| HEATHER RAFFO WOWS THE CROWD
by Jason Loewith on 5/05/2008 04:17:00 PM

Whether it's the 200 folks who stayed for the post-show discussion at our preview for 9 PARTS OF DESIRE yesterday, or the young women of Las Caras Lindas, or the donors at the annual Next Era Brunch, or the 150 folks who gathered for our panel discussion on Arab-American theater two weeks ago, 9 PARTS author-performer Heather Raffo is wowing crowds with her charisma, wisdom, intelligence and dynamism.

What was so striking after yesterday's preview was how voracious the audience was to hear from her... it was as if the performance opened a long-yearned-for window into a Middle East we all suspected was there but knew nothing about. We're aware - as Heather told us - that the media feeds us stereotyped images of women from the Arab world: they all wear the burka, they all weep and wail, they're all dominated by horrible men. But Heather's remarkable show, directed with such seamless elegance by Joanna Settle, shows us nine completely unexpected faces of other Iraqi women: lovers, doctors, spiritualists, activists... a mosaic of experience that makes the phrase "eye-opening" inadequate.

And the reason why yesterday's audience was so thrilled watching her performance was that they knew Heather actually had met these women. Although their monologues are not verbatim accounts of interviews, and they are written by Heather with astounding lyricism, they are not fictions. They are women we cannot meet on CNN or in the newspaper... they are only women we can meet in the next two weeks at the Museum of Contemporary Art, through 9 PARTS OF DESIRE.
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There is a nice review of the show by Evanston's Jeff Smith at the Central Street Neighbors Association website.
MORE KUDOS FOR ADDING MACHINE!
by Jason Loewith on 4/29/2008 06:08:00 PM
Click here to read about Adding Machine's 9 nominations for the Drama Desk Awards! That's more nominations than any show in New York last season, on- or off-Broadway, with the exception of A Catered Affair. Thanks to you all for making it happen!
 The new Elysian Fields scene in the off-Broadway production... different, huh?
(And though we're grateful to Chris Jones of the Tribune for picking this up, alas, it was only 9 nominations, not 12!).
Adding Machine has been extended off-Broadway to August 31, so there's more time to get yourself to New York to check it out!
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THREE PLAYWRIGHTS AND LOTS OF AGREEMENT?
by Jason Loewith on 4/22/2008 04:36:00 PM
Last night, Next Theatre was proud to produce Political Acts: The Emerging Arab-American Theater Movement, a panel discussion in partnership with Silk Road Theatre Project and the Museum of Contemporary Art. The 90-minute panel featured three extraordinary playwrights: Yussef El-Guindi, Betty Shamieh, and Heather Raffo - Americans of Egyptian, Palestinian and Iraqi descent, respectively.
The conversation, moderated by Simon O'Rourke of the Chicago Council on Global Affairs, was wide-ranging, covering topics from the west's perception of Arab women to Americans' need to culturally pigeonhole individuals to the demonization of the other in times of stress.
Despite the fact that these three playwrights come from very different backgrounds (Yussef was born in Egypt and raised in London; Betty is from San Francisco with two Palestinian parents; and Heather (who grew up in Michigan) didn't really relate to her Iraqi heritage until the first Gulf War) as well as different religions, the three agreed far more than I expected.
As a producer, the most provocative question to me was whether they as artists actively promoted an agenda in their work. While Betty contended strongly that all writing is a political act - you either embrace the status quo or rebel against it - Yussef claimed he writes without an agenda. All three agreed, though, that the political resonance of their work had much to do with what each different audience member brings to the table.
In a few days, you'll be able to listen to the entire panel at www.chicagopublicradio.org/chicagoamplified.
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THE RED AND BLACK GALA 2008!
by Jason Loewith on 4/14/2008 03:46:00 PM
Over 170 red-and-black attired friends joined us at our annual Red and Black Gala last night, raising tens of thousands of dollars for Next Theatre Company - congratulations and thanks for joining us!
A number of you have asked that I publish my comments here; please find them below!
Got a new iPhone.
Yeah, it's pretty great. Got it in August. Birthday gift. Wanted it for ages. Use it all the time. Obsessive, really. It's totally beyond phone! Calendar, notes, email, memos. Forget about stock-checking. Too depressing. But weather, camera, internet. Beautiful crystal display. IPod, of course.
And TEXTING, right? All the time. Check it out:
"Running late!" "Can't talk - at work." "Still waiting on luggage?" "Show fantastic - nice job!" "CU L8R".
Only problem is...
Seem unable to complete sentence now.
Verb-noun construction too complex.
Caught in techno-age.
Send help!
TTYL!
...
Easter Sunday, I had brunch with my friends Angel Ysaguirre and Bob Webb and assorted friends. One of them looked very worried. He told me his attention span had decreased so much in the past three years due to technology at his fingertips that he was actually frightened – he might never be able to read a book again, or watch an old movie, or have a real conversation; he might be leaving the world of human contact. He's a technogeek whose name I don’t remember because he only told me his twitter handle –
Oh, you don’t know Twitter?
Would you like to see me twitter?
(twitters)
I've just told a half million people what YOU'RE wearing.
Twitter is this crazy new thing that's described as "microblogging."
You all know what a blog is, right? I have some thoughts, I write them on my computer, I send them to the internets, and then anyone in the world can read them. It's like having a public diary with potentially unlimited readers.
I must say I've never understood the blog thing. We have one on the Next website. I use it once a week to type up some marketing-inspired "rah rah" Next thoughts... no one reads it.
But that doesn't stop other people from blogging about the most shocking things imaginable. In fact, shock value is the blog's stock in trade. I confess I've been suspicious of blogs ever since an employee sent me an email, and in the signature of the email he had a link that said something like "check out my livejournal" – one of the earliest blogs. So I went to check it out, and discovered that he was trashing me. "My boss Jason is such a pain in the ass" blah blah blah... online. For the whole world to see. This employee no longer works at Next Theatre Company.
Yeah, so I don't like blogs all that much. As a kid I kept a diary, and you know, it was PRIVATE. That’s why we had diaries. Remember the whole lock and key on the book thing? Gone. Now it's all about PERFORMING your diary for the world.
Now, I can understand blogging as performance, but 'microblogging'? With microblogs – with Twitter – you only have 140 characters in which to write a diary entry. That's all that fits on the screen. Needless to say, this puts a limit on the literary merits of the microblog.
Stymied by the texting limit, dedicated Twitterers twitter all the time. Many times a day, some many times an hour. But what does one have to say to the world in so frequent and unfocused a way? I'll tell you. As I speak to you right now, floating all over the internet, hundreds of thousands of technogeeks are telling the world things like (and these are real Twitters):
'off to coffee + a friend's bday party'
or
'Tired, sad, listening to Britney Spears again, lol'
or
'Hace mucho frio aqui!'
OK.
WHO GIVES A SHIT?
Last fall, I interviewed Bart Sher, the soon-to-be Tony winning director (he directed LIGHT IN THE PIAZZA, and the SOUTH PACIFIC that just won the award for most over-the-top NYT review last week) for this book I've been writing. I asked if traditional art forms like theater would come out winners or losers after this techno-revolution we're in. He told me this story:
One woman came up to me after a show at my theater; she's a cancer care nurse. She goes every day into extreme situations in wards where she takes care of patients at the ends of their lives and helps keep them comfortable, and monitors their care, and their treatment... she's got a very, very difficult job. And she told me, 'I love to come to your theater because, when I come and participate in these stories, whether they're classics or new plays, they fill me up and give me the spirit to go back to my job. And I bring those stories back with me.'
So she can see Skin of Our Teeth, or Uncle Vanya, or To Kill a Mockingbird, and have an engagement with other people in her community. She can learn something about her world, she can remember ideas that come from her past, she can have a little taste of transcendence and transformation. And that gives her energy to go back into the world to pass those stories on, to feel connected to other people.
I'm not trying to make it sound 'ooky-spooky', but art has a real function in people's lives. It doesn't have to be our theater. It could be going down to the Art Museum and being filled with a way of looking at the world that gives you sustenance and strength when you’re in your real world. There's a larger way of looking at the world that we must constantly keep challenging ourselves to see, through art.
...
And one of the great things about this country, about the prosperity we've achieved, is that we Americans are constantly searching out these kinds of cultural experiences. We are constantly looking for stories that reflect who we are, where we've come from, where we might be going, in a search for transcendence. Whether it's Project Runway or South Pacific or looking for Cinderella in the Sweet Sixteen, we are on a constant quest for that 'aha' moment when we transcend the real and our imaginations engage.
But what's terrifying in our techno-age is that we've mistaken stimulation for this transcendence. Because it's so available, so ubiquitous, we pursue constant stimulation, thinking somehow that stimulation will lead to transcendence. We've trained ourselves to be in a state of continual PARTIAL awareness... and the big loser in this effort is our imagination.
For example, I've caught myself watching TV with my iPhone at my side. I'm not talking about giving myself something to do when commercials come on. But to give me something to do if, god forbid, the plot of CASABLANCA begins to lag for a moment, or I'm in between special effects sequences on BattleStar Galactica… I can check my email, or look up 'cylons' on Wikipedia, or find out when Ingrid Bergman died, or how many marriages she had or whatever. Or to check the weather (again). Or find out what time it is in Abu Dhabi. And before you know it, I've watched a movie and read a newspaper and checked the weather in Abu Dhabi and I've somehow diminished my cultural literacy and imaginative power.
This is now actually proven to be true. A troubling article in the Atlantic Monthly last fall marshaled an array of recent neuroscience studies that demonstrate how multitasking ('the nightmare of infinite connectivity') is actually dumbing us down while it makes us crazy. The article explains that we've made a journey from the 'Be Here Now' motto of the 60s to 'Be Everywhere at Once' today. And that we are headed for a multi-tasking crash, or an attention-deficit recession.
I'd take that one step further and refer fearfully to my Twittering friend from Easter – in our lust for ever greater frequency of stimulation, we're losing our imagination, too.
...
Anyway, in the midst of all this, a 3 and a half hour play called AUGUST: OSAGE COUNTY won the Pulitzer Prize.
HOW IN HELL DID A THREE AND A HALF HOUR PLAY EVEN HOLD MY ATTENTION?
For a time, Next theatre Company was known as the theater that produced socially provocative, artistically adventurous plays under 90 minutes. The chair of the Equity Jeff Awards was dismayed when I told her we were doing a 3-act play next year that might run 2 and a half hours.
I won't tell you which one it is because you might not come.
Hey, it’s OK, I get depressed when I hear a play I'm about to see will be more than 90 minutes and involve an intermission.
It's not just because I expect the show will be bad, either, though we get plenty of that. But because the theater – any art, any form that activates your imagination – actually demands sacrifice. The opportunity for transcendence is of greater, more lasting value than the opportunity for escape – which is the route we so often pursue – or stimulation, which is ultimately a selfish and self-reflective act.
Live performance – the theater – demands something precious, and something which goes beyond self-reflection. Above all, it demands that we stop. That we wait. And that we pay attention – for an hour, or two, or even three and a half. And if we're lucky, the result of our sacrifice will be transcendence.
I asked Mary Zimmerman, Tony-winning director of Metamorphoses, whether she has an obligation to the audience as an artist:
The audience should be engaged and rewarded for the sacrifice they’ve made by diminishing their own presence… sitting in uniform rows in the dark… and not being allowed to speak... and quieting themselves bodily... and not being allowed to eat or drink, not being allowed to answer their cellphones... for removing themselves from the world, and giving me their attention. You need to gratify, and reward, and appreciate that attention and respond to it, fulfill that promise.
Usually, you in the audience give me about 15 minutes to get to you; that's as long as you'll give up on your technology and your worries and your continual partial awareness nowadays, and if I haven't grabbed you by then, you’re lost for the evening.
But if I DO grab you, then you actually, physically, have become deprogrammed. I really believe it. Your concentration isn't split into a hundred different things. How do I know if a show is successful? I know by watching the audience from the back: because when it’s working, YOU ALL BREATHE AS ONE.
And then, if I can keep you breathing together, the last 15 minutes of the play become a GOLDEN TIME, a time when you are really open to reflection, to going beyond yourselves; you are present, you are living the poetics of the piece that we've created... and we can return you to a state of connection, to the poetics of language, to emotional truth, to visual magic… in short, to transcendence.
In my six years at Next Theatre Company, I have watched hundreds of audiences at dozens of productions to see if we've returned them to that place. I have failed, on more than one occasion. I did not repay the sacrifice you made to remove yourself from the world and give me your attention. It is a difficult, challenging thing to do with our repertoire, unique in Chicagoland.
Often we succeed, and sometimes – rare times – we succeed brilliantly. Our production of DEFIANCE earlier this season sold more single tickets than any in the past twenty years. We commissioned five new music-theater works for our last show, THE AMERICAN DREAM SONGBOOK (though I have since learned that producing plays that satirize suburbia IN suburbia is not always a safe bet). And next month, we are bringing an internationally-renowned artist, Heather Raffo, to Chicago with the help of the Museum of Conteporary art to give us the area premiere of her one-woman masterpiece, 9 PARTS OF DESIRE. I promise your sacrifice will be rewarded at that production, more than any other this season.
Oh, and there was that ADDING MACHINE thing, which is getting its cast album recorded tomorrow in New York, and which was nominated for 6 Lucille Lortel Awards for distinction off-Broadway – the most nominations of any show in the past year.
It took us six years of backbreaking work to get to this point.
Somehow, and mostly with the work of the people in this room, in six years we have transformed our humble artists’ station into a thriving and important destination for Chicagoland theater. We have taken a $168,000 budget and turned it into a $670,000. We have taken 300 subscribers and turned them into 12 hundred. We started with four board members and now have 19.
No one gave us a fortune. We didn't do it with easy-on-the-eyes musicals or heartwarming revivals or circus shows or babies and puppies and free ice cream cones or ESCAPE. Somehow, we did it – and YOU did it - with provocative, thrilling dramas, a bunch of flops, a bunch of hits, and a lot more risky pieces in between that didn't do too badly.
I'm astonished to look back at the success we've had, and I'm proud beyond measure of what we've tried to do.
But I'm no fool, and this isn't my attempt at feeding you humble pie – dessert will be here momentarily, by the way. It is the people in this room, and those like them – from subscribers and people who write checks for twenty-five bucks to foundation folks, and Board members – who have made it happen. Yes, it's true that we staff members and artists have insane commitments, and do what we love without a lot of regard for money. We sacrifice a ton.
But it's actually all done in service to YOUR commitment. YOUR commitment to having a theater in your community that takes risks, provides theatrical adventure, and stirs the soul. And demands your attention. And rewards the sacrifice as best it can. YOU believe more strongly than I do that this theater MUST have a place in your community. I'm just a traveler, passing through. But YOU have wished this theater into existence.
I asked Bart Sher how he avoids going to the 'bad place' – that place all we artists go to when we think our work isn’t worth the trouble, that no one’s listening, that the critics don't get it, that the audiences don't care... and here's how he responded:
There are a lot of people who have a lot more faith in the arts than I do. They're not artists, they're in the community: they're Boards of Directors, they're subscribers, they're people who make small contributions, who are very valiant and courageous in their belief in this stuff. So in a way, when I go to the bad place, I just have to believe in them: that they have enough belief in what we're doing, that they love the work enough, and they believe it’s important to their community. Their sense of the missions of these places and what they want in their communities always embarrasses me because it’s so much greater than mine in some ways.
You, and people like you, willed this theater into existence 27 years ago. You have willed it to become bigger and stronger and vital every year. You believe in what we do more than I can, in some amazing way.
And so this gala is all about celebrating you: your commitment to the pursuit of cultural experience that leads to transcendence. For that very rare quest, I thank you. With all my heart. I thank you for being here with me, and I look forward to seeing you at the MCA in May, and at the theater again next fall.
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NOTES FROM THE RECORDING STUDIO
by Jason Loewith on 4/08/2008 02:45:00 PM

As reported on Playbill.com and in the Chicago Tribune, Adding Machine: A Musical is getting recorded for posterity!
PS Classics, a relatively young label with a mighty catalog, is producing the CD, which will be recorded on April 14 in New York with the off-Broadway cast. Tommy Krasker, head of the label, hopes to release it in early June.

This whole recording thing is new to me, and I've been fascinated to see how Tommy puts it together. And it's big business, too. Even the smallest of recordings, recorded in a single day like Adding Machine, takes many tens of thousands of dollars to pay performers, studio fees, post-production costs, and production... and then there's marketing. It's an unbelievable outlay in a world where people spend less and less on physical CDs and more and more on iTunes.
Since the deal was inked barely a week ago, Josh and I have been collaborating at lightning speed with Tommy on the contours of the album. Things I don't think about any more - the way, for example, our brilliant director David Cromer melded one scene into the next - are actually problems for the recording, so Josh and I have to reconsider the beginnings and endings of scenes. And what about the spoken dialogue? To cut or not to cut, that's been the question all week.
Happily, I think that Tommy, Josh and I have come to some excellent conclusions about how to trim what's unhelpful to an auditor but retain the musical's essential story. You can bet we'll be selling copies of the CD at Next!Labels: Adding Machine
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ADDING MACHINE LEADS THE PACK AT THE LUCILLE LORTEL AWARDS!
by Jason Loewith on 4/01/2008 12:23:00 PM
It is with great pleasure that we announce ADDING MACHINE: A MUSICAL leads the pack with six nominations for the Lucille Lortel Awards, honoring achievement off-Broadway! The nominations are:
OUTSTANDING MUSICAL - Jason & Josh/Producers Scott Morfee, Tom Wirtshafter & Margaret Cotter OUTSTANDING DIRECTOR - David Cromer OUTSTANDING ACTOR - Joel Hatch OUTSTANDING SUPPORTING ACTRESS - Amy Warren OUTSTANDING COSTUME DESIGN - Kristine Knanishu OUTSTANDING LIGHTING DESIGN - Keith Parham
(We should all take some pride in knowing that all those receiving nominations were with the original production at Next!)
Read more about the Awards - and our competition, in this Playbill article, and at the official Lortel Awards website.
The awards ceremony - where the show will have a musical number! - take place in New York on Monday, May 5 at the Union Square Theater... here in Chicago, we'll be opening 9 PARTS OF DESIRE at the MCA - so it'll be one heckuva night for Next Theatre!Labels: Adding Machine
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RIGHT-WING BIGOTS ATTACK DEERFIELD HIGH SCHOOL
by Jason Loewith on 3/25/2008 12:31:00 PM
I had the opportunity to speak with Lora Sue Hauser, the individual listed in the blog below. My post has been edited to correct factual errors; I regret that mistakes were made in the original post. As Ms. Hauser said, we both look forward to further comments and questions on the issue involved.
Recently I had Easter brunch with a friend who teaches English at Deerfield High School. Like others on the North Shore, Deerfield has a long history of progressive education and outreach. Like other high schools across the country, they recently assigned Tony Kushner's Pulitzer Prizewinning play Angels in America to AP English students.
But unlike other schools, Deerfield has an angry ex-parent "with years of advocacy" behind her: Lora Sue Hauser.
Although one of her children graduated from Deerfield, another child was put into private school because, she says, Deerfield was not a welcoming place for children with a "conservative" background. Nevertheless, I presume she wants to save the other innocent kids from the work of Satan-worshippin' hom'sexuals like Tony Kushner. I presume that's why she formed North Shore Student Advocacy "years ago" -to address issues like this, lending legitimacy to her campaign against Deerfield.
Lora Sue Hauser is very upset that DHS is teaching Angels, even though it's an optional assignment that requires parental approval. So she's calling it "pornography" to anyone who will listen. Screaming "pornography" when you're talking about literature strikes me pretty clearly as hatemongering and fear peddling (as well as a throwback to olden-time bigotry). Obviously, she disagrees.
NSSA's protest against Angels took the form of an outraged press release, including excerpts from the play's most graphic scenes. She succeeded in stirring up some excitement from right-wing nutballs from all over the country, eager to sink their fangs into the homosexual agenda wherever they can. (She did admit to me she was happy to have the publicity).
Some of the results can be found here, here, here, and really all over the internet.
But if you'd prefer to read the facts instead of apoplectic, apocalyptic fiction, check out this story from the Pioneer Press that lays out the credentials of the teacher, Tony Kushner's personal involvement in the case, and the superintendent's decision to make sure parents of those who chose to study Angels signed permission slips allowing their kids to study it.
Here's what you can do:
Send an email of support to Superintendent George Fornero at gfornero@dist113.org.
Let North Shore Student Advocacy know you won't tolerate hate or ignorance in your state at NSSAdvocacy@aol.com or (847) 651-8646.
The right-wing websites are getting their message out ("It's just like yeast; if you just ignore it, you'll find it engulfing your neighborhood also!"); make your voice heard just as loudly.Labels: Free Speech
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You've got the facts wrong. Hauser formed NSSA 5 years ago, not last year. She never home schooled her kids, either.
Like most people with kids, I don't want my kids taught by anyone who cannot restrain themselves from using foul language while teaching. Professionalism 101: control your mouth. Professionalism 102: communicate with parents with complete truth. I don't want a teacher, whose personal life I don't need to know about, standing in front of my daughter talking about "dick sucking." Teachers are not counselors and are not trained to know what to do when a student is upset or traumatized by adult lack of constraint. For you to cast a smear upon an entire swath of parents who are putting everything they've got - time, money, emotional support - into child rearing is just wrong. And please, at least get your facts right.
I'm told I may have some facts wrong on this post. I'll leave the post up while I get them right; please check back later if you're interested, or feel free to tell me your thoughts at jason@nexttheatre.org.
I don't agree with what Hauser did, or how she went about doing it. However I have read and studied “Angles in America”, and I don't think it is age appropriate for high school students, and it should not be an assignment, optional or required. It is an amazing play that everyone should read when they reach college, study it there, not in high school.
Regardless of the sexual orientation of the book or the teacher's agenda, how is it appropriate to have students reading a book with as much profanity in it as this book. Are students allowed to use that sort of language in the classroom? If not, why would they be asked to read a book that contained that langauge? I am all for having well rounded kids, but this seems to have crossed the line by a mile.
Next Communities Tackles Race - WBEZ
by Jason Loewith on 3/21/2008 01:31:00 PM
So Senator Barack Obama might be having a tough time lately getting the conversation started in this country about race, but we at Next Theatre - and specifically, Outreach Director Julie Ganey and Next Communities - are doing it on the local level with huge success! Check out this clip from WBEZ's Eight-Forty-Eight if you don't believe me.
Julie Ganey has really built this program over the past three years through her care, talent and hard work, and the interest of the press is testimony to her diligence. For those of you that still wonder what Next Communities is about, the clip explains it all beautifully: what it is, why it's important, and who we're making this work for.
I'm also proud to share the following from one of our major funders of the project:
Thanks so much for taking time to share the 848 clip with us. It was such a wonderful piece and one that not only captured the success of this program but also the essence of what the Woods Fund hopes might come from supporting efforts that use the arts and open conversations to build diverse and healthy communities - in whatever form that might take. We are truly proud of all that Julie and Next Theatre has been able to accomplish during this three-year grant period. Bravo! Consuella Brown Program Director Woods Fund of Chicago
As a reminder, performances this year are:
Thursday May 15, 7pm at Fleetwood-Jourdain Community Center
Saturday May 17, 3pm at Raven Theatre in Rogers Park
Sunday May 18, 3pm at Next Theatre Company
All perfs are free/donations accepted/reservations suggested at 847-475-1875 x10 or amber@nexttheatre.orgLabels: Next Communities, Race
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Sticky Territory: Next Communities tackles race and class
by Julie Ganey on 3/14/2008 09:56:00 AM
Is race still an issue in two such liberal, progressive communities as Evanston and Rogers Park? What role does social class play in our "classless" society, as it is often dubbed? How does a community of many cultures and classes get people working and interacting shoulder to shoulder -- and is this even a value we all hold? What is the price of diversity?
This year's Next Communities project is in full swing. After last year's examination of gentrification, development and affordability, we decided to get into even stickier territory this year, bringing folks together to discuss diversity, race, and class issues in our community. Why this topic, you might ask? Well, I spent the fall speaking with community leaders about what issues they felt were most worth examining, and this is what I heard. We also held an open community meeting at the Evanston Public Library in October, and these were the issues that seemed to rise up from the group that assembled. Also, I must admit, I was really interested in having this conversation, because of my own experiences over the last year or so. So, I set out to put together an ensemble of community members that could represent our ethnic, cultural, socio-economic and political diversity. I was also looking for a group of individuals who really wanted to have an honest conversation about these issues, and who were willing to sit in a room and truly listen to others who disagreed. It was an interesting process, in part because there is a good amount of profiling and pigeonholing that goes into putting together a small, intentionally diverse ensemble. And guess what? Not everyone wants to spend their Saturday mornings talking about race and prejudice. Go figure. Lots of Rogers Park and Evanston progressive types such as myself were interested in participating, but that obviously doesn't make for a very diverse group. I also came right up against some of my first lessons -- one of which was that my well-intentioned, liberal, Caucasian female agenda that assumed everyone would see the value in a discussion such as this one, was a bit presumptuous. Eventually, though, a brave and hardy group of 16 assembled on a snowy Saturday morning -- a group that included representation from different cultures, ethnicities, classes, and even the Evanston Republican Organization. Our first workshop began as they all do, with some improvisation exercises to get us playing and relating to each other in unconventional ways. We then talked about why it is so difficult to talk honestly about race, diversity and our prejudices -- that we are all nervous about saying the wrong thing, or the right thing in the wrong way, or revealing something ugly about ourselves. And we agreed that we would be a circle in which those things could happen, be dealt with honestly, and worked through.  And so we jumped in. We've discussed the appropriateness of a diversity project being run by a couple of white women, institutional racism, where stereotypes might come from and in what ways we might be responsible for them. We've looked at social and cultural privilege, being the "only," balancing assimilation with retaining one's culture, housing and gentrification (again!) and tried to examine our assumptions as honestly as possible. In progressive, basically liberal American communities in the 21st century, our prejudices make themselves known not through racist remarks or actions -- we are past that, in a way -- but through the way we see things. Naomi Wolf refers to this as our "veil of assumptions." We tried to lift that veil, or at least become aware of it when we could. It was hard. We weren't always brave, didn't always get to the deep stuff. But we certainly made some headway. Margaret Lewis, an accomplished and acclaimed Evanston playwright, is currently writing a play based on our discussion workshops. In a few weeks, the group will come together again to rehearse the piece, which we will then perform May 15th through 18th. Next Communities exists to create opportunities for dialogue in the community about difficult issues. We invite you to come join us and be part of the dynamic discussion. Performances:
1655 Foster Street, in Evanston
6157 N. Clark Street in Rogers Park
Labels: Next Communities
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Given Barack Obama's eloquent and honest comments today about race in America, I am prouder than ever that you're tackling this topic... it's a topic you were nervous about for years, and I think that if you've approached it as honestly as this blog suggests, you'll be super-successful. Congrats to all.
"DATED CURIOSITY" OR "GLITTERING REVIVAL"?
by Jason Loewith on 3/04/2008 11:45:00 AM

Unfortunately in my job, I have to read reviews - to figure out marketing strategies, estimate box office take, and get a sense of how the audience will be feeling coming into a show. I say "unfortunately" because some of our "critics" in the weeklies are pretty incompetent at their jobs.
The reviews for AMERICAN DREAM SONGBOOK, while all great in the dailies (the Tribune, Sun-Times, and Daily Herald), have been crazily mixed in the weeklies. That's rarely a surprise because, as I say, so many of those writers aren't too good at what they do. And while I'm happy to be spanked from time to time by the good ones (Time Out's Kris Vire, for example, rightly points out that our failure to find composers of color is a minus for the show), it bugs the shit out of me when a truly brainless boob splatters our show in print.
Of the particular review I'm frothing over today (and I won't name names, or papers), at least an interesting question for this blog came of it. We have heard from some folks - and this particular review - that the first act, Leonard Bernstein's TROUBLE IN TAHITI, felt "dated", or was a "curiosity" best left uncovered.
Um... yes, it IS dated. It was written in 1952. That's exactly why we decided to pair it with a second act... to help us understand how dated that view of the American Dream is, and provoke the audience to wonder what makes up the American Dream today. So, shame on the reviewer who didn't figure that out.
But I'm more interested in the question these comments beg: what makes one revival "dated" and another "glittering"? After all, every revival - especially those that aren't directorially manipulated - is dated. I'm thinking of some of the finest and faithful revivals I've seen around town in the past few years: Frank Gilroy's 1964 THE SUBJECT WAS ROSES or William Inge's 1956 BUS STOP at Writers; Timeline's 1959 FIORELLO! What made them "revelatory" to many? Why do some critics call our TAHITI "dated" and others call it "a shining revival"?
If I've learned anything about audience response to our SONGBOOK, it varies generationally. Those that were married - as Sam and Dinah were - in the 50s tend to fall in the "shining" camp. Those who came of age in the 60s and 70s - especially women - fall into the "dated" camp. That's not a hard-and-fast rule, of course.
In any case, the reviewer I'm thinking about was for some reason enraged by Bernstein's portrayal of 1952 American, and our decision to produce it. This reviewer clearly had expectations about the evening that weren't met... which leads me, yet again, to plead for audiences to know what they're seeing before walking in the door. Especially at a place like Next Theatre Company, where we aim to get you thinking as we entertain you. If you don't know anything about what you're in for, there's a chance you'll turn off your brain and not be open to the possibilities of what we present.Labels: American Dream
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THE BEST MUSICAL OF 2008????
by Jason Loewith on 2/27/2008 03:38:00 PM
 "Is it too early to declare ADDING MACHINE the best new musical of 2008? Perhaps, but I'm going to do so anyhow, and if something better comes along, it will be a great year for musicals indeed." - TIME OUT NEW YORK, 2/28/08
Next Theatre takes New York by storm!

Joel Hatch and Amy Warren in the New York production

Director David Cromer, me, and composer Josh Schmidt

Stars Amy Warren, Joel Hatch and Cyrilla Baer
Some pictures from our fabulous opening night of ADDING MACHINE in New York! The press has been overwhelmingly positive - read the Times, Variety, John Simon in Bloomberg News, the Star-Ledger, the Sun... you name it! We're bursting our buttons. Thanks to everyone in the Next Theatre family for making this POSSIBLE!Labels: Adding Machine
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A NEW COMMISSION FOR NEXT!
by Jason Loewith on 2/12/2008 03:21:00 PM
Writing to you from dress rehearsals for THE AMERICAN DREAM SONGBOOK, I'm pleased to announce Next Theatre has commissioned New York-based playwright David Johnston for a project tentatively called "The Rapture"! I've been pursuing him since Literary Associate Lila Stromer made me read his play CANDY AND DOROTHY, which I adored, and which went on for a well-received off-Broadway run. He's also the author of the very dangerous, iconoclastic, and astonishing BUSTED JESUS COMIX, which has scared producers from coast to coast (this one included)... but he's an original, compelling voice, and we're proud to be working with him.
Check out his blog and his work here.
We're continuing to work on our commission with Carson Kreitzer, and when I'm in New York for the opening of ADDING MACHINE she and I will be meeting to further discuss the project... and there's one more commission in process that I'll let you know about just as soon as the papers are signed!Labels: Carson Kreitzer, Commissions, David Johnston
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POLITICS & ENTERTAINMENT
by Jason Loewith on 2/05/2008 12:18:00 PM
There's more than enough happening here at Next these days - technical rehearsals about to start for THE AMERICAN DREAM SONGBOOK, the first workshops for our annual outreach program NEXT COMMUNITIES, and ADDING MACHINE beginning previews on Thursday in New York - but it's primary day, and I'm in a political mood.
My political wish for this year is that we Americans demand a campaign about issues and not about scandals. I want Americans to watch the debate to get a better and more nuanced understanding of the issues we face - not to have a chance to see a candidate slip up, or become enraged, or cry. That's reality television seeping into the gravest and most important of responsibilities we as citizens have.
There are a couple of candidates out there who can help raise the level of political discourse in this country, and I'll be rooting for them... and if they win their respective primaries, I have a feeling we just might have an election season in which voters demand of TV networks, newspapers and websites something more important than "who cried today and why?"
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DREAMS OF BERNSTEIN
by Jason Loewith on 1/22/2008 03:54:00 PM
Week two of rehearsals for The American Dream Songbook begin tonight, and I can't get Leonard Bernstein's delirious music out of my head... it's a wonderful problem. Our first week of rehearsal has been dedicated to Act One of our evening, which is Bernstein's rarely-heard 1952 jazz-opera, Trouble in Tahiti.

I had a rather stunted musical upbringing, thanks to years under the stern fingers of a classical piano teacher who wouldn't let me learn Billy Joel's "Piano Man." Never able to impress my friends (they weren't into hearing Bartok at parties), I indulged my love of classical music through my godfather, who gave me my first classical music tape (Mozart's Piano Concerto #23, still my very favorite).
My godparents' home was full of delicious cultural artifacts that I still remember vividly, thirty-five years later. Beautiful mortars and pestles (my godfather was a pharmacist), eye-charts with Hebrew letters... and on the wall, the most precious thing a Jewish, artsy kids from the 'burbs could imagine: a framed concert program signed by Leonard Bernstein... with the conductor's baton he used that night, mounted atop it.
The baton's handle was cork, and I could imagine it wicking up Bernstein's sweat as he vigorously led his orchestra through musical peaks and valleys, notes washing over the audience, seeping, flooding, dripping, dangling, rushing... I never saw Bernstein conduct in person, but I watched the New York Phil on TV just to see him leap and prance and weep his way through a concert.
When I now watch Karen Doerr sing "A Quiet Place" in rehearsal, conducted so beautifully by our music director Jeremy Ramey, I feel the same emotional swell that I did back when I was five... and I think of Bernstein's slender, powerful baton.Labels: American Dream
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CULTURAL BRIEFS
by Jason Loewith on 1/16/2008 02:46:00 PM
Juno is a delightful movie that is an example of Hollywood casting at its best... a colleague gave me a copy of Audrey Niffenegger's The Time Traveler's Wife for the holidays and it was one of my favorite reads of all time... American Dream Songbook rehearsals began last night, and wait til you see what the theater will look like!... I was not a fan of John Adams' latest, Doctor Atomic, feeling the libretto was a disastrous post-modern mish-mash of uninspired editing and managed to turn one of the most dramatic events of the last century into a twee curiosity... have just begun teaching Richard III at the Graham School at the University of Chicago to about 25 incredibly-inspired adults, so politics are on the brain... in New York next week for Adding Machine rehearsals I'm planning to see the New Group's production of Mike Leigh's 2000 Years and CSC's production of David Ives' New Jerusalem to consider for our 2008-09 season...
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On the Differences between ADDING MACHINE: Chicago and ADDING MACHINE: NYC... (Just a Few)
by Josh Schmidt on 1/09/2008 01:35:00 PM
When all this talk about ADDING MACHINE transferring to NYC started to materialized, of course we were all excited - but what was this exactly gonna mean? To date, I have never, ever worked on a project that was not the child of some manifestation of a not-for-profit organization (with the exception of the bar bands I played in that drank away the profits). One thing all interested parties should know - the difference could not be more pronounced...
When I put my workload together for the upcoming season, I start the process usually in February, finish flushing it out usually by May or June, and am usually good for gigs until the following summer (essentially one year in advance). This works through the comfort that non-for-profit companies and colleges know the what, when, with who, and how regarding a particular project even before they sign me on, and there is a reasonable calendar of events I can construct with gaps in between for surprises and opportunities. It is the reality of how not-for-profit companies work that make this possible.
In the commercial world - ADDING MACHINE: NYC literally did not materialize into physical focus until 3.5 months ago, when space luckily became available. We were extremely lucky in this as space in broadway and off-broadway commercial venues is booked on a primary/secondary/tertiary basis so that a measure of activity is always maintained. Yes, there had been negotiation and discussion in the form of an option (with details down to the hundredth of a percentile) for a few months beforehand - but the context of that option only revealed a window of dates, nothing specific. Capital had to be raised just as quickly. Schedule and Budgets to my knowledge evolve daily, all in tune with the aforementioned flow of capital. Casting was done all within the last month, as were designer hires. There is always an assumption that timing of events might be moved one way or another. The possibility always existed that what is occurring now would have happened one year from now, earlier, or maybe never. We were given a narrow window of opportunity, and we had to jump on it with all the brute force we can muster. Security, compared to the not-for-profit producing experience, does not exist. Everyone operates from a position of good faith until everything actually happens and things are inked on the dotted line.
When I talk to my colleagues in NYC who work almost exclusively in the commercial theatre realm - they often do not know what is happening three months out, let alone a year in advance...it is an entirely different working experience.
Scary? Yes I am scared. Exciting? Yes, exciting. Risky? When we considered all options placed before us keeping in mid what was best for the show - we made our decision with this thought in mind: The greater the risk, the greater the potential for reward. This time, the financial risk is real - we have investors, not grants. This show is funded by people's own money who believe that it will (through its NYC run and subsequent potential in regional markets) pay dividends. And we are moving toward our objective at lightspeed - consider the fact it often takes YEARS for shows to reach NYC. Musicals + plays often have tryouts in several other cities and venues before reaching the big city. We as a team felt we needed to capitalize on the momentum established in Chicago - so here we go...and we're off!
In Scott Morfee (along with his partners Tom Wirtshafter and Margaret Cotter), we have been blessed with a producing team that has the ultimate confidence in and enthusiasm for the show, our working methods, and our desire to improve upon the whole experience while still maintaining our commitment to a economically feasible, produceable entity. They have allowed us time and freedom to explore improving aspects of the show we wanted to address. In all regards, we have been treated with the greatest of respect and confidence - I am most grateful. Such luck in this department is so difficult to come by.
And as of 1/3/08, rehearsals have commenced. All I can tell you is that it is progressing splendidly.
Note: I would be remiss in not saying how grateful I am to Jeremy Ramey (music director), Ethan Deppe (percussion), Ian Westerfer (Shrdlu), our amazing chorus (Rosalind Hurwitz, Toni Inzeo, Steve Welsh, Kevin Mayes, and Jon Landvick), Michael Vieau (The boss) Matt York (set), Jeff Dublinske (sound) and Richard Lundy and Erin Diener (stage management) - all of whom due to the financial realities of transferring the show outside our control were not able join us in NYC. It is the great sadness and reality of the business that the whole family could not have been reunited. Let me just say from the heart I miss you all and cannot wait to work with you all again on future projects.
All best and more later,
JLabels: Adding Machine
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On Awards, Top Ten Lists, Critics Picks, and the Blogosphere...
by Josh Schmidt on 1/09/2008 01:29:00 PM
Greetings to you all from the American Airlines terminal at LaGuardia Airport. Its ~3:30 AM and I am waiting for security to open (how glamorous can life get!) and I have just read an email from Chelsea reminding me to contribute to the blog (she gives me little assigments, and I comply). Things have been so busy I have been remiss in my duties - many apologies! Here's wishing Happy New Year to you and yours...
Along with the ol' Happy New Year comes a slew of published newspaper columns titled along the lines of "Theatre Year in Review", "Top 10 Shows of 2007" etc. etc. I had been made aware that ADDING MACHINE has been listed in many of them - and in some instances was placed at the top or near the top of some lists. Of course, I felt deeply gratified as many of my colleagues who worked on that production also feel. I am especially happy for Next Theatre, Jason, the Next Theatre Staff, and the Next Theatre Board of Directors who, in commissioning and producing that show went way WAY out on a limb in almost every respect - technical and personnel infrastructure, expenses, etc. Regardless of what anyone's personal opinions on the show were, one consensus statement (at least from the reviews and published articles about the piece I read) was that Next's production was a courageous endeavor in every aspect and that in itself commands respect. And I was glad that such risk was rewarded by amazingly strong attendance - especially considering that many of the audience members in attendance were new to the Next Theatre experience. To all this I say BRAVO - recognition well deserved!
And what all this attention means to me...
Well, I cut my teeth in the business in Milwaukee WI, where the greater metropolitan area is something like 1/10th the size of Chicago's (I'm sure this is inaccurate). The arts community there, while quite large for a city its size (and along with that very active and diverse) is still small in comparison to that of Chicago. There is one major news publication, and in that respect the town has essentially one marquee critic for each of the artistic disciplines. What this means - there is one critical opinion all productions in the area become dependent on. There is a "year in review" article published regarding theatrical productions, but it often becomes comprehensive of all theatre in the entire state (Milwaukee, American Players in Spring Green, Madison, Door County, etc.) I feel it is correctly assumed that due to the size of the theatre community in Milwaukee, something akin to the Jeff Awards is not necessary. In fact, the anecdote I tell people when asked about this subject (it is pure fabrication) is that if someone thinks you did a good job on a show, they buy you a beer. If they feel your work wasn't up to snuff, you consequently buy them a beer. As this exchange of awards unfolds over any given time period, enough beer is consumed that individual recognition is either significantly impaired or forgotten in the celebration that everyone involved is fortunate to be active and productive in the pursuit of their artistic craft, and in doing so improves the cultural, social, and (I believe this to be true) economic heartbeat of the community they live in. These are the aspects in my opinion that make the whole endeavor worth while - not so much the individual achievement. And none of this has ever really affected me much because I am not big beer drinker. So I guess on "Milwaukee Awards Night" I either end up cleaned outta cash OR I become the designated driver.
What is so great to me about Chicago - the Jeff Awards, and the multiple publications pitting "Top Ten" or "Year in Review" articles against each other - is that so much activity off-loop in every kind of producing venue possible gets attention - through publication, awards - you name it. For those who come from a place that does not have that kind of media support (regardless if you think its fair or not), the ferventness of the Chicago media coverage of theatre is wonderful. This is the kind of attention that in my opinion fuels activity within a community - I tend to believe the impact is more positive than negative. Does the act of anointing 10 shows out of the hundreds of productions that take place each year leave some feeling snubbed - I am sure. Yes, I have read the "top ten" lists and yes, I have read all the postings in response to these articles passionately defending those endeavors given the critical cold shoulder. I love it all - I am so thrilled that people here get so passionate about the productions they saw and support. I love the debate, the discussion, the lines in the sand...everything! From my perspective - at least there is a community of people ENERGIZED about what they have left the comfort of the couch to see and willing to recognize it. Regardless of what people thought about ADDING MACHINE (love it or hate it), I am here telling you I felt glad to be a part of a scene where THE SPARROW, ASSASSINS, TEAPOT SCANDALS, LADY, JOE TURNER'S COME AND GONE, THE WOODEN BREEKS...(the list goes on and on) were all up at the same time last winter. How great! In many ways, there is some part of me that wished the response toward ADDING MACHINE would have been even more polarizing just to make the discussion even juicier....
No matter - to all those who loved, hated, top-rated, berated, awarded, or avoided ADDING MACHINE - I love you all! To date, life has seldom been more exciting!
All best,
JLabels: Adding Machine, Awards
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From my point of view, awards and top ten lists are good for marketing and fundraising, and that's IT! Though I appreciate Josh's perspective coming from a smaller theater community... recognition IS nice. When I moved here from NYC, I told my friends back there that the press here was unbelievably attentive - you could issue a press release about taking a SH*T, and you'd get coverage.
Of all the advice I got about press here, the best piece was and still is: If you believe everything good they write about you, you better believe everything BAD, too. I work on that every year!
ANOTHER YEAR OF ESCAPISM?
by Jason Loewith on 1/02/2008 07:50:00 AM
As reported in today's New York Times, last year was a big one in the movie biz for escapism, with viewers flocking to sci-fi and thrillers so quickly that studios producing "serious" flicks like In the Valley of Elah and Rendition were caught with their pants around their ankles.
My contention - which many folks disagree with - is that those traditionally interested in having their views challenged by the art they consume were so demoralized by the partisan wars surrounding the 2004 Presidential election and its result that they've buried their heads in the sand. Those folks - the fan base for movies like the ones listed above, or for Next Theatre - felt so disenfranchised by the 2004 election that they just started burying their heads in the sand, hoping for better days. That's why a show like Caryl Churchill's Far Away, which we mounted in the spring of 2004 to much success, would be DOA today. A show about the end of the world? Ugh, we're already living it. At least that's what I believe.
Well, my wish for 2008 is that we all find reasons to hope for a better world. That's a great end in itself, and it would do wonders for theater that consistently tries to challenge our views of the world.
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I think most people, at least those who have opinions about issues, rather than have their views challenged by the theater and literature, like to have them comfirmed and reinforced. Plays which "offend," good plays like Long Christmas Ride Home, drive audiences away, including even Next's. Defiance, it seems to me, reinforced a mainstream view of morality and made audiences comfortable rather than challenging them.
I think David's point is spot-on, and the reason why DEFIANCE was a record-setter for tickets here. I hope, though, that these things are cyclical... the excitement driving the political process in New Hampshire today, I think, bodes well for a swing towards more receptive and open minds...
SEASON PLANNING TERROR
by Jason Loewith on 12/18/2007 02:05:00 PM
It's that time of year when everyone enjoys themselves at parties and stops thinking about work, right?
Wrong.
It's that time of year that I start realizing every other Artistic Director in town is well ahead of me in the season planning game!
A pile of 20 scripts sits on my desk begging to be considered for production, and there's never enough time in the day to read them. I know the rough contours of our 08-09 season, and even a couple of titles, but we're far from decided. It's looking like we'll start the season with a world premiere version of a British script we've been working on for a while (and it's a comedy!), followed by a Chicago-area premiere hot from off-Broadway. I'm holding the February-March slot for another potential world premiere, and then I'm thinking of a mid-century classic for the spring - Tennessee Williams? Eugene O'Neill? That depends on the availability of artists, who are all playing the game of trying to decide whether they should take this job or that one...
Let me know what you'd like to see at Next in 2008-09!
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Gearing Up for Adding Machine NYC
by Josh Schmidt on 12/13/2007 12:39:00 PM
Within a few weeks, rehearsals will commence for ADDING MACHINE in New York City. This is an extremely exciting time for many of us involved, as I personally have never been through an experience of this magnitude involving something I had a hand in writing. I also think this is an important step for Next Theatre as things go FROM being Off-Broadway to Chicago TO being Chicago to Off-Broadway. I am fortunate to be involved and thankful to all who had a part in making it happen. As we go through the process, I'll check in on this blog with my thoughts on the experience and keep you all in the loop regarding this exciting event.
Happy Holidays and talk to you soon!
Josh Schmidt Composer - ADDING MACHINE Labels: Adding Machine
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Go, ADDING MACHINE, go! Congrats to you Josh for your amazing score!
BUT DID IT MAKE SENSE TO YOU?
by Jason Loewith on 12/11/2007 04:28:00 PM
I recently had a conversation with a member of the artistic staff here about Sean Graney's production of What the Butler Saw (which just closed down at Court Theatre). She and I disagreed completely and utterly about the show (one of us loved it, one of us hated it, and I won't tell you who thought what), which reminded me of Nora Ephron's fantastic piece from The New Yorker two weeks ago called, "No, But We Saw The Movie":
When they got home that night, she went to get the book. She'd ordered it earlier in the week and meant to read it before they went to the movie, but it was a hard week and things got away from her. This was happening more and more.
Maybe if we look in the book we'll be able to figure it out, she said.
Maybe we'll find out what happened at the motel, he said. Why did it skip forward like that?
He said it's the same in the book.
Who said?
I told you who. The guy I was standing with while I was waiting for you to come out of the men's room. He read the book and he said it's the same deal exactly. The sheriff pulls up and everybody's dead. You never see the scene where they all get shot. Maybe it's because Javier didnt kill them.
Who's Javier?
Javier Bardem. The serial killer.
I thought it was Benicio Del Toro.
Well it wasnt. The guy outside the men's room said there's a scene in the book that's not in the movie. He said Javier goes to see a total stranger in some office, who's never been mentioned earlier. He gives him the satchel of money and he says, Here's your money back, now maybe you'll hire me to do things like this in the future.
Why did they leave that out?
How do I know? Write a letter to the Coen brothers.
She opened the book and started reading from the end.
He does this weird thing with contractions, she said. He uses apostrophes for words like that's and it's but he doesnt use them for dont and wasnt and wont. He doesnt use quotation marks, either.
Who?
Cormac McCarthy.
How am I supposed to know what you're talking about with all these pronouns? he said.
He went to get ready for bed.
I cant believe you didnt know Josh Brolin died, she said.
Well I didnt.
He was lying there in the parking lot.
I didnt see him lying in the parking lot.
Well I didnt see him either, but then his wife turned up and Tommy Lee Jones looked sad, so you knew he was dead.
I thought he looked sad because the mother was dead.
The mother? The mother doesnt die till later.
I thought it was the mother in the swimming pool.
How could you think it was the mother? It was the girl with the beer in the swimming pool. She was wearing a bikini. The mother was about a hundred years old. What would the mother be doing wearing a bikini? The mother dies of cancer. Jesus.
What happened to the satchel of money?
He gives it to a total stranger. I told you.
But in the movie what happens to the money?
She wondered if they'd ever know. Maybe the answers were buried in the caliche, along with some character who had figured in a story toward the end of the movie. She hadnt been able to follow the story about the character who was buried in the caliche because she was busy trying to puzzle out what happened to the satchel of money, but the word caliche stuck in her head. It was pronounced ka-lee-chee. Since they lived in New York City and were not about to go dig a hole in Central Park, it didnt seem like a particularly useful word, but you never know.
He got into bed.
I cant believe you didnt know Josh Brolin died, she said. Who did you think was lying on that slab in the morgue?
The mother, he said.
The mother? she said. The mother?
He was asleep.Labels: Chicago theatre
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GEORGE LUCAS ON MYTH
by Jason Loewith on 12/04/2007 05:53:00 PM

I had the wild and woolly opportunity last night to hear George Lucas (yes, the Star Wars guy) speak for about an hour to the Economics Club of Chicago. The event was surreal in every way - about 1500 folks in black tie (1400 of them Captains of Chicago industry, 99 of them starstruck 12-year olds, and me) listening to Chairman Bill Daley asking Lucas where he got the idea for the light saber colors (the answer: the good guys had cool colors, the bad guys had warm colors, and "Sam Jackson asked for purple").
So that clearly tells us that businessmen shouldn't interview artists, and we'll avoid the reverse. Nonetheless, George dropped a couple of pearls, one of which I wanted to share.
Daley framed the conversation in his remarks by calling Star Wars and the Indiana Jones films as a new American mythology, or actually, Lucas' contemporary American adaptations of classic myth-based stories of fathers and sons, revenge and forgiveness, sin and redemption, etc. Daley asked Lucas to expand on that idea, and he said the following, which I boldly and badly paraphrase:
We return to myths for our stories to remind us of what's important to our generation, and to let the next generation know what we expect of them.
Well said, George.
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The best part will be next year, when he reveals the opening remarks he always intended to precede that speech, plus a few important revisions to the speech you liked so much. (Daley shot first.)
IS BROADWAY WORTH THE PRICE?
by Jason Loewith on 11/27/2007 04:11:00 PM
Terry Teachout had an interesting article in last weekend's Wall Street Journal:
The Price of the Ticket It costs a lot to see a Broadway show. Is it worth the expense? November 24, 2007
Time for a pop quiz inspired by the stagehands' strike that shut down most of Broadway. Who said this - and when did he say it?
"It is not for nothing that New York is the place where the critics are the most powerful and the toughest in the world. It is the audience, year after year, that has been forced to elevate simple fallible men into highly priced experts because, as when a collector buys an expensive work, he cannot afford to take the risk alone: the tradition of the expert valuers of works of art, like Duveen, has reached the box office line. So the circle is closed; not only the artists, but also the audience, have to have their protection men - and most of the curious, intelligent, nonconforming individuals stay away."
That quotation is from "The Empty Space," an influential book about theater by Peter Brook, the avant-garde British d |