A Change in Perspective: by Tony Churchill

The following is a guest post by scenic designer Tony Churchill, who has designed video projections for BoHo's Ordinary Days and Dogfight.

I got on board for Ordinary Days pretty much how everyone gets a design job in this business: I knew the director. Working with the BoHos really surprised me and turned my view of this thing I’ve been doing for almost 20 years upside down; I never thought so much of my reality would be altered.

By the time tech for Ordinary Days rolled around, we started cuing the show right after a huge snowstorm and it was pretty much the usual crew when we started. As the day progressed, more and more people showed up. Some nice lady with an infectious laugh and delicious baked goods. PR guys who were super nice, and weirdly helpful. “Hey I’m here to take some pictures for Facebook, oh do you need help moving those walls?” And then the head Peter (I had met six or seven Peters with some kind of title in the company since the first production meeting). All of these personalities filled the room and it was a little unnerving. I’ve been on shows where they end up being directed by committee, and it NEVER works out. Who do you listen to? Do you follow the herd or try and make your own voice heard? It was unnerving.

By the third day of tech, I realized that this is what collaboration was supposed to be. Everyone wasn’t in the space on their own thing, they were in the space on a common thing. At face value, it's a bunch of crazy and committed - and beautiful - people who shouldn’t be able to find a cab, let alone put up a show. But they are so happy to be there that all the crap sort of peels off and you realize you're working in this perfectly collaborative place. The people in the room are working for the show and nothing more (or less). They want the show to be the very best thing it can be, not because of vanity, but because of pride. They're so happy to be free to be making something beautiful and true that they love.

After Ordinary Days, Peter Prime, AKA Peter Marston Sullivan, introduced me to Dogfight - which I had never heard - and I connected to it so quickly because my Dogfight experience is my BoHo experience. I value a lot of things in Dogfight, but where it gets especially hard is when it shows how a lot of men see women and it doesn’t pull any punches. It’s a hard portrait of how guys deal with their fear and insecurities. I think this is an obvious show for BoHo because they’re so good at coping with fear and dread that theatre companies often face and fail at overcoming as a cohesive group with a common goal. There is no job too big for the group and no job too small for any individual. It’s something you experience in spurts when working in a collaborative space like theatre, but it’s a rare a beautiful gift to find it so alive and well with an entire group again and again.

I’m thankful every time I’m able to work with the BoHo family because it reminds me what this whole thing is about. Their work is their pleasure - twenty-four seven, three sixty-five, they never close - and their passion is veritas. I’ve seen green interns on their first pro gig, making nothing but friends and memories, step up and single handedly do the work of four professional stagehands. I’ve seen the most senior member of the family take off their jacket and pick up a paint brush to get a set piece finished in time. It’s because you can feel it from the moment you’re in the room. You know - definitively - that you’re a part of something. A community. A family. A group of people who will not quit on you.

You want to do your very best because they want that from you too, and the BoHos will do anything - simply, quietly, beautifully - anything you need to be your very best. They challenge me gently and earnestly. They make me want to tweak and work things to death, because I can’t bear to let them down. That’s something you don’t find in every place - you don’t find it almost any place. If you get to work with BoHo, or you just support them by seeing the work, you’ll feel what I’m talking about too. This commitment - even in the hardest of times - is what it takes to make a show like Dogfight work. Boho is fearlessly committed to the truth - and love and beauty and freedom - because they go at it together. It’s not some silly mumbo jumbo - it’s real for them and everyone who gets to work with them. There’s not a lot of other companies that could make this piece work, because more often than not, most theatre companies shy away from the truth, especially when it’s tackling such difficult subjects.

At its core, theatre is pretty dumb. We’re not saving anyone’s life. We’re not feeding the hungry or healing the sick. We’re not even making anything lasting. But theatre at its best - like BoHo Theatre - is something that is vital to the human condition. It nurtures the soul by giving people something human that humans have always needed. A little time to tell stories with each other. More than 2000 years ago, the Greeks would build theaters next to hospitals because they believed these places were equally important to healing - one the body and one the soul. This is what I look for when I’m making theatre and it’s not easy to find. BoHo has it in spades. They sweat it out when they take over a space and make it a theatre - a real theatre. It’s the core of why theatre is one of the oldest traditions we share as humans. And it fills me with joy to be with them every time we make something together. Join, play, love.

-Anthony Churchill, Set and Media Designer

Why did our Artistic Director choose DOGFIGHT?

DIRECTOR PETER MARSTON SULLIVAN REVEALS WHY DOGFIGHT MOVES HIM

"The first time I listened to Dogfight, I was on a road trip on my own, listening to potential musicals for our 2015 season. When I finally popped in the cast recording, I listened to it three times in a row, each time growing more confident that this show was perfect for BoHo.

Dogfight starts as a party – dynamic full-cast numbers bursting with energy. The music is melodic and funny, driven and exciting. As I listened, I found myself caught up in the fun of the soldiers… then I slowly began to realize that this “fun” was misguided. I almost felt guilty for enjoying it at the start. But as the songs became increasingly haunting and heartbreaking, the show revealed itself to be an awkward yet charming love story. One woman, Rose – an ungainly, naive wallflower - has such purity in heart and spirit that she trusts, forgives, and ultimately loves unconditionally. Though perhaps not gorgeous in a conventional way, it became very clear to me that she is by far the most beautiful person in the show.

Peter Marston Sullivan leads the Dogfight cast in rehearsal

The response from our Dogfight audiences so far has been overwhelmingly positive. Yet there are still many people that have been wary of the show because of its central premise: a dogfight. One of BoHo’s staunchest supporters told me, “I knew what a dogfight was and found it repulsive.” And she’s right - it is. What I found so profoundly moving about this show - more so than the fantastic music and script - was how there was pure beauty to be found amongst this backdrop of repulsion. At a time, the 1960s, when we were so sure, so proud, and ultimately so naïve, when dogfights were commonplace and over 50% of the population had never heard of Vietnam, amidst all of that, there is one sole spark of beauty that contrasts all of the ugliness. The fact that it comes from someone that these Marines characterize as “a dog” is, in its own way, ironic and powerful.

In case you’re wondering what that same supporter felt after watching the show, her words may say it best: "Vietnam is part of my history, my era. Dogfight was sometimes outright painful to watch – even without the dogfight. Recalling how very certain all of us were, whatever our beliefs, it’s just heartbreaking. BoHo never flinched from that. It takes immense art and sensitivity to tell this story. You helped the audience find beauty [in it.]”

When you see BoHo’s Dogfight, what awaits you is a story that grabs you right from the start with energy and enthusiasm, laughter and immensely likable characters. What you leave with, I hope, is a feeling of beauty and love, comfort in the fact that even when there is ugliness all around us, there is always beauty to be found. This is why I love this show. This is why I wanted to tell this story.”


Peter Marston Sullivan
BoHo Theatre Artistic Director

The Power of Giving

From the Desk of the Executive Director, Kaela Altman

As 2014 starts to wind down to a close I find myself feeling nostalgic and grateful. When BoHo closed Parade on November 16, our Company members gathered together to toast the season, and celebrate what an incredible 10th year we have had.

• We produced four shows over the course of 16 months.
• We received another record year of Jeff Nominations, which reminded us of our power to create incredibly thoughtful theater.
• We saw over 1,000 people at general auditions throughout the year.
• And we shared our artistry with well over 3600 patrons who came out to support Live Theatre in Chicago.

Last night, in Times Square, a "Bono-less U2" presented a surprise concert in honor of World AIDS Day. After an introduction from former President Bill Clinton, the stage was glittered with A-listers from Bruce Springsteen, Carrie Underwood, Kanye West, and many, many more in honor of those who have lost their battle with AIDS, and in celebration of those who have survived. President Clinton said that in 2013, more people received treatment than were diagnosed, an incredible feat given the state of this crisis some twenty years ago.

And that got me thinking about the Power of Giving. Whether it's $5 or $5,000, every single contribution makes an impact. Contributing doesn't just build a bottom line, or close a revenue gap.

Giving, in it's purest sense, unites a Community of people in support of a common cause.

Giving and Theater are similar in that regard and is representational of a Community of People, a Community of Artists, coming together to share their gifts, their hearts, and their passions which can collectively effect change.

BoHo is incredibly lucky to share this space with our fellow artists and we are incredibly grateful to everyone who gives to storefront. On this #GivingTuesday, I ask that you share your support for your cause today. Whether it is BoHo, your local food pantry or animal shelter, or perhaps another cause near and dear to your heart, celebrate the Power of Giving today and remember the spirit of the season.

To those who have been a part of BoHo's 10 years, Thank You.

From the Desk of the Executive Director: February, 2014

Welcome to February:
On Saturday, February 15, BoHo Theatre proudly opened the second show of our Landmark 10th Season: AMADEUS, directed by our Artistic Director, Peter Marston Sullivan. The show opened to a sold out house and so far it’s been very well received. The cast, production team, company, and board then met up at Cooper's, located across the street from Stage 773 for an after-party to celebrate this phenomenal opening event. 

Producing at Stage 773 has been a wonderful experience thus far. Their welcoming lobby and concession stand has been an outstanding place for our guests to meet, mingle, and share their BoHo experience before, during, and after the show.

Have you seen AMADEUS? Consider sharing your thoughts with us in the comments section below. We’d love to hear your feedback about the performance.

AMADEUS runs through March 16 at Stage 773. Get your tickets today!





Welcome New Company Member: Molly Layton.

Molly came on board as a pilot company member and immediately jumped into her new position as BoHo's newest Casting Coordinator. She, alongside our Casting Associate Stephanie Sullivan, supervised the casting process for both AMADEUS and our upcoming production of MYTHS AND HYMNS. Later this year, Molly will join our production team for MYTHS AND HYMNS as a Production Assistant and will support our efforts to bring this extraordinary musical from inception to performance. 

Please join me in welcoming Molly to our family!

BoHo Is Now Hiring

BoHo is currently accepting directing proposals for our final production of the 10th season: PARADE. Please visit our ad on OffStageJobs.com for more information. Be sure to submit soon! The deadline is fast approaching.

Additionally, BoHo is currently seeking a Scenic Designer/Technical Director for MYTHS & HYMNS. Interested persons should contact us directly. Please include a copy of your resume and a link to your online portfolio (if applicable). We will follow up with an interview in the coming weeks.

Stay tuned for more updates!

Being Bohemian: Charles Riffenburg

BoHo Theatre's Marketing Director/Graphic Designer Charles Riffenburg, on what it means to be bohemian:

When I joined the cast of BoHo Theatre’s The Merchant of Venice in the summer of 2008, I immediately sensed something different about the company. For the first time in Chicago, I had encountered a group of artists who went out of their way to make the rehearsal and artistic process something uniquely special and supportive. I felt like there was true collaboration going on, and that the voices of the cast were valued in the overall process.

It was this supportive environment that motivated me to want to become a member of the company the following year. When I joined up, it wasn’t as an actor joining an ensemble of other actors who all perform onstage. I joined as the website designer, and soon took on more and more tasks, like graphic design and overseeing the company’s marketing and social media presence. BoHo gave me an encouraging place to explore all of my talents as a multi-disciplinary artist.

Many theatre companies have a focus with their work that makes their point of view special. Perhaps they believe the work of the playwright is the most important, or they specifically celebrate an ensemble of actors. Maybe visual or aural spectacle is their thing. What makes BoHo Theatre not only special but UNIQUELY BOHEMIAN is a commitment to ALL artists and their artforms. In a BoHo production, the artistic work of the set builder or props designer is equal to that of the actors or choreographer or director. The “ensemble” in the Bohemian Theatre Ensemble is truly that of ALL the artists involved, not just those whose faces you see onstage. To me, this approach of working together creatively across multiple disciplines— environmental design, writing, acting, singing, dancing, etc— to create something that makes the world better is what it means to be Bohemian.

It was this philosophy that I used as my primary inspiration in directing our current production, Veronica’s Room. The amazing success of this show is not due to any one person or discipline; it is because all of the artists on the show worked collaboratively to create something greater than any one of us could individually. Like a true Bohemian community, BoHo Theatre gave us the most supportive environment it could to foster our creativity.

Throughout BoHo Theatre's milestone 10th Season, BoHo company members will be revealing what being "bohemian" means to them. What does Bohemianism and BoHo Theatre mean to you? Let us know in the comments or on Facebook!

Being Bohemian: Peter Marston Sullivan

BoHo Theatre's Artistic Director Peter Marston Sullivan, on what it means to be bohemian:

From my first project with BoHo, to my latest production of Kiss of the Spider Woman, being Bohemian has always meant finding connections with artists and audience through intimate storytelling, and fostering a process wherein artists are allowed not only to explore, but also to learn, grow, make mistakes, and create new bonds with those that strive daily to tell a story that challenges and changes an audience. Being Bohemian, to me, means looking internally at my past, my present, and my future - those elements that have created who I am today, and exploring the human elements of truth, beauty, freedom and love within my own life - my own story. It is the search for these pillars within my own life, and how they connect me to others, that makes me Bohemian.

Looking back at my years with BoHo, I certainly remember productions that were successful, and find pride in the work that I've been a part in creating. But... more importantly, I remember moments and stories with the artists I worked with and the audience that I feel shared that journey with me. I remember the opening of the first show I directed for BoHo, I remember endless nights debating shows, I remember laughing with casts, company members, and audience, I remember closings of shows and dramatic (and frightening!) openings... I remember moments that have created a bond with cast, company, friends, audience - all of which are now family. While I certainly remember challenges of tech, or clashes of ideas and personalities, these are all overshadowed by moments of pride and companionship with friends and family that came together to make something special.

Being Bohemian, to me, means eradicating boundaries that separate me from others - whether ideology, gender, race, religion, or orientation. For me, it has meant discovering what connects me to others - what makes us all the same at our core. There are some essential elements that bind us all together, and through telling a story, and the process of creating that story, I have found that being Bohemian means understanding how differences are just as powerful and as wonderful as similarities... how passion for a story and the sharing of that story demolishes all boundaries in order to come face to face with the core human values that we all share.

Throughout BoHo Theatre's milestone 10th Season, BoHo company members will be revealing what being "bohemian" means to them. What does Bohemianism and BoHo Theatre mean to you? Let us know in the comments or on Facebook!

Audition Best Practices: A Top 20 for Actors

This blog is Part 1 of 2, featuring the Top 20 Tips for Auditioning

We have wanted to write this blog post for such a long time, and are so excited to share these little nuggets of information about auditions because, as fellow actors, we know that the task of auditioning can be both exciting and terrifying! Over the years we have gathered as much information as we can from other casting directors (admittedly, many of the tips and tricks listed below were stolen directly from Bob Mason.) If you feel confident in your knowledge of do's and don'ts, your job just got a heck of a lot easier!  If you can focus on the things you know how to control, you'll find auditioning fun and exhilarating - promise!

Below is a list of tips that will help you prepare for ANY audition, including BoHo's.

How to prepare for ANY audition - things you MUST do!

1. Make sure your resume is stapled to the back of your headshot, and make sure it is cut to the 8x10 industry standard.  You can go to an office max, buy a ream of paper, and ask them to cut the paper to this size!  I have heard several times of casting directors who will throw away headshots that don't meet this standard based on the fact that it will not fit in their files.
   
2. List any and all pertinent skills on your resume.  Be as specific as possible (what kind of stage combat, what kind of dance etc.)  Treat your resume as you would any professional resume. Be smart about which skills you choose to list! Quirky and fun talents are great, but "belching the ABC's" is definitely not.
   
3. List all significant teachers and directors - it's a small world!  If we are interested in you but do not know your work, we may want to chat with someone who does!
   
4. Select a monologue that shows your range - it needs a beginning, middle, and end.  Choose something that has a discovery and takes the auditor on a journey; make sure you have a point of view.  "Safe" choices are ones that lead to stagnant performances; even if your choice isn't what the director would go with, the important thing is to show you make choices!
   
5. Select pieces that best represent YOU.  If the monologue is age, or race specific, pay attention to this - if you are 22, you will most likely not be cast in a "mother role," so avoid doing a "mother monologue."  Some pieces are not age/race specific and you can get away with a departure from yourself, but if the piece is from a well-known play, do not take that risk. 
   
   
6. If you choose to do a monologue from the play you are auditioning for, understand the risk involved.  Some directors will be very open to this, and others will be turned off.  It's possible you may "wow" someone and even help shape their opinion of the character, but be aware that many directors will have firm opinions about a character prior to the start of the process and your take may be very different from theirs. 
   
   
7. Never choose to address your piece to someone in the room.  If we feel we are acting with you, then we are not truly able to do our work and focus on you.  Also, do not choose to do your monologue to someone in a chair or on the ground - we want to be able to see your eyes!  Pick a spot just above the auditor's head either directly in front of you or on an angle (just make sure we are not looking at your profile the whole time!)
   
8. There is no need to shake hands with anyone, unless a handshake is offered to you.  No one is trying to be mean here, but keep in mind that we might see 100 people in a day, which makes for a lot of handshaking!  There is also a hygiene issue to consider.... yes, I know that sounds gross but it's true!
   
9. If you are introduced when escorted into the room, there is no need to re-introduce yourself - just the name of the character and play will do.  Also - please do not give us a play synopsis or any kind of exposition.
   
   
10. Always be prepared to do a second monologue.  Think of "contrasting" more in terms of a different character, voice, point of view - not necessarily a different style or genre (though this is ok too.)  If you list that you're a singer, be prepared to sing 16 bars a capella.

Welcome to Our 2011-2012 Season

Summer has officially come to an end in Chicago - and as everyone pulls out their sweaters in preparation for the change in season, the Bohemian Theatre Ensemble is anxiously awaiting the kick-off of their 2011-2012 Production Season at Theater Wit. The summer was an amazing assortment of activity for our company and board. After enjoying a wonderful run of Icarus, BoHo welcomed new friends along with some familiar faces to our Annual Benefit, the Skyview Soiree. Our attendees were able to enjoy good food, silent raffle items which were donated by local artists and a beautiful entertainment series from past shows. We also were invited to revive Big River for our friends at Theater on the Lake which played five performances to a spectacular group of Theater Lovers.  

And now, it’s time to focus on what’s next. On behalf of the Bohemian Theatre Ensemble, I want to say thank you for your constant support of Chicago’s theater community. We look forward to seeing you at the theater!

Pippin 
By Stephen Schwartz
Directed by Peter Marston Sullivan
October 14 - November 13, 2011

What does it mean to live an extraordinary life? This is the question that drives Pippin through the adventures of war, sex, politics and love -- all the while guided by the malicious hand of the Leading Player. While the Players strive to steer Pippin towards the perfect, theatrically tragic end of his story, Pippin begins to discover what it truly means to be extraordinary in our world.

Tartuffe
By Moliere, Adapted by Ranjit Bolt
Directed by Peter Robel
January 13 – February 12, 2012

Moliere’s scandalous farce crackles with humor and wit in Ranjit Bolt’s modern-language adaptation. When the patriarch of a wealthy falls under the spell of Tartuffe, a con-man masquerading as a man of God, his family goes to hilarious lengths to show him the error of his ways. But it seems the cunning Tartuffe is always one step ahead of the game…   

The Rainmaker
By N. Richard Nash
Directed by Stephen Genovese
April 6 – May 6, 2012

Saddled to a failing cattle ranch in the Dust Bowl with a family of menfolk, Lizzy Curry has just about given up hope of finding love and escape. But when a charming trickster named Starbuck breezes into town promising to bring rain for $100, Lizzy’s father gives the man the last of the family’s savings, knowing that what he has to offer them, and Lizzy, is more than just rain. The Rainmaker is a classic American stale of the power of hope during hard times.

Floyd Collins
A musical by Tina Landau and Adam Guettel
Directed by Peter Marston Sullivan
June 15 – July 15, 2012

In January of 1925, celebrated Kentucky explorer Floyd Collins was searching for a cave system whose tourist draw would make his family rich. Instead, he became trapped in a narrow crawl-way 55 feet below ground. His family’s rescue attempts quickly create a national media circus, and rescue begins to take a backseat to profit. This true story features a musical style drawn from authentic bluegrass, folk, and Americana.

The Fictional Division Between Musicals & Non-Musicals

The world of BoHo is abuzz right now. We've just closed Big River with great audiences and fantastic feedback, and we're now moving into our two upcoming shows: The Elephant Man and our first holiday musical, Striking 12. As we approach the exciting and daunting task of casting and working with designers and fashioning schedules, the contrast between The Elephant Man and Striking 12 could not be more acute. Striking 12 is a fun New Years Eve musical with the actors playing all the instruments while The Elephant Man is an unflinching and realistic non-musical look at the masks we wear and the cruelty we inflict on others. And, inevitably, people begin to wonder: how can the same theatre company be producing such drastically different works?


This is a question we hear often from others in the theatre community, from our patrons, from our artists, from the organizations that generously provide grants to cover some of our operating expenses: why do you guys do both musicals and non-musicals? Isn't that kind of unfocused? Can't you find your voice? Which do you do, musicals or non-musicals?


This is such an odd question for us. Do people ask the same thing when Steppenwolf, home of very contemporary works such as August: Osage County, produces a Shakespeare play? Or when Chicago Shakespeare presents a Noel Coward play? Or when Raven Theater produces a comedy? This question of choosing between musicals or non-musicals is predicated on the idea that a theatre has to specialize in order to be any good, and that musicals and non-musicals are so different that you can't possibly do both, at least not well. And, apparently, that audiences only go to one or the other and don't enjoy both.


Well we're here to destroy such preposterous ramblings. The reason that we divide our season equally between musicals and non-musicals seems obvious to us. The aim of our season, in fact our entire company outlook, is to present experiences that are equally artistic in all areas. We celebrate art in all its forms, be it painting, lighting, sculpture, poetry, movement, acting, soundscapes, or even, yes, music and singing. Music is as integral to art as breathing is to life. Not every part of life has music in it, just as not every piece of art we create has music. Yet the tapestry of life would be woefully incomplete without music.


Our lives are constructed from a patchwork of moments of intense struggle, of heightened melodrama, of honest affection, of deadly seriousness, and of shameless levity. We try to capture this same artistic complexity by mixing such potent ingredients as the poetry of Shakespeare's The Tempest, the haunting soundscapes of Playing With Fire, the evocatively cyclical scenic design of Hello Again, and even the soaring, heartfelt harmonies of Big River's "Free At Last." So for us, there is no division between music and non-musical sensibilities. Our sandbox is big enough to include all of it. I encourage you to explore our current season, and our past seasons as well, think about them in relation to the moments in your own life, and tell me if you think the experience would be as rich and meaningful without music.

BoHo Begins Season With Fresh Face And a New Venue

BoHo Theatre is kicking off its seventh season in September with bold new changes, including new Artistic and Executive Directors, a new performance space, and an expanded season!

Founded by Artistic Director Steve Genovese and Executive Director Tom Samorian, BoHo Theatre began as a small storefront theatre in 2003 inspired by the idea of theatre that embraces the arts as a whole and produces art for art’s sake. This philosophy lead to the introduction of their four-show season, in which each production represents one of the four pillars of Bohemian philosophy: Truth, Beauty, Freedom, and Love. After six years of inspired vision and leadership under Genovese and Samorian, BoHo has grown into one of the most beloved and award-nominated non-Equity theatres in Chicago. Last year alone, BoHo Theatre was nominated for 11 Jeff Awards, including eight for the regional premiere of The Glorious Ones, which received a revival at this summer’s Theatre on the Lake. In his time with BoHo, Genovese has helmed seven Jeff-recommended productions, winning best director for 2006’s SideShow, as well as created scenic and sound design for numerous shows. Samorian meanwhile, has served as Production Manager for 18 out of BoHo’s first 21 shows, and brought productions to audiences at Theatre on the Lake, Theatre Building, Illinois High School Festival, and the Heartland Studio in Rogers Park.

Stepping up into the Artistic Director position is BoHo company member Peter Marston Sullivan. Sullivan has also been at the helm of some of BoHo’s most critically-acclaimed shows, including Playing with Fire, Ghosts, and the Jeff-nominated productions M. Butterfly and I Am My Own Wife (which he co-directed with Genovese). “I couldn’t be more excited to be taking over the artistic leadership of BoHo right now!” says Sullivan. “We are at a point of tremendous growth, adding new company members and moving to a new space. The groundwork that Tom and Steve have given this company is amazing, and we will all be working hard to continue to expand and grow the vision they started.”

The Executive Director position will be filled by new company member Peter Blair. Blair has worked as a stage manager, director, producer, and production administrator at venues such as Drury Lane, Porchlight, Bailiwick, and the Marriot Theatre, as well as the downtown run of The 25th Annual Putnam County Spelling Bee.

Genovese and Samorian will remain actively engaged with BoHo Theatre in advisory positions, which will allow them to focus their talents on further artistic endeavors. “One thing we’ve always wanted to do is create immersive environments for our productions,” says Genovese. “We had success doing things like popping fresh popcorn before each performance of SideShow, so the smell of the circus permeated the space and extended the ambience of the scenic design beyond just the stage. We haven’t been able to do as much of that recently, and it’s something I’ll be helping create in the future.” Samorian will be curating lobby art exhibits for each show to help expand the artistic reach of the productions and promote individual artists. He will also be looking for new works to develop, as well as developing a few original pieces of his own.

Also beginning this season, BoHo will be stepping up from its long-time home at the 27-seat Heartland Studio in Rogers Park to become a resident theatre company at the new Theater Wit space. Theater Wit is located at 1229 W Belmont Avenue, formerly the old Bailiwick space, and features three newly-renovated theaters—two traditional 99-seat stages, plus a 79-seat adaptable blackbox space—as well as a state-of-the art box office, a refreshment bar in the spacious lobby, and valet parking in a vibrant neighborhood.
BoHo’s new season kicks off September 10th with Big River: The Adventures of Huckleberry Finn, winner of eight Tony Awards, including Best Musical, Best Book, and Best Score. Based on Mark Twain’s classic take and written by William Hauptman with country music legend Roger Miller, whose classic hits include “King of the Road” and “Dang Me,” Big River is a theatrical journey of pure Americana. The production will also feature a photography exhibit of panoramic views of the Mississippi River by Midwest photographers, Dr. Abdul Sinno and Rafic Sinno, curated by Genovese and Samorian in their new advisory roles. Big River is directed by new Artistic Director Sullivan, fresh from directing BoHo’s Ghosts (“Absolutely stunning” –Hedy Weiss, The Sun-Times), and marks BoHo’s very first show at Theater Wit. Tickets are on sale now and can be purchased at www.bohotheatre.com or by calling the Theater Wit box office at 773-975-8150.

BoHo isn’t leaving its home at the Heartland Studio forever, though. For the first time ever, BoHo Theatre has expanded its season beyond its traditional four production to include a holiday show. Striking 12, dubbed the un-holiday holiday show, is a unique hybrid of musical theatre and live concert. Combining pop-rock, musical comedy, and old-fashioned uplift with a healthy dose of 21st-century skepticism, Striking 12 is a feel-good musical show in which the musicians and actors are one and the same. Striking 12 opens in the Heartland Studio on December 16.

Subscription packages for BoHo’s entire new season are now on sale for $80. Subscriptions include a discounted ticket to each of the mainstage shows at Theater Wit, as well as a free ticket to Striking 12! For more information or to order subscriptions now, visit www.bohotheatre.com.

Only The Symptoms: Why "Ghosts" Is Not a Play About Syphilis

Ghosts, when it was first written by Henrik Ibsen back in the late 1800s, caused a major scandal. London critic Clement Scott described Ghosts as "an open drain; a loathsome sore unbandaged; a dirty act done publicly." The subject matter was so repulsive that the first public staging of the play was in Chicago, half a world away from the society it was criticizing. Since then, society has changed and the taboos of the time have faded.

However, for many people Ghosts remains the show about syphilis, which is baffling since the word "syphilis" never appears in the script. In fact, how shocking was the onstage suggestion of syphilis if, as medical estimates of the time say, almost 50% of Europe had the disease? In fact, if Ghosts really was just a play about syphilis, it would be about as exciting and noteworthy as a 2nd grade informational film strip (pink cartoon syphilis microbes not withstanding). Still, audiences and critics continue to see the play through the lens of shock value, as Kerry Reid did in her recent review of BoHo's Ghosts in The Chicago Reader with the tag line "It’s a struggle to make Ghosts seem scandalous in the age of August: Osage County." The article went on to say that since the revelations in the story were no longer “gasp-worthy,” there was “a bit of creakiness in the play's bones.”

So it would seem that Ghosts is merely a late-19th century shock piece. But if that were the case, why would it still be performed today? If the only thing the play has up its sleeve is the visceral horror of an old Jackass episode, it too would have been left to the dustbin of history and forgotten.

Just because something was shocking in its day does not mean that shock was its only intent. The Beatle's "Helter Skelter" was a vulgar noise that proved to the uptight culture guardians of the 1960s that rock and roll was the music of the devil. Oliver Stone's Natural Born Killers glorified serial killers and gore and made all the conservative talking heads of 1994 decry the death of decency. Yet these works are still enjoyed today because there was more to them than just shock. "Helter Skelter" has gone on to be a foundation of modern rock and metal music, and below the savagery of Natural Born Killers was a prescient examination of the media's fascination with fame and infamy.

Along these lines, Ghosts does contain elements of incest, disease, arson, and secret debauchery that rattled society at one time. But these are only elements, they are not the story; or as Oswald says in the climax of the show “those aren’t the sickness, they’re only the symptoms.” The story of Ghosts and the sickness it examines are secrets and repression. Is it good and right to keep something hidden in order to maintain a dignified public image, or to hide something from your children in order to protect them? On the other hand, is revealing truth for truth's sake always right, or can it do more harm than good? Can a middle ground be found between strangling restraint and wild hedonism?

Based on these themes, one could easily pluck Ghosts out of its 19th century Scandinavian setting and relocate it to modern America and it would still be timely. Reverend Manders, the upright voice of the conservative community, could just as easily be a conservative southern preacher; Oswald the artist living a Bohemian lifestyle in Paris, could just as easily be from New York or San Francisco.  In a political climate that pits stuffy conservatives against hippy liberals, a culture which craves dirty secrets and then deplores the people who reveal them, a society in which creating the public image you desire is a pain-staking life-long work, the real story of Ibsen’s Ghosts is just as relevant as ever.

BoHo Grabs Eleven Jeff Noms!!

The Glenwood Ave Arts District is on fire this week with the announcement of the 2009 Non-Equity Jeff Award nominations! The top three nominated companies in the entire city came from our little stretch of neighborhood with Lifeline Theatre grabbing 13 nominations, Theo Ubique with 11, and BoHo Theatre grabbing 11 as well. BoHo's regional premiere of the energetic musical The Glorious Ones tied with Theo Ubique's Chess with eight nominations. The one-man powerhouse of a show, I Am My Own Wife, scooped up the other three nods. BoHo Theatre congratulates our fellow Rogers Park theater artists, as well as all the nominated companies, for their fantastic work in the past year.

What were we nominated for?

Check it out:
Nominations for BoHo Theatre's The Glorious Ones:
Outstanding Production (Musical)
Outstanding Direction (Musical):  Stephen M. Genovese
Outstanding Ensemble
Principle Actor in a Musical:  Eric Damon Smith.
Supporting Actress in a Musical:  Danni Smith,
Supporting Actress in a Musical:  Dana Tretta
Outstanding Musical Direction:  Nick Sula,
Outstanding Costume Design:  Theresa Ham

Nominations for BoHo Theatre's I Am My Own Wife:
Principle Actor in a Play:  Peter Robel
Outstanding Scenic Design:  John Zuiker
Outstanding Lighting:  Katy Peterson

Read the press release with the full list of nominations over at the Jeff Committee website.

A lot of change happening at BoHo ...

... and it's all good!

There's a new website, a new season announced, and some new peeps in the driver's seat!

So, I don't think I could be more stoked about all that is happening.
The new website (designed by Chuck Riffenburg of Grab Bag Media)
totally rocks! It's graphic, fun, and shows so much BoHo personality.
It's so much easier to navigate too. Do yourself a favor and check it
out at www.bohotheatre.com.
Chuck and I worked a lot of hours (well, Chuck worked and then showed me the fruits of our discussions) to come up with something really quite cool.

Speaking of cool, the 2010-2011 season is really that! We announced it at the February benefit at The Glenwood, and everyone was talking about how much they liked it. Adding a special 5th show is a nice twist to our "normal" 4-show season, and the shows chosen are ones that I think excite both actors and audience members.




Check out the shows in-depth by clicking HERE.

So, the other bit of news is that, after 7 years, and 6 seasons, I have decided to step down as Artistic Director of BoHo Theatre. I have loved every minute of my tenure, and will still be a part of the company. It's just time to let some new blood take the reigns and guide BoHo along the next part of the journey. The new Artistic Director of BoHo Theatre is Peter Marston Sullivan. His artistic vision and strong connection to the BoHo values and mission make him a perfect choice for the job. Next time you see him, let him know how excited you are for all that he has in store for BoHo. :-)

I will blog soon about what BoHo has meant to me, and what it means to me to be a founding member of such an awesome company.

I am pretty new to blogging. Read plenty of them, but haven't really written much for any. It might take me a while to get the "true" hang of it, but thanks for reading!