It's time to vote for the Chicago Reader's Best of 2014! Here are our suggestions:
Best long-running play: ANNA, IN THE DARKNESS
Best new play: AMLETH, PRINCESS OF DENMARK
Best off-Loop theatre company: DREAM THEATRE COMPANY
Best stage director: ANNA & JEREMY MENEKSEOGLU
Best actor: JEREMY MENEKSEOGLU
Best actress: MEGAN MERRILL (for ANNA, IN THE DARKNESS)
Best performing arts festival: CHICAGO FRINGE FESTIVAL
Click here to go to the poll, and remember Dream Theatre in your Arts&Culture votes!
Here we talk about any and all projects that relate to work at Dream Theatre Company
Showing posts with label Theatre. Show all posts
Showing posts with label Theatre. Show all posts
Friday, April 25, 2014
Saturday, March 19, 2011
Bil - Feedback (Loud and Clear)
On Thursday night I saw the opening performance of "The Grisly/Glorious Adventure of Christopher Robin, Winnie-the-Pooh and Billy Moon" down in Pilsen, and I can't stop talking about how much I loved it. Being that I wasn't part of the rehearsal process on this show, and not having seen the completed set, I really didn't know what to expect. I'd read the script, and I knew the cast and crew are incredibly talented, but still I was surprised. I can't say enough how proud I am of Dream Theatre Company for making one of the most magical nights of theatre I have seen in a long, long time. I haven't cried in about ten years, but I came damn close to crying during this play.
I'm still kind of starry-eyed about it, even on a Saturday after not enough sleep all week long. And of course, I'm thinking to myself: how can I convince people that haven't seen the show that it really is as good as I'm saying it is?
And so, while causally loitering in a Starbucks at a mall in the suburbs like some jerk, I see a note posted on good ol' Facebook blasting theatres in this town for being a bunch of jerks. I'll repost it here, because I kind of want everybody to read it, but because of the controversy it will inevitably spark, I'll keep it anonymous:
As a theatre artist, especially one in Chicago, it's easy to get defensive and shrug this message off with a how-dare-you-insult-this-great-city and a you-expect-too-much or a you-just-don't-get-it-do-you attitude.
But I refuse to do that. This message was written in earnest, and posted on Facebook for all theatre and non-theatre personnel to see.
THIS IS FEEDBACK.
Theatres are businesses, too, and audience members are our customers, and what should a business do if they want to attract more customers? Listen to customer feedback.
So, yeah, theatre community – looking for ways to attract younger audiences? Rule number one ought to be: listen to young audience members.
Feedback from younger audiences is rare. More often than not a young audience will give up on an art form that fails to please rather than make any effort to try & improve it. What we get with the above Facebook post is almost invaluable.
True, the post is not specific feedback, not geared at any one specific theatre company, but I've always thought of the theatre community as one big family, and so really, this message is for all of us. We all need to bring the magic. All the time. We need to make it worth someone's time and worth their money to come out & see the products of our hard work. Our time is valuable, but so is theirs. We need to be accessible. We need to be open. We need to be honest. We need to ditch the egos and create some wonder. We need to be – in the parlance of our times – awesome.
And I will state once again how proud I am to be part of Dream Theatre Company. These artists work hard, they make it easy to go see a play, they give the audience a show they'll be thinking about for weeks or even months afterward, and for all the "edginess" and the "fringe persona" of this company, they truly show the goodness of human beings. It's fun to see plays here. And after each play, the cast is available to talk to in the lobby, devoid of snootiness and pretensions, and eager to hear whether you liked it or not.
But because no theatre company should pretend to be perfect, we remain open to criticism. If you want something from us that you didn't get or don't think you will get, or anything you think we could do better, please talk to us. We're here. We have ears and brains. We'll use them, I promise.
I'm still kind of starry-eyed about it, even on a Saturday after not enough sleep all week long. And of course, I'm thinking to myself: how can I convince people that haven't seen the show that it really is as good as I'm saying it is?
And so, while causally loitering in a Starbucks at a mall in the suburbs like some jerk, I see a note posted on good ol' Facebook blasting theatres in this town for being a bunch of jerks. I'll repost it here, because I kind of want everybody to read it, but because of the controversy it will inevitably spark, I'll keep it anonymous:
Dear Theatre
Okay I'm not much of one for Facebook notes and publicly stating any sort of real opinion on social media, but I've got something to say. THEATER SUCKS!!! You heard me! THEATER. SUCKS. I moved to Chicago looking for good theater. Inspiration. Excitement. Passion.... Please. I'd rather go to the dentist. Offended yet? Good. I'm offended by theater. We've forgotten our audience. We've forgotten why we are doing this... or maybe I've just decided that our reason for doing it, isn't good enough anymore.You can imagine how offended I was until I read the sentence asking if I was offended yet. Then it occurred to me that this is feedback from a theatre-goer.
I look at theaters desperately trying to fill seats as more and more theaters file for bankruptcy. Theaters constantly having talks about how to get the younger generation excited about theater as their subscribers just get older and older. Well honestly... have you tried?
What I see is a group of people so desperate to create a place for their voice to be heard, that they've created an art that only they can appreciate. Its boring. Its heady. Its... uggghhh.
We are living in a time when our lives are bombarded with intensity and tragedy. There is a reason why our generation doesn't seem to want to grow up. We are desperately looking for a release. An escape. Wars, tsunamis, foreclosures. We don't want to think anymore. We have to think every day just to survive.
If you want to up your sales and get the younger generation into your theaters, give them a way to escape. Why do you think Glee is dominating television? I don't know about you, but I just want to be able to find a place where for 5 minutes a day, I can forget that I can barely pay my bills, or that any day now, some country might nuke us. Give people a reason to feel happy again. With divorce rates as high as they are, why would I want to watch another play about an unhappy couple. Show me a love story. Give me reason to believe in relationships.
I will say that the thought provoking plays have a place in this world. Art should be used to make people think. But know who is going to be doing the thinking on the receiving end and remember that this isn't about your crusade. Its about your story. And yes, even in the theater, stories can end in hope. Actors DO know how to smile.
Now can you please try wearing some colors?
As a theatre artist, especially one in Chicago, it's easy to get defensive and shrug this message off with a how-dare-you-insult-this-great-city and a you-expect-too-much or a you-just-don't-get-it-do-you attitude.
But I refuse to do that. This message was written in earnest, and posted on Facebook for all theatre and non-theatre personnel to see.
THIS IS FEEDBACK.
Theatres are businesses, too, and audience members are our customers, and what should a business do if they want to attract more customers? Listen to customer feedback.
So, yeah, theatre community – looking for ways to attract younger audiences? Rule number one ought to be: listen to young audience members.
Feedback from younger audiences is rare. More often than not a young audience will give up on an art form that fails to please rather than make any effort to try & improve it. What we get with the above Facebook post is almost invaluable.
True, the post is not specific feedback, not geared at any one specific theatre company, but I've always thought of the theatre community as one big family, and so really, this message is for all of us. We all need to bring the magic. All the time. We need to make it worth someone's time and worth their money to come out & see the products of our hard work. Our time is valuable, but so is theirs. We need to be accessible. We need to be open. We need to be honest. We need to ditch the egos and create some wonder. We need to be – in the parlance of our times – awesome.
And I will state once again how proud I am to be part of Dream Theatre Company. These artists work hard, they make it easy to go see a play, they give the audience a show they'll be thinking about for weeks or even months afterward, and for all the "edginess" and the "fringe persona" of this company, they truly show the goodness of human beings. It's fun to see plays here. And after each play, the cast is available to talk to in the lobby, devoid of snootiness and pretensions, and eager to hear whether you liked it or not.
![]() |
| You can talk to them. |
But because no theatre company should pretend to be perfect, we remain open to criticism. If you want something from us that you didn't get or don't think you will get, or anything you think we could do better, please talk to us. We're here. We have ears and brains. We'll use them, I promise.
Tuesday, March 8, 2011
Jeremy - Ismene Chicago
http://theismeneproject.com/
The Chicago Production of ISMENE will be something very special. This will be our fourth time bringing ISMENE to Chicago, and each time we explore new interpretations and dive deeper into this mythos of this fascinating play. ISMENE is the show that started all of my Greek re-imaginings and has always been at the center of their universe. Every play that further expanded on the new rules of our Greek Theatre had to answer one simple question, "Does this stay in the context of ISMENE?" And yet, after producing the new ANTIGONE, MEDEA, THE AGON TRILOGY (AGAMEMNON, ELECTRA and ORESTES) and MEDEA (there is a new MEDEA also on the horizon, but we'll talk about that later) Ismene's world has been completely fleshed out. The rules of this universe are now set in stone.
We (and our Audience who has taken this long journey with us) have walked along so many of these characters. We've stood on the black beach with Medea, we've walked on water and into the ship of death of Agamemnon and Cassandra, we've stood covered in blood, hair and dust in the ruins of Thebes with Antigone, we've crawled into the chorus filled swamp with Electra, and we have even gone to the dead center of Hell and witnessed the very end of everyone and everything...
Although ISMENE was the first play written, to me it has always been the true ending to this long story. And for the first time, we are going to bring our Audience the full realization of that ending. From the earthquake till the final confrontation with fate, we hope that you will leave the theatre truly satisfied with the story's conclusion. I am so happy to bring this show to you.
This time - we are going for our most raw production yet. The Dream Theatre style has changed so much from ISMENE'S now archaic beginning back in 2004. As such a young company it was very clear from the start that we truly didn't know just what the Hell we were doing and what we had discovered. It would take several years before the ISMENE would be realized, and that discovery would open the door to the Dream Theatre style. And so, dear audience, with fresh eyes and years of laboratory style training, we are going to explore the school of Arktoi in all of its shadows and deepest secrets like never before. And you will be right there with us. What should you expect? (Wicked smile.) Trust us. How exactly are we accomplishing this? It's much better if I don't divulge any more. Just know that this is the perfect play to throw open the doors of the New Dream Theatre. From its shaky start to its short lived triumph as part of the ANTIGONE PROJECT (almost 3 years ago now), I promise that this will be our definitive production of ISMENE.
And I for one, can't wait.
-Jeremy
About The Ismene Project...
7 cities -- Chicago, Los Angeles, Las Vegas, New York, Dublin (Ireland), St. John's (Newfoundland, Canada), Toronto (Ontario, Canada).
8 women directors -- Liz Bragg, Heather Chamberlain, Amy Flood, Sharon King-Campbell, Megan Murphy, Aislinn Nà Uallacháin, Ruth Pe Palileo and Anna Weiler.
1 play -- "Ismene" by Jeremy Menekseouglu of Dream Theatre Company.
1 goal -- Raise awareness and funds to support the heroines who battle breast cancer every day.
The play "Ismene" will open in May 2011 in cities all over the world.
![]() |
| Te Vegas: Illustration by Spent Pencils Toronto |
The Chicago Production of ISMENE will be something very special. This will be our fourth time bringing ISMENE to Chicago, and each time we explore new interpretations and dive deeper into this mythos of this fascinating play. ISMENE is the show that started all of my Greek re-imaginings and has always been at the center of their universe. Every play that further expanded on the new rules of our Greek Theatre had to answer one simple question, "Does this stay in the context of ISMENE?" And yet, after producing the new ANTIGONE, MEDEA, THE AGON TRILOGY (AGAMEMNON, ELECTRA and ORESTES) and MEDEA (there is a new MEDEA also on the horizon, but we'll talk about that later) Ismene's world has been completely fleshed out. The rules of this universe are now set in stone.
We (and our Audience who has taken this long journey with us) have walked along so many of these characters. We've stood on the black beach with Medea, we've walked on water and into the ship of death of Agamemnon and Cassandra, we've stood covered in blood, hair and dust in the ruins of Thebes with Antigone, we've crawled into the chorus filled swamp with Electra, and we have even gone to the dead center of Hell and witnessed the very end of everyone and everything...
Although ISMENE was the first play written, to me it has always been the true ending to this long story. And for the first time, we are going to bring our Audience the full realization of that ending. From the earthquake till the final confrontation with fate, we hope that you will leave the theatre truly satisfied with the story's conclusion. I am so happy to bring this show to you.
This time - we are going for our most raw production yet. The Dream Theatre style has changed so much from ISMENE'S now archaic beginning back in 2004. As such a young company it was very clear from the start that we truly didn't know just what the Hell we were doing and what we had discovered. It would take several years before the ISMENE would be realized, and that discovery would open the door to the Dream Theatre style. And so, dear audience, with fresh eyes and years of laboratory style training, we are going to explore the school of Arktoi in all of its shadows and deepest secrets like never before. And you will be right there with us. What should you expect? (Wicked smile.) Trust us. How exactly are we accomplishing this? It's much better if I don't divulge any more. Just know that this is the perfect play to throw open the doors of the New Dream Theatre. From its shaky start to its short lived triumph as part of the ANTIGONE PROJECT (almost 3 years ago now), I promise that this will be our definitive production of ISMENE.
And I for one, can't wait.
-Jeremy
About The Ismene Project...
7 cities -- Chicago, Los Angeles, Las Vegas, New York, Dublin (Ireland), St. John's (Newfoundland, Canada), Toronto (Ontario, Canada).
8 women directors -- Liz Bragg, Heather Chamberlain, Amy Flood, Sharon King-Campbell, Megan Murphy, Aislinn Nà Uallacháin, Ruth Pe Palileo and Anna Weiler.
1 play -- "Ismene" by Jeremy Menekseouglu of Dream Theatre Company.
1 goal -- Raise awareness and funds to support the heroines who battle breast cancer every day.
The play "Ismene" will open in May 2011 in cities all over the world.
Wednesday, November 24, 2010
Bil - Postmortem & Preseason
There's a certain sense of relief when a show comes down and the striking of the set is finally complete. When it's done, you feel like a piece of you gets left behind, but in fact the opposite is true – you've got memories you never had before, you've skills developed that could only have been forged during that particular show that you can then take with you to your next projects, and the nostalgia really only lasts until you're working on the next one. Right now, we're all mostly in that whistful place between the end of strike and the start of the next rehearsal process.
"The Devilish Children & the Civilizing Process" had possibly the biggest set Dream Theatre Company has ever created, in terms of square acreage and quantity of wood, so striking the set was no particularly easy task. Couple that with our melancholy the fact that we'd rather have not seen that show go because it was so fun, and then add the tasks of tearing down all the stuff we'd done in the lobby and removing all the equipment and tools that were stashed underneath the stairs and in the secret ticket booth, and that gives us one massive job for a ragtag bunch of not-even-close-to-professional contractors who know plenty about acting but very little about construction.
Technically, the strike isn't even done yet. We still have yet to remove the audience seats from their risers. The reason we needed to get everything – literally, EVERYTHING – out of the way is so the real (actual-professional) contractors can come in and gut the place for some very serious construction inside our theatre. It's going to be quite the job, and they need space to work. But oh, wait till you see our place early next year...
Wait till you see us.
Oh yes – season tickets are available. Great way to save money on some kick-ass theatre for next year, and they make great gifts...I assume. See the website for details.
"The Devilish Children & the Civilizing Process" had possibly the biggest set Dream Theatre Company has ever created, in terms of square acreage and quantity of wood, so striking the set was no particularly easy task. Couple that with our melancholy the fact that we'd rather have not seen that show go because it was so fun, and then add the tasks of tearing down all the stuff we'd done in the lobby and removing all the equipment and tools that were stashed underneath the stairs and in the secret ticket booth, and that gives us one massive job for a ragtag bunch of not-even-close-to-professional contractors who know plenty about acting but very little about construction.
Technically, the strike isn't even done yet. We still have yet to remove the audience seats from their risers. The reason we needed to get everything – literally, EVERYTHING – out of the way is so the real (actual-professional) contractors can come in and gut the place for some very serious construction inside our theatre. It's going to be quite the job, and they need space to work. But oh, wait till you see our place early next year...
Wait till you see us.
Oh yes – season tickets are available. Great way to save money on some kick-ass theatre for next year, and they make great gifts...I assume. See the website for details.
Saturday, August 28, 2010
Bil - A Cast is Born (Also, Check Out the Fringe Fest!)
It's been a couple of days, so please excuse the lateness of this blog post. Please do not think, however, that this diminishes the awesomeness and excitement...
THE CAST FOR "THE DEVILISH CHILDREN (AND THE CIVILIZING PROCESS)" IS COMPLETE.
Role call:
** Little Karl will be played with innocence and love by Judith Lesser
** Vati will be played with ice-cold beauty by Chad Shevland
** Conrad will be played with attitude by Bil Gaines (that's me!)
** Cry Baby will be played with heavy emotion by Rachel Martindale
** Cruel Paul will be played with cruelty by Jeremy Menekseoglu
** Romping Polly will be played with joyful wanderlust by Mishelle Apalategui
** Pauline will be played with kitties and gin by Anna Weiler
** Sigi Sleeplessness and Sigi Awakedness will be played with a delightful German accent by Annelise Lawson
This show will also feature cameo appearances by John Enright and The Great Tall Tailor.
Hooray!
Also, coming up shortly at the Dream Theatre itself, as well as other venues in the Pilsen neighborhood:
The First Annual CHICAGO FRINGE FESTIVAL!
Put together in practically no time at all (considering how much work went into this thing) by the ever-talented Sarah Mikayla Brown and her incredible staff, this festival marks Chicago's entrance into the emerging history of fringe festivals across the continent. And it comes with a bang – over 200 performances and events strewn across five days with artists coming in from all corners of the country, some pretentious and some insightful, but all interesting. And if that's not enough, there will be Old Style beer to keep you sufficiently engaged.
Get. Your. Tickets. Now.
See you down in Pilsen!
THE CAST FOR "THE DEVILISH CHILDREN (AND THE CIVILIZING PROCESS)" IS COMPLETE.
Role call:
** Little Karl will be played with innocence and love by Judith Lesser
** Vati will be played with ice-cold beauty by Chad Shevland
** Conrad will be played with attitude by Bil Gaines (that's me!)
** Cry Baby will be played with heavy emotion by Rachel Martindale
** Cruel Paul will be played with cruelty by Jeremy Menekseoglu
** Romping Polly will be played with joyful wanderlust by Mishelle Apalategui
** Pauline will be played with kitties and gin by Anna Weiler
** Sigi Sleeplessness and Sigi Awakedness will be played with a delightful German accent by Annelise Lawson
This show will also feature cameo appearances by John Enright and The Great Tall Tailor.
Hooray!
Also, coming up shortly at the Dream Theatre itself, as well as other venues in the Pilsen neighborhood:
The First Annual CHICAGO FRINGE FESTIVAL!
Put together in practically no time at all (considering how much work went into this thing) by the ever-talented Sarah Mikayla Brown and her incredible staff, this festival marks Chicago's entrance into the emerging history of fringe festivals across the continent. And it comes with a bang – over 200 performances and events strewn across five days with artists coming in from all corners of the country, some pretentious and some insightful, but all interesting. And if that's not enough, there will be Old Style beer to keep you sufficiently engaged.
Get. Your. Tickets. Now.
See you down in Pilsen!
Thursday, August 19, 2010
Bil Gaines: A Blog is Born
Attention blogosphere: you are entering a world of pain. This here blog is going to steal all your brainpower and recycle it into the collective consciousness of human existence.
That's right.
Dream Theatre Company now has a blog. And it kicks ass.
And it's not just one person blogging. It'll be a collective effort from the cast and crew of our upcoming or current production (depending on whether we're in rehearsals or running a show).
Hot on the heels of the completion of the Agon Trilogy, Dream Theatre is preparing for the biggest, craziest, bloodiest children's show you've ever seen. You thought you liked the blue blood spilling out of Company Member Rachel Martindale in "Electra?" Jumped at the red blood sprayed into the face of Company Member Anna Weiler in "Orestes?"
Just wait until you see what color comes out of the German children in "Devilish Children & the Civilizing Process."
...Actually, it'll probably be red, just like in "Orestes." But there will be much more of it.
This is a cautionary blog, friends. It's a show about cautionary tales. Take caution, it might frighten you into being a good person.
Auditions for this show are coming up next week, on August 25th, with callbacks on the 26th. Check out the website for more info!
That's right.
Dream Theatre Company now has a blog. And it kicks ass.
And it's not just one person blogging. It'll be a collective effort from the cast and crew of our upcoming or current production (depending on whether we're in rehearsals or running a show).
Hot on the heels of the completion of the Agon Trilogy, Dream Theatre is preparing for the biggest, craziest, bloodiest children's show you've ever seen. You thought you liked the blue blood spilling out of Company Member Rachel Martindale in "Electra?" Jumped at the red blood sprayed into the face of Company Member Anna Weiler in "Orestes?"
Just wait until you see what color comes out of the German children in "Devilish Children & the Civilizing Process."
...Actually, it'll probably be red, just like in "Orestes." But there will be much more of it.
This is a cautionary blog, friends. It's a show about cautionary tales. Take caution, it might frighten you into being a good person.
Auditions for this show are coming up next week, on August 25th, with callbacks on the 26th. Check out the website for more info!
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