" New York Times Magazine
(This article lays out why the media and the rest of the world is being forced to change, thanks mostly to Gen Y!)

"Critics: Who needs 'em? Why They Still Matter." Chicago Tribune
(make sure you read pg 2 of this one.)

Refried Fleas and Freeze-Dried Fleas. Yum!

noreply@blogger.com (Moxie) — Sat, 18 Sep 2010 16:56:00 +0000

Now that Low Pay? Don't Pay! has opened and our audiences are laughing, we have time for some other related fun.

For those of you who have seen the show, you already know that the characters are dealing with food prices that are rising so sharply, one family is left to create dinner out of dog food, canary millet, and other less appetizing "gourmet" ingredients. Well, this got us to thinking. And goofing around. Ensemble member Ken Raabe wrote a little ditty about Refried Fleas and Freeze-Dried Flies and we couldn't resist sharing it with you.

Thanks to the awesome Rachel Bykowski for this video!

Here's a live performance of the song by Ken Raabe and Ensemble member Amy Gorelow outside our home at the Evanston Arts Depot.

So we want to know, what the weirdest thing you've ever eaten?

What you don't see...

noreply@blogger.com (Moxie) — Mon, 06 Sep 2010 16:23:00 +0000

From Low Pay? Don't Pay! lighting designer, Rich Bryant:

Have you ever taken the time to wonder how something comes into existence? How someone came up with an idea or an improvement of something already in existence? Do you find yourself watching HGTV, TLC, the History Channel or America's Test Kitchen on PBS? Then maybe you're just like me and have a bit of curiosity that pushes you to learn more.

Theatre is a process like anything else and one that has a certain amount of well worn methods to achieve it. Most folks, like yourselves, get to enjoy the end result and walk away from your experience with not only something to talk about, but hopefully also a reason to keep coming back. If you only knew.

In the many years of theater experience I have had I have learned that each show is unique in what it has to say and how it goes about saying it. The playwright has made distinct choices and selected a point of view that he or she wants an audience to hear and see. It is then up to the director, the actors and the designers, who all bring different experiences, thoughts and reasons, to try and address the questions within the play. We don't always agree nor should we. Theater to me is always one part collaboration and one part confrontation (not in a physical sense though sometimes it happens). It is a way for us to relate, to address, to challenge one another. To test our metal against the text. To forge new ideas and grow as people and performers. What I am hoping is that for all the hours, days and weeks I spend sweating, laboring, losing sleep and often times forgetting to eat, you come to the show and take away something you didn't have before. That what you take away continues to raise your curiosity and wonder. That what you didn't see makes you question what you just did.

I'll leave you with this thought and hopefully it makes you laugh and wonder what in the world these theatre artists are doing.

SELF PORTRAIT

anyone who says the square peg
does not fit in the circular hole
has never seen a crazy bitch with a hammer

-From Tricia Warden‘s Attack God Inside

Tech week- it's ON!

noreply@blogger.com (Moxie) — Wed, 01 Sep 2010 18:54:00 +0000

It's been tough finding time to post the past few days, because we've been in the thick of TECH WEEK! We have our first preview on Friday (this week!) and have been busy finishing the set, adding sound cues, lights. This is when the magic really starts to literally take shape around the artists.

Have you gotten your tickets yet? They are on sale now online or call 847-424-0089.
For those of you who are super duper budget conscious, check our Cheap! Cheap! Cheap! preview performances. This weekend, Sept 3-5!

Andrew and Amy put up some wallpaper on the set, while our stage manager, Cate, organizes props and Richard programs in some lighting cues.

And rehearsal doesn't stop for the actors, either. Oh, no! They are working through all of this, polishing up the funny bits and throwing in a few more, just because they can. The more laughs the better, right? Coming up next, a sneak peak at our final dress rehearsals!

And don't forget to check out our Facebook profile to see even more pictures.

Fast-Tracking to Anarchy

noreply@blogger.com (Moxie) — Fri, 27 Aug 2010 19:08:00 +0000

"If nothing else good comes out of our crisis, perhaps it will serve as a wake-up call for the entire nation. It's time to put our shoulders to the wheel to solve our problems.

Doing nothing is not an option for America. Much of poor America, especially in our major cities, has been Third World America for decades. Soon the urban middle classes and even upper classes will become better acquainted with that world."
- Janet Travakoli, Huffington Post

Remember a few posts ago, I promised that Piccolo would keep you laughing through some pretty serious issues? Just to be sure you don't think we're a fluffy group of actors who dream only of slapstick and slop scenes and door slamming, here are a couple of links and some reading to help you see the meat of our matter.

I can think of no single article to better summarize the "hot topics" in "Low Pay? Don't Pay!" than this article from Wednesday's Huffington Post. I urge you to give it a read here: Fast Tracking to Anarchy. It's not about the kind of anarchy that may immediately come to mind, but something much more real and much more close to home.

Can Chicago realistically fix its own problems? Can Illinois? Do I dare even ask about our national government?

Travakoli has also written about Arianna Huffington's new book, Third World America: How Our Politicians are Abandoning the Middle Class and Betraying the American Dream. I'm adding it to my reading list right now!

For some stunning visuals, visit Alison Wright Third World America Gallery. Click on Galleries on the left column and then scroll down to Third World America.

So now you see what we're talking about...which seems completely counter-intuitive to comedy, right? How does the hell does one laugh through all of this crap? When everything in the world seems to be turned against us average suckers? Playwright Dario Fo knows what he's doing. Stay tuned to the blog and you'll see!

Piccolo Theatre

Commedia Character Shorts- Smeraldina (Chapter 6)

What's so funny about an April Fool?

Piccolo Theatre and "il Piccolo"

Commedia Character Shorts- Brighella (Chapter 5)

Commedia Character Shorts- Il Dottore (Chapter 4)

This Just In! Early Praise for Servant of Two Masters

Commedia Character Shorts- Innamorati (Chapter 3)

The Music of Piccolo's Servant of Two Masters

Commedia Character Shorts- Pantalone (Chapter 2)

Commedia Character Shorts are here! (Chapter 1)

Giants of Commedia and Commedia Character Shorts

Carlo Goldoni and Commedia dell'Arte

The Servant of Two Masters

A Piccolo Panto Dame

Robin Hood: An Understudy's Experience

Robin Hood: the Panto! a Must See!

Need more Robin Hood? Check out this fun game!

Interview with Jessica Puller, author of "Robin Hood: The Panto!"

Interview with Artistic Director, John Szostek

Show photos!

Are you in the mood for a heavy handed, in-your-face, hilarious, agitprop farce? Oh, you are? Well check this out... a play that'll make you think, make you laugh, then punch you in the nuts!(Thanks to Ensemble Member Glenn Proud for summing up the show so beautifully!)

Critics love "Low Pay? Don't Pay!" and Piccolo loves it's critics

Refried Fleas and Freeze-Dried Fleas. Yum!

What you don't see...

Tech week- it's ON!

Fast-Tracking to Anarchy

Are you in the mood for a heavy handed, in-your-face, hilarious, agitprop farce? Oh, you are? Well check this out... a play that'll make you think, make you laugh, then punch you in the nuts!

(Thanks to Ensemble Member Glenn Proud for summing up the show so beautifully!)