Breon Arzell and Daniel Kyri are both making their Goodman Theatre debuts in Charles Smith’s Objects in the Mirror. PerformInk’s Kyle Whalen sat down with the duo for a revealing in-depth conversation on life and art.
“I feel like the first time you work with a director, you’re designing, you’re doing all the normal stuff, but you’re also learning how to communicate. You’re learning each other’s vocabularies. Which is always real exciting, I mean. It’s just like first dates with people—you don’t know what’s going to happen.”
Attend any production of FOR PETER PAN ON HER 70TH BIRTHDAY and you’re guaranteed to witness a deeply intimate play — a gift, in fact — written by playwright Sarah Ruhl specifically for her mother, Kathleen Ruhl.
Upon entering the sunny rehearsal space for Theater Wit’s 10 OUT OF 12, I find two of everything: two stage managers at their duplicate tables; two directors alternately sitting back in pensive reflection, then hopping up to offer guidance; two sets of assistant directors noting their mentors’ every move. Watching the preparation of this ambitious play—which details, moment by moment, the process of a tech rehearsal—provides a double image of a singular experience.
Emerald City Theatre’s production of THE SNOWY DAY AND OTHER STORIES by Ezra Jack Keats. Photo by Austin Oie. By Kyle Whalen January 20. I’m sitting in Emerald City Theatre’s Little Theatre, where the company is rehearsing THE SNOWY DAY AND OTHER STORIES, currently running at the Apollo. Jerome Hairston...
Gender parity in theater is hardly a new conversation, but the creation of Not In Our House and the Chicago Reader exposé on Profiles Theatre brought the issue to the forefront of the Chicago community last year
Ariel Freedman and Meredith Webster are an odd couple and beautiful pair. They are renowned dancers, working with the top dance companies and best choreographers in the world.
Consider the dandelion.
There’s the daffy, yellowy, flowery kind, that sprouts up in fields or from cracks in the curbside, and that children hold beneath their chin to see if they like butter (if the color reflects onto your skin, you do.)
By Kyle Whalen A Monday afternoon. I am foolishly running late, stuck in traffic at the time I’m supposed to call director Ron OJ Parson and interview him. At a stoplight, I ring him to confess I’ll be late. He picks up, a laugh already in his voice, and asks...