Planning and lesson Design: two things that are essential before going into any residency. Having the opportunity to participate in the National Seminar for Teaching Artists at the Kennedy Center this past August has made me take a closer and deeper look into my own planning and objectives, and how I can incorporate the tools and resources shared with me going forward.
Twenty teaching artists from across the U.S. were invited to participate in this three-day seminar. We all came from incredibly different backgrounds and mediums. Dance, music, visual arts and theatre were all represented. Each teaching artist had been in the classroom as a lead teacher for at least four years. As you can imagine, the wealth of knowledge and experience in that seminar room was overwhelming.
Our seminar was led by Lynne Silverstein, who is a senior program consultant to Education at the Kennedy Center and co-designs the Kennedy Center’s seminars for teaching artists, and Sean Layne, who is an Arts Coach for the Kennedy Center’s Changing Education Through the Arts program.
Each day they welcomed us with a new warm-up game, invited questions and responses from the previous days, and provided a new binder chock full of materials that would help refine and develop our arts-integrated curriculum.
I’m still trying to sort through all the information presented to me, and to incorporate Living History’s classroom model into the Kennedy Center Education plan. With that being said, one of my biggest takeaways was remembering to look backward when starting to plan a residency. To look at what our expected results for the students will be—what they will know ahead of time, be able to do, and what they will appreciate or have increased awareness of as a result of the residency. This ultimately will help in guiding our objectives for the residency and help in integrating the art form with the subject matter. This is something I will incorporate before I head into every classroom this school year.
Although our time with these students is brief, the impact that we hope to leave behind will be long lasting.
Being a part of the seminar and working with other teaching artists reminded me why I love what I do. The opportunity to be able to go into a classroom and enlighten students by bringing a play that might not seem to relate to them or their lives, but in time finding the resemblance, making history personal for themselves and the world they live in, is extremely special and important. Although our time with these students is brief, the impact that we hope to leave behind will be long lasting.
I am grateful to work for a theatre company that allows me to explore in the classroom and constantly improve myself as a teaching artist, and remembers that taking time for professional development opportunities is important and necessary.
In August, Living History Education Program Assistant Ali Deliandides was one of just 20 teaching artists chosen from across the nation to participate in the National Seminar for Teaching Artists at The John F. Kennedy Center for the Performing Arts. Her experience in Washington, D.C., will be a valuable resource to enhance Living History’s ongoing work in Chicago Public Schools!
Welcome to TimeLine’s 19th season! Today we open The Price, commemorating the 100th birthday of the celebrated playwright Arthur Miller this fall.
This marks the third time that we’ve presented one of this master’s plays, following up on two of TimeLine’s most acclaimed productions—The Crucible in 2001, directed by Nick Bowling, and All My Sons in 2009, directed by Kimberly Senior.
With The Price, Miller becomes TimeLine’s most-produced writer, perhaps not surprising since much of his work embodies our mission, exploring the ramifications of time and examining how social and political issues intertwine.
Quite often, Miller wasn’t necessarily intending to craft “history plays.” He was responding to contemporary issues and topics that were most urgent at the time he was writing. Now, with the perspective of distance, our viewing of so many of his works has deepened, providing capsules of a bygone era—a window into history. Yet his explosive writing still stings with a resonance today.
The Price, written approximately two decades after All My Sons and Death of a Salesman, explores a theme similar to those seminal dramas—the elusive quest for the American Dream.
In this play—set within an attic filled with family relics—the baggage of time and the weight of life’s choices not only loom in the air, but shadow the characters’ every move. Each has suffered through the Great Depression, following divergent paths out of it and emerging with starkly different and disconnected lives. They all have been stymied by time and their individual choices. And each is looking back with regret and uncertainty about when things went awry or how their lives and family ties could have been different … if only …
We’re delighted to welcome back TimeLine Associate Artist Louis Contey, a director whose work floored me more than 20 years ago when I saw his production of another Miller jewel, A View from the Bridge. Still relatively new to Chicago, it was a defining moment for me—I grasped what Chicago theatre was, felt confident I was in the right city, and knew I had to find a way to work with Lou. Now a veteran of more than 10 TimeLine productions, Lou’s acute vision and distinct connection to Miller’s writing is exceptional.
Joining him is an all-star design team and cast, including the inimitable Mike Nussbaum who returns to TimeLine just months after appearing in Lou’s production of The Apple Family Plays. What a true blessing it is to have this remarkable artist, and even greater person, with us for so much of 2015. He was born to play the role of Solomon in The Price, and it’s been our goal to make this happen for the past few years.
As we embark on year 19 for TimeLine, we’re grateful to all of you for continuing to support this theatre company, for engaging in thoughtful discussion and going along with us for new experiences of classic works and maiden voyages of bold new scripts. With Spill, Sunset Baby and Chimerica on the horizon this season, I couldn’t be more excited by what lies ahead at TimeLine and with you.
We’re honored to begin another year together by saluting a man who continues to mean so much to us. Happy 100th, Mr. Miller.
In a time of crisis, what would you fight to save?
An obvious first instinct is to protect yourself and your loved ones. But beyond that, what items are most valuable to preserve?
Perhaps a family heirloom, or letters, or books? Photographs? A piece of art? Maybe something not even in your possession—a national relic or antiquity? Something you believe must be secured so that it lives on for future generations—representing who we are as a people, a nation, a culture?
This not easily answered question is at the heart of the final play in TimeLine’s 18th season, Michele Lowe’s Inana, which caps off our year of plays new to Chicago.
Inana is set in February 2003, as U.S. Secretary of State Colin Powell makes a case to the United Nations that Iraq possesses weapons of mass destruction, and the city of Baghdad braces for war. An Iraqi museum curator plots to save something dear to him and his heritage—the statue of Inana—so it doesn’t fall into the wrong hands or face destruction.
Throughout history, the casualties of war have extended beyond tragic human loss. Architectural wonders, statues, churches and monuments have been desecrated. Paintings, jewels, religious artifacts and invaluable manuscripts have been lost. Whether intentionally destroyed, opportunistically stolen, or inadvertently defiled as collateral damage, these costs of war are difficult to quantify. How do we assess this loss of identity, the erasing of history?
Such treasures are our link to the past. They provide insight into how our ancestors lived, loved and struggled, into how customs and rituals have developed over time. They help define who we are as a people, where we’ve come from, and how we choose to represent ourselves for future generations.
In selecting our season, TimeLine’s Company Members were drawn to Michele’s provocative play because at its core, it’s a love story—a perspective rarely explored in tales of war. Inana isn’t about the people on the front lines, or the ones crafting war policy and strategy. It’s a romance, shining a light on an Iraqi’s quest to preserve the beauty of his heritage, while he also forges a fresh start with his new bride.
Recently, this play’s themes have become distressingly timely, with news coverage showing members of the Islamic State destroying artifacts at Iraq’s Mosul Museum.
Recently, this play’s themes have become distressingly timely, with news coverage showing members of the Islamic State destroying artifacts at Iraq’s Mosul Museum. Such heartbreaking and enraging reports understandably elicit feelings of helplessness. We hope that Michele’s love story will be a reminder, in the face of such devastation, of what each of us holds dear, and why.
We are grateful to have had Michele deeply involved in this production, continuing to develop and deepen the story and enthusiastically collaborating with our team of artists. Under the always-inspiring leadership of director and TimeLine Associate Artist Kimberly Senior, they have created a piece of theatre that gives us much to reflect upon and discuss.
In fact, you can participate in that discussion even when you’re not at the theatre! As many of you know, the TimeLine experience starts well before you take your seat, through our interactive lobby experiences. During the run of Inana, a portion of the lobby asks you to imagine that you must leave your home quickly, never to return. All your loved ones and animals are safe, but you have time to save just one personal item. What would you take and why? Share a photo of your item and/or a short description about your choice on Facebook, Twitter or Instagram and be sure to tag @TimeLineTheatre and #inanaiwouldsave. You can view everyone’s contributions online, and we’ll also be adding the items and stories that are shared to a wall in the lobby so you can see them when you attend the show.
Thanks for all your support this season, and I’ll see you at the theatre!
[These plays] are about the need to talk, the need to listen, the need for theatre, and the need to be in the same room together … It is also my hope that they are about the need to know, in some small and even some bigger ways, that we are not alone.
— Richard Nelson
As TimeLine prepares to open The Apple Family Plays today, I’m delighted to finally be able to introduce you to the Apple Family.
Playwright Richard Nelson has created something unlike anything else I can recall in the American theater. Starting in 2010, he began crafting one play each year over the course of four years, using the same characters and one setting, a home in Rhinebeck, New York. Each play is set on the day it premiered: the 2010 midterm election, the 10th anniversary of 9/11, the 2012 presidential election, and the 50th anniversary of John F. Kennedy’s assassination.
The Apple Family Plays are simple in structure—a family gathers around a dining room table. But as The New York Times noted, they locate, “as no other works of theater have, the intersection of public events and private lives … how world events are refracted and reflected in our own living and dining rooms in ways we’re not always aware.”
Richard has said that these plays “are about the need to talk, the need to listen, the need for theatre, and the need to be in the same room together … It is also my hope that they are about the need to know, in some small and even some bigger ways, that we are not alone.”
This lovely sentiment gets at the heart of TimeLine’s mission and why we started this theatre in 1997. We always aim to ignite discussion about how the past and present connect—on both a personal and political level.
We’ve chosen to present the plays that are set on election days—That Hopey Changey Thing in 2010 and Sorry in 2012—as the family discussion shifts between issues of national and personal importance, like so many of us find ourselves doing on a daily basis. You have the opportunity to see either or both plays, in whichever order you choose. There may be advantages to seeing them in sequential order, and I believe that the more time you spend with the Apples, the richer the experience can be. But each play stands on its own as a provocative and stirring event.
I had the immense pleasure of seeing all four plays over two days, in order, at New York’s Public Theater in 2013. Among the many things I marveled at was the dynamic among the cast. Most had played their roles over multiple years as the plays were developed and premiered, and the history and genuine bond among them was palpable.
TimeLine is putting much of our own family on stage together. Five TimeLine Company Members in the cast is more than any previous production in our 18-year history! And we’re thrilled to welcome the extraordinary Mike Nussbaum to TimeLine for the first time, all under the direction of our long-time colleague, TimeLine Associate Artist Louis Contey.
In the fourth and final installment of the Apple Family Plays (Regular Singing) the series concludes with the character of Barbara turning to the audience and saying: “And so we live. Sometimes we come together. Something brings us together. And some days we are alone. But it’s those days together that remind us why we live. Or, maybe it is—how. How—we live.”
After years of admiring Richard Nelson’s ambitious creation, we’re honored to come together in TimeLine’s theater and the Apple’s dining room. I hope you will join us, and I look forward to the conversation that ensues.
Today we conclude our interviews with the six-actor cast of Danny Casolaro Died For You. (Check out the previous five: Kyle Hatley, Mark Richard, Demetrios Troy, Philip Earl Johnson and Dennis William Grimes.) You have until December 21 to see their work together before the show closes! To wrap up the series here’s Jamie Vann, who returns to TimeLine, having previously appeared in The Farnsworth Invention, to portray six dramatically different characters in this play:
1 — Tell us the story of when you first knew you wanted to become an actor. I remember being in a school play in probably the 1st grade, and I remember being shy and not wanting to have to speak or really do anything during the play. The big scene in the play was where those of us who played the nameless villagers built a wall onstage with those red cardboard bricks that they sometimes have in elementary schools. And the lead character tore down the wall in an “I’ll save you!” moment at the end. And that character was played by a kid in my class named Stan. And the audience cheered when he burst through the wall. I remember standing onstage next to him and seeing the crowd, and I think I probably decided then and there that I wanted to be Stan.
2 — What had you heard about Danny Casolaro or any of these conspiracy theories before working on this play? I’ve heard about the October Surprise and I had definitely heard about the John Hinckley stuff that is mentioned. I was very into presidential assassinations when I was in school. In junior high, I took a summer course that focused on the U.S. presidential assassinations and ever since then, I’ve been fascinated by the stories that have surrounded them. Almost all of them have big conspiracy theories around them. The Lincoln assassination was actually part of a larger conspiracy, with no theory, but actual fact. Because of that historical truth, there is credence given to every theory about conspiracies to assassinate the President of the United States.
3 — What character do you most enjoy portraying? I actually love playing the different characters. I’m a character actor, so I often get cast in roles where I need to play a bit of an extreme, or something out of the ordinary. It’s the range that I love. I think the far ends of that range are Dr. John and Alan Spar. I really like playing both of them, and I only wish Dr. John had a more time to explore. My favorite reaction is when audience members have thought that multiple actors play my roles. My goal is to make all the characters believable and real, and to commit strongly to them and make them individuals.
4 — What other experiences have you had portraying real people? I’ve had a couple of experiences playing actual historical figures. I played [Richard] Nixon once, and when you play someone that well known there’s always the danger of it just feeling like an impression. Or an impression of someone else’s impression of the person. When you play people who actually existed but aren’t famous, you feel a bit more freedom to make choices. In one instance at Next Theatre, I played one of the scientists who worked on the Manhattan Project building the atomic bomb. At a Q&A after the show one day, a woman in the audience casually mentioned that she was the secretary for Robert Oppenheimer for many years, and it suddenly struck me that I was playing a character that people in the audience may have met in real life. It was incredibly daunting and I found myself wanting to question the choices I had made in rehearsal.
But the truth is, I’m not really portraying that real person. I’m portraying a character in a play that is based on that person. The playwright has made choices in scripting the character that may be based on the real person, but I have to make my choices based on what is in the script and what is necessary for the story we are telling. In Danny Casolaro Died for You, I play two characters who are real people and one other who is “loosely based” on a real person. With Bill Hamilton, I was able to look at him on YouTube and see interviews he has done, but I can’t just imitate the man I see in the interviews. That’s not the character written in the play. The character I play has dramatic intention and plays a role in the story. We don’t do documentaries in the theatre.
5 — How does being in TimeLine’s intimate 99-seat space affect your engagement with the audience? I always love the audience being close. It may sound hokey, but you can feel the attention of the audience when they are that close. You can feel when the audience is holding a collective breath and there is dead silence and no one is moving a muscle, waiting for some moment to resolve onstage. You can feel even the smallest little laugh. With the audience close, it really feels like a shared experience.
6 — This is a fast paced show, with costume changes, food being cooked on stage, changing characters and settings. How do you balance all the moving parts? It is a well-oiled machine backstage, and our crew members are the ones doing the balancing. Between Dennis Grimes and me, we have 19 costume changes during the show, some of which have to be done in less than a minute. We spent a lot of time rehearsing the changes and figuring out how to make the changes work efficiently, so we don’t show up onstage in the wrong thing, or worse yet, in nothing.
7 — What’s your favorite conspiracy thriller movie or TV show? I love The Usual Suspects, because it plays so well into the core of the conspiracy thriller: the willingness to believe.
8 — Of the conspiracies in the show, which one fascinates or concerns you the most? The one that concerns me the most is one that is just touched on late in the show—the idea that government/corporate interests have been financed by and/or profited from the drug trade in the past 40 years. If true, and I think there is little question that it has been true at some point, it has had a profound impact on the culture of the U.S. for generations and is probably the core of the great divide we have seen in the country. Money, prestige, and beautiful women—you either have them, or you don’t.
9 — What’s a fact or quirk about you that could be fodder for conspiracy theorists? My day job is “Slot Machine Designer.” Everyone believes that casino games are rigged. No matter how you explain it, and no matter how much players love the games, they have all these theories on how the games work. Most of those theories are based on some conspiracy between me, casino owners, or the government, to make the games pay or not pay while they are playing. No one wants to believe in randomness. And that is actually a human trait. We look for patterns in the randomness of the world. Seeing a pattern helps us understand the past and predict the future. Randomness doesn’t help us understand the world, so we reject it. And that is why a lot of conspiracy theories catch on, because people want to see the connectedness between things. And when you start down that path, you can begin to think everything is connected and conspiring against you ….
To read Jamie’s biography, visit our website …
There are just two more weeks of performances for Danny Casolaro Died For You! And before this show’s brilliant six-actor cast leaves our stage on December 21, we have two more interviews to share. (You can catch up with our previous posts featuring Kyle Hatley, Mark Richard, Demetrios Troy and Philip Earl Johnson.) Today’s is with Dennis William Grimes, who returns to TimeLine after previously appearing in The Pitmen Painters, Frost/Nixon and Pravda:
1 — When did you first know you wanted to be an actor? I was 15 and I spent more of my time in the theatre in high school than I did at home, or anywhere else for that matter. I had no question that working in the theatre would be my life; it felt like magic and still does.
2 — What has been your favorite moment working on this show? The first time we had electric silence after the final Thomas monologue, felt like we knocked it out of the park.
3 — If Danny came to you, would you believe him? I think I would. I see the inter-connectivity of the government and these private contractors. As a society we don’t confront the fact that we ask our government to do things in an effort to keep us “safe” without asking what that means or what that will cost us.
4 — What do you think happened to Danny Casolaro? I don’t know really, but I think that he extended himself too far without enough personal and professional protection.
5 — Danny stumbles on to a government conspiracy and finds he has to make choices about how far he’ll go for answers. What would you do if you had been in Danny’s position? How far would you go for the truth? Well, I’ll start with the notion that the truth is elusive. We have to weigh costs and try to go with what you have when you have it. Like playing spades; sometimes you “Shoot the Moon,” but for the most part you play out the hands one trick at a time, taking a percentage.
6 — Do you trust the government? That’s a big question. I think the better question is: Do we trust our electorate? We often don’t take enough responsibility for our own governance. We expect someone else to fight for us.
7 — What character do you most enjoy portraying, and why? I love playing Jeff Beagle the most. His points are very direct, but at the same time, there is a lot of flexibility in how he can react to the situation, which allows the audience to have an ambiguous relationship to him. It allows me to have a different relationship with the audience every night.
8 — Would you want to be friends with your character in real life? No, these guys don’t make friends.
9 — What’s your favorite moment in the play? I love it when I bring up Clark Clifford, and someone in the audience acknowledges the name and begins to put things together.
10 — Does being in TimeLine’s intimate 99-seat space affect your engagement with the audience? Not really, it’s kinda what we do in town. Often, playing to the bigger rooms feel strange.
11 — This is a fast paced show, with costume changes, food being cooked on stage, changing characters and settings. How do you balance all the moving parts? I don’t think, I just go. Thinking too much can throw off the balance. We just trust the team and do one thing after another and no further.
12 — What’s your favorite conspiracy thriller movie or TV show? House of Cards, Tinker Tailor Soldier Spy, but mostly, Rubicon! AMC bring it back!!
13 — Is there a conspiracy in the world that is most interesting to you? I still think what happened in Chile with President Salvadore Allende is an event that most Americans are not only ignorant of, but desperately need to know about in order to understand why the world looks at our country with great skepticism.
14 — Of the conspiracies in the show, which one fascinates or concerns you the most? BCCI. That global financing is still around. Capital will always flow. You can’t stop or change the world by trying to clamp down on that part, it will just go to the dark places.
15 — What’s a fact or quirk about you that could be fodder for conspiracy theorists? I have moved a great deal, and know a lot about how things work.
To read Dennis’s biography, visit our website …
Next up in our series of interviews with the remarkable six-actor cast of Danny Casolaro Died For You: Philip Earl Johnson. (Catch up so far with these interviews with Kyle Hatley, Mark Richard and Demetrios Troy.) Phil is making his TimeLine debut in this show, portraying multiple roles, including the sinister Robert Nichols.
1 — When did you first know you wanted to become an actor? I smashed a tomato in my face in the second grade. That was it.
2 — What is the strangest thing a role has required you to do? In Dance of Death by August Strindberg at Writers Theatre, I had to passionately pick up my scene partner and kiss her neck and then rip out her throat. Up to that point, I was a completely nice and helpful guy. Completely out of the blue.
3 — What has been your favorite moment working on this show so far? Working with all the artists involved with this production. From day one to the present it has been a joy. A great group! Everyone involved from top to bottom.
4 — If Danny came to you, would you believe him? I would believe him, because I am a trusting person who gives people the benefit of the doubt.
5 — Danny stumbles on to a government conspiracy and finds he has to make choices about how far he’ll go for answers. What would you do in Danny’s position? How far would you go for the truth? I would not have done what Danny did. But I’m not a journalist. He did what he had to do. The truth is important but reality is relative. The two go hand in hand. One must weigh out how they work together in every aspect of one’s life and then make decisions. I wasn’t there. I don’t judge him, but I don’t think what he did was prudent.
6 — Do you trust the government? I trust the government to be the government. Yes. Do I trust that it wouldn’t hurt me if forces aligned? I trust that it would be the government.
7 — You portray multiple characters. Which one do you most enjoy playing, and why? I like playing Bob Nichols. He has ultimate power in the scenes. At least he believes he does. Which is all he needs.
8 — Would you want to be friends him in real life? I would love to hang out with Bob Nichols. He isn’t a killer because he likes to kill. He is a business man. But I would definitely not want to do business with him. But to go fishing with him. Hell yeah!!
9 — What other experiences have you had portraying real people? I played Jesus at Court Theatre. He’s famous. The thing about famous people is, everyone has an opinion about them already. Don’t fight that. But I do think you have to challenge it. My Jesus liked ice cream.
10 — What’s your favorite moment in this play? The very last line: “You can get the fuck out of my house.”
11 — How does being in TimeLine’s intimate 99-seat space affect your engagement with the audience? I wish it were closer. The closer the better. It’s like a challenge for the audience to stay close and involved.
12 — Is there a conspiracy in the world that is most intriguing to you? JFK
13 — Of the conspiracies in the show, which one fascinates or concerns you the most? The conspiracy that they aren’t really criminals. That they are just doing their jobs. But clearly selfishness and greed play a major role. They are no longer serving the people. The conspiracy that the politicians at that level are innocent. When they are not. However. Decisions must be made.
14 — What’s a fact or quirk about you that could be fodder for conspiracy theorists? There are certain windows I rarely look in, but am regularly looking out. And I do not plan to change that regardless.
Join us today, Sunday, December 7, 2014, for a special post-show performance and event featuring Phil, MooNiE the MagNif’Cent, and a conversation about the history and relationship between vaudeville and “legit” theatre. To read his biography, visit our website …