Glenwood Avenue Arts Festival Aug 18 and 19

IT’S GAAF Weekend — or Glenwood Ave. Arts Fest

August 18 and 19
12 Noon to 9 PM

This year featuring
*Booth 26 dedicated to continuing the work of
Chris Drew and the Art Patch Project
new patches printed on site!


**Booth 27 Chicago Labor & Arts Festival
the annual HUMOUNGOUS (great price) BOOK SALE
with books in all categories including kids, Spanish language, black history and literature, fiction and non fiction, Marxist and other political science; buy three, get one FREE.

***Plus we are a source of information about all things ré
Public Education Crisis:

  • Occupation Rogers Park Education Committee
  • Chicago Teachers Solidarity Campaign
  • Various community activities coming up
  • How to support teachers and the campaign for World class schools our communities deserve!

It’s not tax deductible, but your $$$ help tremendously!
Please make checks out to CL&AF
and mail to Lew Rosenbaum, 1122 W. Lunt 4A, Chicago, IL 60626

As always, thanks for checking in with us!

PS.  Have you heard about the Pied Piper of Rogers Park?  Ask us about this . . .

A Dolls House Explores The Meaning Of Sacrifice

[Ibsen’s A Doll’s House begins as Infamous Commonwealth Theater begins its season long exploration of the meaning of “sacrifice.”  It’s a curious coincidence that while ICT brings Ibsen to the 1960s American feminist movement, Steppenwolf’s Garage Theater will showcase robots cavorting across the stage portraying Ibsen’s Hedda Gabler.  ICT’s second play exploring the meaning of sacrifice will be Lanford Wilson’s Vietnam war saga, The Fifth of July.]



By Henrik Ibsen
Adapted by Christopher Hampton
Directed by Chris Maher

Featuring Josh Atkins, Kate Cares, Stephen Dunn, Barbara Roeder Harris, Amanda Roeder, Mark Shallow and Genevieve Thompson

SAC-RI-FICE (noun): destruction or surrender of something for the sake of something else.

New York City, 1962. As America hovers on the cusp of a second-wave feminist movement whose effects are felt to this day, Nora Helmer is a woman lost. Her entire life, Nora has defined herself by what she is to others-daughter, mother, wife, friend. Now she lives in a beautiful home with a husband and children who adore her, yet often feel like strangers. But after a dark secret from the past comes back to haunt her, Nora is finally forced to face the underlying realities of her carefully constructed existence.

Preview on January 21 st, 8pm ($10)

January 22nd through February 27th
Thursdays, Fridays, Saturdays at 8:00pm
Sundays at 3:00pm

No show on Sunday, February 6th

Industry performance on Monday, February 7th, 8pm ($10)

The Greenhouse Theater Center at 2257 N. Lincoln Ave.

For ALL reservations, including subscribers, go through the Greenhouse Box Office at


Or visit their website at

Tickets $20.00
$15 senior/student tickets are available for every performance (subject to availability) with proper ID.
$15 industry tickets are available on Thursdays and Sundays.
Offers may not be combined. Not available closing weekend.

Robotics Meets Theatre — New Garage Theater Production of Heddatron

[What happens when a pregnant Ypsilanti housewife is captured by renegade robots, taken to a South American jungle, and compelled to perform Ibsen’s Hedda Gabler in a company of robot actors?  What seems to be a farce transcends the farcical, or so reviews of other productions have indicated.  We are NOT posting this to complain that robots are taking living actors’ jobs.  Nor are we posting this to complain about the descent of theater below suspension of disbelief.  Instead, this is an aspect of performance that is actually imitating life, needs to be taken seriously in this regard.  At CL&AF we are interested in robotics precisely because it represents a generalized elimination of what was once socially necessary but is now becoming unnecessary human labor.  Behind Paul LaFargue’s challenging The Right To Be Lazy has always been the challenge to debilitating work, the opportunity to free up human creative labor to confront the difficulties of survival such as how to educate appropriately, how to adapt to our changing environment so as not to destroy ourselves and so many of our fellow creatures.  And while Heddatron may not pose this question directly,  in our opinion it is built into the fabric of the play itself when ChiBots and others are actually building robot actors, ad did Le Freres Corbusier in New York 5 years ago (NYT review is here).   The play opens at Steppenwolf’s Garage Theatre Feb. 16, 2011. — Lew Rosenbaum]

Sideshow Theatre Company presents


By Elizabeth Meriwether
Directed by Jonathan L. Green 

A Steppenwolf Visiting Company Initiative
In the Garage Theatre
Wed. February 16, 2011 — Sun. April 24, 2011

Sideshow Theatre Company’s Heddatron is a part of the 2nd Annual Garage Rep.

Tickets go on sale January 7th


A book falls from the sky and a depressed Michigonian housewife is kidnapped by a clan of renegade robots, whisked away to the jungles of South America, and forced to perform the title role in a mechanical version of Hedda Gabler. As a documentarian searches for the truth about the abduction and the woman’s family mounts a search party, Ibsen himself enters the picture to defend his well-made play. Sideshow is partnering with robotics experts across Chicago to present a cast of human actors and functioning robots in this bizarre and savagely funny Chicago premiere.

Sideshow Theatre Company’s Heddatron is a part of the 2nd Annual Garage Rep, which also includes The Strange Tree Group ‘s The Three Faces of Doctor Crippen and UrbanTheater Company’s Sonnets for an Old Century.

Sideshow Theatre Company was founded in 2007. Sideshow’s mission is to mine the collective unconscious of the world we live in with limitless curiosity, drawing inspiration from the familiar stories, memories and images we all share to spark new conversation and bring our audiences together as adventurers in a communal experience of exploration.
For more information, visit

Brecht’s Good Person of Setzuan in Chicago

Is it possible to live as a good person in an evil world?  This is the question Bertolt Brecht poses in his Good Person of Setzuan, when three gods descend on Setzuan to reward the one good person that they have evidence exists in the city.  That the person is a prostitute evokes some consternation among the residents, perhaps among the audience as well.  But what is a “good person”? And is it possible to live individually as a good person?
The remarkable theatre department of the Chicago Academy for the Arts presents its version of this important play.
Brecht’s German “epic theatre” combines with Chinese folk tales and, some say, American detective literature to produce a play that certainly reverberates in our “evil world.”  But don’t dismiss Brecht as a ponderous didact: some say he leaves us with an ambiguous ending.  Perhaps he leaves us with the only ending that the dramatist who values his modern  audience can leave us with.  The last few lines of his epilogue speak to the need for all of us to be involved in the change we want to see:

It is for you to find a way, my friends,To help good men arrive at happy ends.

You write the happy ending to the play!

There must, there must, there’s got to be a way!

Good Person of Setzuan
Thursday, October 21 · 7:00pm – 9:00pm

Location Chicago Academy for the Arts 

1010 West Chicago Ave.
Chicago, IL

Created By

More Info October 21st- 4:45
October 22nd- 7:00
October 23rd- 7:00
October 28th- 4:45
October 29th- 7:00
October 30th- 7:00

The Fifth Sun on CD: A Modern Morality Play of Politics, Piety and Sacrifice

The Fifth Sun on CD:

A Modern Morality Play of Politics, Piety and Sacrifice

07 September 2010

Actors Scene Unseen proudly announces its latest audio CD and 2011 Spoken Word Grammy entry, The Fifth Sun by playwright Nicholas A. Patricca, directed by Elizabeth Peterson-Vita and engineered by James Vita.

On March 24, 1980, while saying Mass, Oscar Romero, the Archbishop of San Salvador, was assassinated.  This powerful and acclaimed play presents the story of the people and the forces that transformed an ordinary man into a courageous leader. The Fifth Sun combines elements of ancient tomb rituals, Mayan temple dramas and medieval morality plays into a contemporary dramatic structure in which we see a human being ultimately embody the moral voice and vision of his people. The Fifth Sun CD features a haunting musical score by The San Antonio Vocal Arts Ensemble and Xavier Quijas Yxayotl.

The Fifth Sun CD was recorded, mixed, and mastered in Charlotte, NC and stars David G. Holland, Meg Sohmer Wood, John Xenakis, Brett Mason, Dael Waxman, Sendy Mendez, Becky Brock, Zendyn Duellman, Roy E. Mills, Jr., and Laura Palka.


NICHOLAS A. PATRICCA is professor emeritus in the Theatre Program of the Department of Fine and Performing Arts at Loyola University Chicago, playwright in residence at Victory Gardens Theater, Chicago, and an ensemble member, TOSOS Theatre Collective, New York City.

ELIZABETH PETERSON-VITA, Ph.D., is co-founder and Creative Director of Actors Scene Unseen.  She is a clinical psychologist and award-winning theatre director with parallel interests in world history and mythology.  She is also an actor, writer, and freelance film and theatre reviewer.

JAMES VITA is President of CSCi Multimedia and the Executive Producer of Actors Scene Unseen. James Vita has studied lighting, sound, and projection design with Broadway masters Jules Fisher, Kevin Adams, Wendall K. Harrington, and Abe Jacob, and has produced the technical designs for all of Actors Scene Unseen’s award-winning productions. James Vita’s company, Actors Scene Unseen, is a full voting member in the Grammy Recording Academy and the Producers and Engineers Wing (NYC Chapter).

The Fifth Sun on audio CD was produced by Actors Scene Unseen (a production of Colorview Software, Inc.). Actors Scene Unseen was winner of five 2009 Metrolina Theatre Association awards for its staged production of The Turn of the Screw by Jeffrey Hatcher. Also in 2009, Actors Scene Unseen’s CD production of Gilgamesh – A Verse Play was nominated for Best Spoken Word CD in the Just Plain Folks Awards.

2011 Spoken Word Grammy Entry:  The Fifth Sun CD

The Fifth Sun CD is available now on CD Baby and Amazon.

Coming Soon to iTunes and other fine Digital Distribution channels. Visit

for more information about the production and to order the CD.

Reviews of The Fifth Sun CD are welcome. Complimentary copies for the press are available upon request.
Contact Person: James Vita, Executive Producer
Company Name: Actors Scene Unseen / Colorview Software, Inc.
Company Mailing Address: PO Box 77249, Charlotte, NC 28271
Tel: 704-533-1187
Email Address:

Hear an audio trailer and read more about the production at our website:

Since its world premiere in Chicago in 1984 at Victory Gardens Theater under the direction of Dennis Začek, The Fifth Sun has been produced

world-wide and has been translated into several languages. The Fifth Sun is published in English and Spanish by the Dramatic Publishing Company

The Fifth Sun graphics courtesy of Victory Gardens Theater

The Fifth Sun CD was just issued and is available from CD Baby

From Michael Moore’s newsletter:

March 29th, 2010 8:25 AM

Official El Salvador apology for Oscar Romero’s murder

El  Salvador’s President Mauricio Funes has issued an official apology for the murder of Archbishop Oscar Romero by a right-wing death squad 30 years ago.

Mr Funes, the first left-wing leader since the country’s civil war ended in 1992, said Archbishop Romero was a “victim of illegal violence”.

Archbishop Romero was shot dead as he celebrated Mass on 24 March 1980.

He was a champion of the poor and had made repeated calls for an end to political violence in El Salvador.

Romero’s legacy

“I am seeking pardon in the name of the state,” Mr Funes said as he unveiled a mural honouring Oscar Romero at El Salvador’s international airport.

The archbishop, he said, was a victim of right-wing death squads “who unfortunately acted with the protection, collaboration or participation of state agents”.

In 1993 a United Nations-sponsored truth commission concluded the archbishop’s assassination was carried out by a death squad under the orders of Roberto D’Aubuisson, a former army officer who died in 1992.

He founded the Nationalist Republican Alliance, or Arena Party, which governed El Salvador from 1989 until 2009.

Arena never accepted the commission’s findings.

No-one has ever been convicted in connection with Archbishop Romero’s murder.

A Good Person in Bad Times: Brecht on Broadway (Chicago)

Brecht’s Der Guter Mensch Von Setzuan (here translated as The Good Soul of Szechuan) has come alive on the Strawdog Theatre Stage in Chicago.  I’d quibble with the translation of “Mensch”, but I can’t quibble with the need to pour current philosophical-economic questions into a Brechtian crucible.  The drama is on stage through May 29 (check out this website for details of tickets and performances).   Here is the review taken from Time-Out Chicago:

Playful is perhaps one of the less common adjectives used to describe Brecht’s work. In Strawdog’s hands, though, the German dramatist’s 1943 parable, about a woman struggling to live up to the goodness the gods have seen in her, comes across like the thinking person’s Sarah Ruhl. Shen Te (Michaela Petro), a prostitute, is the only citizen in Szechuan willing to provide hospitality to three traveling gods on the hunt for virtuous mortals. Her reward is her own tobacco shop, but her generosity soon has her set upon by freeloaders; she’s forced to adopt an alter ego, male “cousin” Shui Ta, to play bad cop and protect Shen Te’s interests. When a self-interested suitor (John Henry Roberts) breaks Shen Te’s heart, Shui Ta threatens to take over for good.

Director Murray uses the 2008 translation by British playwright David Harrower (Blackbird, Knives in Hens), which accounts in part for this production’s contemporary feel. But the Strawdog touch has a lot to do with it as well. Murray addresses Brecht’s anti-artifice stance with a concertlike staging. The actors double as musicians for Mikhail Fiksel and Mike Przygoda’s Weill-punk-rock numbers and change clothes in full view; costume designers Aly Renee Greaves and Joanna Melville wittily outfit the cast in modern thrift-store chic. But style doesn’t outweigh substance: Brecht’s poke at the irrationality of charity in an economic system that rewards selfishness remains potent. Leading an engaging, creatively cast 18-member ensemble, Petro shines.

Current Theatre in Chicago

[Arthur Miller‘s by now classic tale of political chicanery in ideological straitjackets; and Neil Gaiman plumbs the lower depths through science fiction.]


The Crucible, set at the time of the Salem Witch trials, is intended to be viewed in comparison to today.

By Arthur Miller
Directed by Infamous Commonwealth Theatre Artistic Director Chris Maher

Featuring ICT company members Stephen Dunn, Nancy Friedrich, Clarissa Gregg, Jennifer Mathews, John O’Leksy and Craig Thompson

With Susan Veronika Adler, Jared Fernley, Elliot Fredland, Glynis Gilio, Margaret Grace, Elaine Ivy Harris, Edward Kuffert, Courtney Payne, Cody Proctor, John Ruhaak, Adrian Snow, G. Scott Thomas and Tom Weber.

This year’s theme: RE•DEMP•TION (noun): deliverance from sin; salvation

Set during the Salem Witch Trials of 1692 and written in direct response to the McCarthy trials in the 1950s, this scathing indictment of censorship remains a timeless classic of American drama – a master study on the inherent frailty, delicate beauty and limitless possibility of the human spirit.

March 20 – April 25, 2010
Thursdays, Fridays, Saturdays at 8:30pm
Sundays at 3:30pm

West Stage of the Raven Theatre Complex
6157 N. Clark St.

Call 312.458.9780 or email to reserve your tickets now.

Tickets $20.00
$15 senior/student tickets are available for every performance (subject to availability) with proper ID.
$15 industry tickets are available on Thursdays and Sundays
Offers may not be combined. Not available closing weekend

And Opening Soon! Neil Gaiman’s Neverwhere
April 30 – June 20, 2010 <!–
EXTENDED through November 16, 2008!!! –>

When Richard Mayhew stops to care for an injured girl on the street, he is drawn into a nightmare shadow world beneath the city of London. To return to his normal life, Richard must brave countless trials, uncover the truth behind a dark conspiracy, and face the indomitable Great Beast. Journey to London Below with a rogues’ gallery of liars, outcasts and assassins, on a treacherous voyage to awaken the hero within. By the award-winning adaptor and director of The Island of Dr. Moreau.

A world premiere based on the urban fantasy by Neil Gaiman
Adapted by Robert Kauzlaric
Directed by Paul S. Holmquist

Theater and Social Change: Chicago Theater this Spring

[Fugard Chicago at the Court Theatre,  Infamous Commonwealth’s The Crucible, TimeLine’s take on the TV eara, and a panel discussion on the subject all contribute to the sense we are living at a time that needs this kind of theater of exploration. — Lew Rosenbaum]

Free Panel Discussion
Writing for Change – Tuesday, March 23

Master Harold director Jonathan Wilson

We invite you to RSVP NOW to Remy Bumppo Theatre and MCA Stage’s American Theater: Writing for Change Panel Discussion.

Tuesday, March 23, 2010
6:00 – 7:30 pm
MCA Stage, 220 E. Chicago Ave.

Featuring Jonathan Wilson, director of TimeLine’s ‘Master Harold’ and the Boys, as moderator.

Admission is free but reservations are strongly recommended! Call the MCA Stage box office at 312.397.4010

You are invited to listen in on the conversation of some of today’s brightest and most innovative playwrights when they share the stage together for the first time at the Museum of Contemporary Art.

Jonathan Wilson will moderate the panel discussion between playwrights Tarell Alvin McCraney of The Brother/Sister Plays (currently running at Steppenwolf Theatre), Young Jean Lee of The Shipment (performing on the MCA Stage in March) and Kristoffer Diaz of the The Elaborate Entrance of Chad Deity (Off-Broadway bound). They will speak along with writer, actor, and founding artistic director of Teatro Luna Tanya Saracho and Richard Pettengill, the current chair and director of theater at Lake Forest College and former dramaturg and director of arts in education at the Goodman Theatre. Visit the Remy Bumppo Web site for more information about the featured speakers.

This event will also be podcasted for Chicago Amplified, an online archive of community events on

The Museum of Contemporary Art and Remy Bumppo Theatre Company present this insightful talk in conjunction with the MCA Stage presentation of Young Jean Lee’s The Shipment and Fugard Chicago 2010, a consortium of Remy Bumppo, TimeLine Theatre and Court Theatre, all of whom are producing plays by South African playwright Athol Fugard during the winter/spring of 2010.

Infamous Commonwealth Theatre

By: Arthur Miller

This theater company chooses an annual theme and produces plays it considers fits the theme, appropriate to the times in which we live.  This year’s theme is redemption:

RE⋅DEMP⋅TION (noun): deliverance from sin; salvation.

Set during the Salem Witch Trials of 1692 and written in direct response to the McCarthy trials in the 1950s, this scathing indictment of censorship remains a timeless classic of American drama –  a master study on the inherent frailty, delicate beauty and limitless possibility of the human spirit.

Directed by: Chris Maher, ICT Artistic Director

Featuring ICT company members: Stephen Dunn, Nancy Friedrich, Clarissa Gregg, Jennifer Mathews, John O’Leksy and Craig Thompson

Susan Veronika Adler, Jared Fernley, Elliot Fredland, Glynis Gilio, Margaret Grace, Elaine Ivy Harris, Edward Kuffert, Courtney Payne, Cody Proctor, John Ruhaak, Adrian Snow, G. Scott Thomas and Tom Weber

West Stage of the Raven Theatre Complex
6157 N. Clark St.

March 20 – April 25, 2010: Thursdays, Fridays, Saturdays at 8:30pm; Sundays at 3:30pm

Tickets: $20.00
$15 senior/student tickets are available for every performance (subject to availability) with proper ID. $15 industry tickets are available on Thursdays and Sundays.*
Call 312.458.9780 or email to reserve your ticket

by Aaron Sorkin
directed by Nick Bowling

April 17 – June 13, 2010
(previews 4/14 – 4/16)

Stay up-to-date on all TimeLine news:

From the creator of A Few Good Men and The West Wing comes this fascinating new play direct from Broadway. It’s the story of two ambitious visionaries — Philo T. Farnsworth, an Idaho farmboy, and David Sarnoff, head of RCA — battling each other for the rights to one of the greatest inventions of all time: the television. Through corporate espionage, family tragedy, financial disaster and the thrill of discovery, these two larger-than-life men compete for fame and credit and become part of a decision that would change America, and eventually the world.

TimeLine Theatre Company
615 W. Wellington Ave.
Chicago, IL 60657

Cultural Democracy in the Twenty First Century: Open Dialogue XII

[The following notice may be of interest to readers of this blog, sent to us by the Illinois Arts Council]
Dear friends of the arts:

The Illinois Arts Council is honored to be hosting The Association of American Cultures’ (TAAC) upcoming Open Dialogue taking place in Chicago, August 12-14, 2010. We encourage all interested parties to heed TAAC’s call for proposals, below, and to learn more about their organization and this exciting event on their website  — or through their facebook page:


The Association of American Cultures seeks illuminating session proposals for:

Open Dialogue XII: Building the 21st Century Agenda for Cultural Democracy

Deadline for Submission: Friday, February 5, 2010 (postmark and email deadline). Incomplete or late applications will not be accepted.

What is Open Dialogue XII?  A symposium of local and national leaders discussing policies and programs which individuals, organizations, foundations, and policy makers are encouraged to strategize and organize around in order to further advance cultural democracy and cultural equity platforms AND programs in today’s new era of change. Recognizing some quantitative progress in equity and diversity issues over the last three to four decades, it is most urgent at this historic time of change to evaluate and set forth action-agendas around TAAC’s foundational pillars for real, substantive, long-term change:

Equal participation in policymaking,
Equitable funding for all cultural institutions, and
Equity in multicultural leadership.

Between two and three hundred people are expected to attend Open Dialogue. Arts administrators, individual and teaching artists, arts educators, board members and cultural policy advocates and more are welcome.  Participants come from communities across the country and abroad, from varied arts backgrounds and levels of experience.

Open Dialogue XII will begin on Thursday, August 12, 2010 with a networking event Thursday evening; Friday, August 13, 2010 will continue with presentations, sessions; and Saturday, August 14, 2010 will conclude with a keynote speaker and lunch.

Submitting a proposal: We are open to broad interpretations of the symposium theme and want to include facilitated interactive discussions, expert-led presentations and direct learning opportunities. We are seeking proposals with sharing, inclusiveness and opportunity at their core. We also appreciate innovation and the willingness to consider the refinement or abandonment of traditional models.  Above all, we seek proposals that illuminate the environments in which we all work and that set forth practical organizational and institutional strategies and plans to achieve in the short-term TAAC’s foundational pillars.

What we’re not looking for is talking head panels, mind-numbing lectures and sessions wherein presenters attempt to sell products or programs, or simply rehearse equity philosophies and general directions to achieve the foundational pillars.

TAAC is pleased to accept proposals from individuals, collectives, or organizations.  The symposium registration fee will be waived for all speakers. Small honoraria may be available for those traveling from out of the greater Chicago area.

Five-page application form, session proposal document and resumes or curriculum vitae must be mailed to TAAC Open Dialogue XII CALL FOR SESSIONS, c/o Illinois Arts Council, 100 West Randolph Street, Suite 10-500, Chicago, IL  60601 or EMAIL proposals to <>

Fugard, Chicago: Three Fugard Plays, Three Outstanding Theaters

[TimeLine, Remy Bumppo and Court theatres should be congratulated for their collaboration to bring Athol Fugard’s three plays to the Chicago audience.  The performances began

Athol Fugard

tonight with previews of Master Harold at TimeLine Theater.  The interview of the directors of the three plays, conducted by Kelli Marino, dramaturg at TimeLine, helps to showcase why these are important plays.  Fugard, a white South African, has written plays that examine apartheid.  Fugard was born in 1932, and by the 1960s was producing plays by Brecht in Port Elizabeth. He supported the anti-apartheid movement as well as the international boycott against South African theatres because of the segregated audiences.  This, of course, led to restrictions on his activities as well as Security Police surveillance.  Thus he was forced to have his own plays produced and published outside South Africa.  Today he lives and works in San Diego, California. — Lew Rosenbaum]
This unique collaboration between TimeLine, Remy Bumppo and Court theatres to celebrate the work of playwright Athol Fugard kicks off today with the first preview of TimeLine’s ‘Master Harold’ … and the Boys. And then next week performances begin for Remy Bumppo’s The Island. In celebration, we’ve got our second article by staff writer Kelli Marino to share, this one an interview with all three Fugard Chicago 2010 directors:
(Fugard Chicago 2010 Directors are James Bohnen, Ron OJ Parson and Jonathan Wilson)

Three Plays.
Three Directors.
One Interview.

<Read the entire interview on TimeLine’s blog, Behind the ‘Line> …

Kelli Marino: Why are you directing your play? What do you like about it?

Jonathan Wilson directs TimeLine's production of Master Harold

Jonathan Wilson (director of TimeLine’s ‘Master Harold’ … and the Boys): As an African American, I have a particular interest in the racial climate and politics of South Africa. … I was introduced to the plays of Athol Fugard when I was in graduate school and found them to be a powerful look at South Africa’s history from a personal and political perspective. I especially like “Master Harold”…and the Boys because, on the one hand, it is Fugard’s personal recollection of his childhood relationship with his parents, and on the other it is his relationship with two black men who were long-time employees of his family. These two men, Sam and Willie, became Fugard’s surrogate parents, and in the play Hally, the central character, must deal with both sets of family. …

Ron OJ Parson (director of Court’s Sizwe Banzi is Dead): I have always wanted to revisit Sizwe. I was a lot younger when I first worked on it and I now feel I can bring more depth to my direction of it today. I like the complexity of the characters and its political significance. …

James Bohnen (director of Remy Bumppo’s The Island): I have always been moved by The Island. To be honest, I rarely have much patience for the Greek tragedies on stage, but this is a flaw in me, not the plays. I do love Antigone. The story is utterly universal and its message is deliciously unambiguous. It really comes to what writing plays like Fugard’s or acting in them under the apartheid regime is about. Understanding the risk inherent in the activity and knowing there doesn’t seem to be another choice. There always is the choice to do nothing, of course, but this play gently brings us to a clear sense of purpose. …<Read the entire interview on TimeLine’s blog, Behind the ‘Line>