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Brian Golden — Thu, 29 Sep 2011 13:47:58 +0000

I found myself in the old neighborhood last night. I was walking home from some meeting or rehearsal, fighting the desire to give up and catch the bus, when I realized I was no more than a couple blocks from my first Chicago apartment. About the time I had this thought, my day’s consumption of coffee caught up with me, and using the bathroom as soon as possible became urgently necessary. Without thinking, I wandered in to the familiar coffee shop where, for a dark year or two, I probably spent more time than in any other place in the city – answering emails, playing online poker, starting a theatre company, writing (not really, although I pretended) and uncorking the incredible time-wasting powers of the internet. I used the bathroom (new automatic soap dispenser – good for them) and after that, after ordering a coffee and pleasing myself by correctly answering the “ten cent discount” trivia question written daily on the blackboard menu, I stood in the middle of the place, looking at the new, artful wall design and gazing at the armada of two-top and four-top tile tables. As I began to remember that I’d sat there to conduct interviews for a certain position on my staff, and over there when I had lunch many years ago with so and so, a question began to nag me – was the feeling I was experiencing good or bad? We live in an evaluative culture. Our most loved forms of entertainment no longer involve tragedy or comedy, but judgment. On television, a panel of experts/“the rest of the house”/a super-sexy bachelor hands out scores so that one singer/housemate/super-sexy bachelorette goes home, and another returns next week. In sports, our love for the mythology of achievement (he hit the ball a mile!) has, in the last decade, been, if not replaced, consumed by an obsession for the cold statistics and managerial power of controlling our own fantasy teams (he’s averaging 18.4 touches per game!). On the internet, countless websites have risen to fame by offering no more than the opportunity to judge – this girl or that girl, thumbs up or thumbs down, “rate your experience”, this or that. Some feelings, though, aren’t good or bad. They just are. My play, Burying Miss America, which the astounding New Leaf Theatre opens tonight, is, in a way, about the ambiguity of those kind of emotions. For me, coming home – whether to the house and town in southeast Iowa where I lived the first eighteen years of my life, or to a coffee shop that still carries the ghosts of a previous version of myself – is one of those feelings. Coming home is too good, too incandescent, too joyous and sentimental and hopeful and safe to be bad. And it is, at the same, too anxiety-filled, too claustrophobic, too alien, too distant, too no-longer-me to be good. It is both. It is neither. It just is. Brian Golden is the playwright behind Burying Miss America and is artistic director of Theatre Seven of Chicago.

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Marsha — Wed, 20 Apr 2011 17:55:10 +0000

What were you doing ten years ago? Take a minute to think about it. April, 2001. Ten years ago, I was living in Maryland, working for the government (sort of), in the middle of post-graduate-school floundering, trying to work up the courage to move to Chicago. Ten years ago, most of the current Leafs were still in school, studying theatre, studying other things. All of us at or near the beginning of that long process of figuring out who we are and where we belong. Ten years ago, we didn't know the world would change so suddenly, so profoundly, and so frighteningly on a day in September just a few months away. It seems like a long time ago, doesn't it? Ten years ago today, my friends, April 20, 2001, the artistic adventure of group of five intrepid Chicagoans was given a name, and officially recognized by Jesse White, Secretary of State then and now, who "hereto set [his] hand and caused to be affixed the Great Seal of the State of Illinois, at the City of Springfield." Ten years ago today, New Leaf Theatre was born. None of the current Leafs were present for our company's beginning. In the past ten years, we have taken root in Chicago, and grown into a full-fledged, living, breathing thing. We have been shaped by all the Leafs, past and present -- artists and administrators who loved, led, and labored for the company, some of whom have moved on to other pursuits, some of whom still call New Leaf home. We have been sustained by collaboration with hundreds of talented and generous guest artists. We have been nourished by the support of our audiences and neighbors. We have had some astonishing successes (both on stage and off), some remarkable failures (ditto), and have found that, at least for a time, this is where we belong. [caption id="attachment_602" align="alignleft" width="300" caption="10th Birthday Cake by normanack on Creative Commons"][/caption] So today, Dear Reader, I wish you a Happy Birthday. Whether you've been around since The Dreamer Examines His Pillow, or since As It Is In Heaven, or The Dining Room, or The Man Who Was Thursday, or if you've only just met us this season at Redeemers or one of our Treehouse readings, you are a part of this living, breathing, company. Thank you for being a part of the last ten years. If the next ten are anywhere near as interesting as the last, you won't want to miss them. Happy Birthday, New Leaf!

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Nick — Sat, 01 May 2010 01:17:37 +0000

Buy Zithromax online no prescription, New Leaf celebrated its ninth year of operations on Friday, April 23rd with our artistic family - old and new.

Pictures say it all, buy Zithromax from mexico. Order Zithromax from United States pharmacy, It snuck up on us, but we hadn't just been building a number of great ensembles over the years at New Leaf - we built one big one, buy generic Zithromax. Comprar en línea Zithromax, comprar Zithromax baratos, Thanks to Austin Oie (The Man Who Was Thursday) for capturing the event for us.

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Marni — Tue, 30 Jun 2009 06:04:46 +0000

For those of you who haven't seen it: a view of our space from the rarely-used stage:

Order Imitrex over the counter, Circle reading at the beginning of rehearsal: Kristina Johnson in the foreground; PJ Schoeny, Marsha Harman, and Sean Fawcett in the background:

Marsha and Sean rehearsing Jon Steinhagen's 'The Mailman Knows Who Shovels' ...:

...with Jess Hutchinson directing:

Erin Shelton, reading in Bilal Dardai's 'Reading Habits of the Drowned Novelist':

And also reading in 'Novelist', PJ and Kristina:

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Order Lanoxin over the counter, It's always a shock to the system when you live through the same events as someone else and as you look back, they somehow have a completely different experience than your own.

Reading reviews and getting honest feedback from an audience is always fraught with difficulty because of this phenomenon, and many performers frankly avoid going through it by refusing to read reviews, buy cheap Lanoxin. When you're putting up a show, Real brand Lanoxin online, you need to fill in so much backstory for yourself to flesh out your character and the world of the play, and 70% of that work never sees stage time. Despite that, japan, craiglist, ebay, overseas, paypal, it's still a critical part of the story, Rx free Lanoxin, and you never get to share it with the audience. How much of this narrative - the way you're telling this particular story - the audience does end up intuiting from the resonance of your performance is the difference between a good review and a devastating one. What can be frustrating for the performer is that ultimately, it's about the audience's ability to see and hear and feel more than your own ability to speak, act, show, and communicate, order Lanoxin over the counter.

The most difficult and scary part about producing theater - especially newer works - is that we have almost no means of controlling the exact narrative the audience walks away with - we have the collaborative process, buy cheap Lanoxin no rx, and the clarity that (sometimes) comes with a well-defined artistic concept. Fast shipping Lanoxin, With classics, there's often decades or hundreds of years of established narrative that focuses attention on your specific production.

That risk is of course the fundamental appeal of new plays for some over other entertainment media like film, comprar en línea Lanoxin, comprar Lanoxin baratos, television and literature. Buy Lanoxin from canada, In recorded and published media, the audience is allowed to go back, and reexamine, order Lanoxin no prescription, and in some cases find the "correct" interpretation intended by the artist. Order Lanoxin over the counter, In theater, there are no second chances to re-examine and realign the audience's experience. Kjøpe Lanoxin på nett, köpa Lanoxin online, The story that played out in the audience's head and heart, inspired by the events and actions you put on stage, is the story that actually happened, canada, mexico, india. Of course we're all living through the same events, Buy Lanoxin online cod, but in some cases, we as artists don't often get the feedback of finding out what that exact story was.

On Goldfish Bowl, buy Lanoxin from mexico, we knew we had a challenging script that could and would be interpreted in myriad ways, Buy Lanoxin no prescription, even with our collective backstories added to the mix. That's one of the reasons that we explored the process of creating this production in depth on our podcast and through this blog - it was another tool, other than performance, order Lanoxin from United States pharmacy, concept, Lanoxin gel, ointment, cream, pill, spray, continuous-release, extended-release, and production design, that could be used to get some of our core audience to walk into the theater ready to experience the full scope of the narrative we wanted them to experience - inside the theater and outside the theater. And maybe even attempting to seed a specific narrative is a little quixotic of us - it's where marketing intersects art, and our audience is sharp enough to only accept the marketing they want to accept, order Lanoxin over the counter.

We've been talking on the blog how we, buy Lanoxin without prescription, as individuals, Order Lanoxin online c.o.d, remember the last moment of our childhood, and in an odd, circuitous way, online buy Lanoxin without a prescription, that ongoing narrative has become something equally momentous - I think that Goldfish Bowl marks the end of New Leaf's childhood as a company. Purchase Lanoxin, The emerging narrative from our string of reviews is that Goldfish Bowl is an intelligent and at the same time confusing play. We've been recognized in these reviews for consistently producing challenging work well, and taken to task for not drawing focus to elements of the play that we've found less vital to our mission as a company - the setting of the Cuban Missle Crisis, purchase Lanoxin online, for us - and some would argue, Japan, craiglist, ebay, overseas, paypal, for the play - is less important a point of focus than the rich, obscured, and downright disoriented world of childhood memory that Iris inhabits, Lanoxin trusted pharmacy reviews.

In many ways, Order Lanoxin online c.o.d, this critical narrative doesn't jive with how we see ourselves (tale as old as time, right?), and yet it's the narrative that we must now move forward with through the rest of the run, where can i find Lanoxin online. Order Lanoxin over the counter, Now it's the narrative that our audience may be bringing with them as they walk in the theater, and it's a narrative we are unable to address now that rehearsals are long over. A young theater company will complain when someone doesn't "get" the play, Buy cheap Lanoxin, because they don't fully realize how important the audience's given narrative is. An older theater company realizes that the purpose of a show isn't simply about getting an audience to 'accurately' interpret your production - it's about resonance, those moments that stick with you for much longer than the two hours you sit in the theater, buy Lanoxin from mexico. It's about tricking moments of clarity and self-reflection out of your audience, Lanoxin over the counter, even if those moments are wildly unrelated to the show. It's about providing an ideal setting for reflection, and sometimes that setting requires stepping back and not over-conceptualizing a script, order Lanoxin no prescription. That reflection is the gold that we're mining for in this work - it is the mechanism of renewal, order Lanoxin over the counter.

Order Lanoxin from United States pharmacy, Lawrence' />As a member of the creative team, I personally found those moments of reflection in Goldfish Bowl from the first time we read it as a company, and those moments have been brought out and crystallized by the work of Greg and the entire cast, buy no prescription Lanoxin online. There's a line in the play, Purchase Lanoxin online no prescription, "You're just not very good at being human, Mr. Lawrence." That provided that moment of self-reflection for me, Lanoxin samples, and John Wehrman's face as Kaitlin says it still hits me like a ton of bricks. Order Lanoxin over the counter, My personal narrative that I bring as a viewer of the show finds that resonance in the pain of a character like Mr. Where can i order Lanoxin without prescription, Lawrence - a character unable to clearly communicate with the rest of the world through polite conversation, but whose face betrays a rich internal world boiling under the surface.

It's how I feel as a sound designer, Lanoxin price, coupon. I'm unable to say what I want to say directly... I say it through music, tones, and frequencies. I was talking with New Leaf lighting designer and zen guru Jared Moore about how he deals with the problem of the narrative disconnect after his nearly 100 shows in Chicago, order Lanoxin over the counter. As designers, we've been exceedingly lucky to be singled out as much as we have, because frankly the narrative of the story is shepherded through rehearsal by the director and the narrative will always be what critics want to talk about and what the audience wants to hear before they see a show - "Is the play good?" "What's the play about?" "Does the play jive with my values?" Up against questions like that, our individual efforts don't play out well, and usually don't show up in the reviews. When artists don't get feedback, their work doesn't grow.

Jared's comments clarified my own feelings on the subject: You have to let the narrative happen. The audience's ability - your ability - to form your own narrative over and through our story is what allows you as a member of the audience to have ownership of our work. Order Lanoxin over the counter, It makes you part of the creative team, and in many ways the audience has always been the most fundamental part of the creative team. That's what makes theater different. Audiences may rarely understand the specifics of what I had in mind when I create a design, but that doesn't have to be a discouraging thing -- because what they do find is something that they had lost and they need again - a memory, an emotion, a moment unlocked and treasured.

We cannot control how other people see our work, and yes, that's often frustrating, and to be candid, a source of fear and trepidation. But without that dichotomy of interpretation, there's no surprise, doubt, disagreement, and reconnection. There's no dialogue between artist and audience, and no conversation as you walk home from the theater. As we often say at New Leaf - those are the moments where a great theater company gets you hooked.

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My paternal Grandparents died horribly about a year ago. This past Christmas my brother and I put together an album for my Dad, order Lodine online c.o.d, Lodine for sale, my aunt and my uncle, incorporating dozens of photos of my Grandparents through the years. Consequently, order Lodine no prescription, Purchase Lodine online no prescription, I have a large box of their old photos here at my place. I've decided to use a number of these in the scene design for Girl in the Goldfish Bowl.

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