I'm Not Selfish. Not a Bit. Now, Let Me Cry by Catherine Bullard

After ten months of thinking about this show, we’ve just begun to talk about Common Hatred as a play in performance.  Karie has said that the play will never be “ready” for an audience, which is good since I still think of this show as a fun game we play in her dining room. Her point is that the play will never feel finished, we’ll just start letting people into the room to wade through with us. That since of cohabitation is important, and it’s something we’re trying to be mindful of even as our characters’ hearts get broken or hopes get fulfilled. Our acting is about making sure we share those emotions with the characters and audience members around us.

In many ways, we’re already doing this. We already take care of each other in the rehearsal room, and we’ll try just about anything to make our fellow cast-mates look good. It’s a healthy, exciting dynamic – and thank goodness, since otherwise this six-month rehearsal process would have flatly sucked. I think audiences will be able to see and feed off of the cast’s love for each other. But here’s the thing: I feel pretty selfish about my character. I helped create her, for crying out loud. I want to take this journey with her.  If she cries, I kind of want to cry, too.

So the challenge will be much the same as any other show, except harder: letting go. That’s always tough, but I argue that in theatre it’s easier when the script is written when you start, or when the play has had countless incarnations before you shake hands with your character. Letting go, for this show, will really be a feat. It will be a statement of enormous trust, as in, “Here, take my newborn while I renew my driver’s license at this downtown DMV.”

As I write, none of us are off-book yet, and we’re still cautiously hopping the inevitable gap between what we devised and the play’s written reality. That’s okay. We have a whole three weeks. Three. Three of them. As for many important things in life, I tell myself that fear is a companion rather than a menace. It’s along for the ride, but it doesn’t signal impending doom. And what we have here is special, and bigger than us, and we want to share it with you.


(A Note from The Ruckus: If you're enthralled by this blog and excited about this show (and we know you are), then you should totally come join us for Brooke Allen's Francis Ford Coppola's Bram Stoker's [REDACTED]: a party slash movie slash fundraiser for Common Hatred performing Saturday, June 9th at 8:30pm at The Elegant Mr. Gallery (1355 N. Milwaukee). GAME ON.)

Ten Activities of Merle While Playing Hooky BY LIZ GOODSON

-Watch the Paula Deen show

-Bake Gingerbread Cookies

-Eat half the Gingerbread cookies with a small glass of milk

-Checks out the photographic supply store. But probably won't buy anything

-Walk around the park with her camera

-Visits the various art museums

-Attends a matinee (is an avid fan of Lon Chaney Sr.)

-Finishes knitting a pair of Christmas mittens for Melissa and Martin

-Enjoys a glass of cordial while watching television reruns

-Before bed, blows a kiss to the picture she took of her fiancé

Puppet Martin: ON ACTING by Jennifer Roehm

The buzz is building around the Chicago theatre scene’s newest breakout star – the Shadow Puppet version of Martin Crown, leading man of The Ruckus Theater’s current production, LITTLE TRIGGERS. I sat down with Puppet Martin to find out what it is that makes him tick.

JR: Hi Puppet Martin! Thanks for being here today. I’m a huge fan.

PM: It’s no problem. I’m always here. They store me in the plastic bin in the corner.

JR: That’s so great. So what are your major inspirations?

PM: Gosh, where do I even begin? Cereal boxes, definitely. Thin sheets of cardboard in general… Oh, and those boxes that frozen pizzas come in? I guess you could say they’ve all made me who I am today.

JR: Wow, awesome. Let’s talk about your epic battle scene in the first act. It looks so intense! How did you prepare?

PM: I guess you could say I was born to do it. I mean, it’s the only thing I really know how to do. Look, my hand is permanently attached to this sharpened letter-opener.

JR: I see that!

PM: Thanks. It makes dating awkward, though. The last girl I went out with, she tried to hold my hand and got stabbed.

JR: Oh Gosh! Is she alright?

PM: Yeah, she’s fine. We’re still Facebook friends.

JR: Okay. So, um… what’s next for you?

PM: Oh, I’ll probably just take it easy and slowly disintegrate in storage somewhere.

JR: You heard it here first, folks… Puppet Martin, coming to a storage facility near you in summer 2012! I can’t wait for that trailer. Well, that about wraps things up for us today. Thanks for taking the time to talk with me, Martin!

PM: Hey, it was my pleasure. …can you please put me down now?

Tooth Fairy: Friendly Sprite or Local Mob Boss, by Suzanne Keyes

Hey, Tooth Fairy signing in.

So, when Allison contacted my agent to ask if I was interested in Little Triggers, I was a little hesitant at first because I was working on a few other projects at the time. I will admit that we didn't have time to read the script before the read thru, but I thought, you know, where's the harm in that?

Well, I get to the read thru and my eyes almost fall out of my head because there I am, the Tooth Fairy, in black and white, all mixed up in 'The Incident', again. People, it's been almost twenty years, can we drop it? Please.

Anyway, I had already signed on and the last thing I needed was the bad publicity associated with a breach of contract. I need that like a hole in the head.

So, is it true? 'The Incident' between me and the Tooth Troll portrayed in 'Little Triggers'? I'm not going to say that it didn't happen, but...let's just say that I didn't NOT do those things that I portray in this show. Capiche?

Really, who's side are you on, anyway?

BE GENTLE, IT'S MY FIRST TIME (the actor speaks about acting, rereads his words, dislikes them, but leaves them as is) By Derek Van Barham

This has been my first experience working with The Ruckus. It has also been the first time that I have worked on a new script, and had the playwright around for much of the rehearsal process. It's been so exciting to really discover the world of the play as part of an ensemble. With the playwright there, I could ask questions about the meaning of a line and get an answer directly from the source. Its valuable to be able to discuss the script and see how one line can have a different meaning to each person in the room. Having done a lot of university productions of classics and well-worn territory (things like Earnest and Streetcar), it's been great to really create and originate. There are no models for these characters, no precedents. The script has such imagination. I like imagination.

Rob Grabowski on Killing Time and Taking Names

There are no small parts, just small actors. Someone famous said that once. I think Matt Le Blanc. And when it comes down to it I have one of the smaller parts in "Little Triggers." And there's nothing wrong with that. But to discuss the process of acting, finding you're character, etc with a smaller role can be tricky. So I'll let Kevin, Derek or Neal discuss the finer points of acting.

From me you'll get some tips on ways to pass the time.

In Act one, once my scene is done I have roughly 40 minutes to myself. Try one of these suggestions next time you have 40 minutes:

-Reading: Reading is dying in America. Prove the news wrong by bringing a book or a kindle along. Thanks to rehearsals I'm almost done with "An Object of Beauty" by Steve Martin and looking forward to "Neverwhere" by Neal Gaimen and 'Being There" by Jerzy Kosinski through the run of the show. These books have been sitting on my shelf for months! MONTHS!

-Nap: grab a quick twenty winks! Helps get rid of those nasty bags under your eyes.

-Write: I just say you're writing stuff. People will be impressed.

-Re-Cast popular TV shows: One of my personal favorite games. Pick a show (Cheers, ER, ice road truckers) and re-cast it using friends or family. But never other celebrities.

-Make Fun of the Actors on Stage: Make fun of someone not in the room. We all do it. Including your co-workers when you leave a room

-Flirt: practice your flirting skills like Swiveling your hips, wink seductively, pulling your what-nots out smoothly, etc

-Leave Early: British stage rules state that if you're done before intermission you can go home. Do it so you catch the beginning of Conan

In Act two, I have scene where I'm under a sheet for 20 min. Try one of these suggestions next time you're under a sheet for 20 minutes:

-Shopping List: Go over what you have in your fridge and cupboards and what you can pick up on the way home

-Sweat Lodge: It's gonna get hot under there. Use it to your advantage! Drop a few pounds and clean our your pores

-Nap: See Nap under suggestions for things to do with 40 minutes

-Consider the big things: Take a moment and ponder about Life, The Universe and Everything!

-Coin Tricks: no pressure cause no one can see your hands

-Card Tricks: see above

-Ghost noises: self explanatory

-Enemies List: Make a ist of your enemies. Always useful to have especially when the assignation attempts begin to happen.

Hope that helps faithful readers!

Vortex: A Chewing Gum Retrospective by Neal Starbird

Vortex is a chewing gum in the 5 line from Wrigley. It is promoted as a "juicy green apple." The first two words are appropriate, but probably more on their own than together. The "apple" is a bit of a stretch. I should say here that I'm not a gum man, so take this for what it's worth. I would say that this gum should be avoided, except that I have found myself encouraging friends and colleagues to try it to great satisfaction, so perhaps you should as well.

The effect of Vortex is fascinating. First there is a flood of fake green apple flavor. Unfortunately, it is sweet like crap wine instead of being in any way tart. I have to admire the folks at Wrigley for being able to squeeze so much flavor into the gum. The flavor of most sugar free gums fades pretty quickly leaving you with a chew toy to gnaw on for a while (did I mention I'm not a gum man?). However, the cloying fauxpple flavor of Vortex just seems infinite with but one minor change. About 10-20 seconds after chewing begins, the original taste moves somewhat to the upstage so that you can receive a full frontal assault of spearmint. You can still definitely taste the lead-off flavor, though, because the spearmint camps out mostly in your nasal cavity while the fauxpple pummels your soft palate.

You probably are thinking "sounds pretty gross, but I'm sure I could get used to it after awhile." That's what I thought too. I believe that is what everyone has thought that I have seen try this product. It's on their faces when they first lift the stick to their lips. "These others are little bitches. I'm the only real man in this room." And then you see the expected look of annoyance at the suitable-only-for-young-children fake apple flavor, and then the tell-tale discomfort as the spearmint gas starts pumping in their sinuses. Then the grimaces as they come to realize the full, discordant cacophony at play in their passageways. They try to tough it out for a few seconds, desperately believing the assault will wane or they will become acclimated to the effects. Finally the panic as they surrender and head for a trash can, or fumble for the original wrapper, desperate to get rid of it and aghast that it could possibly have been released to the public.

After some deliberation, we decided to go with a different gum for this production.

ANNOUNCEMENT! The Ruckus: Season 3

CONK AND BONE by Joe Musso | directed by Kyra Lewandowski
September 18, 26 and 27, 2011

Somewhere in Louisiana, two men and a triggerless trombone await Death, who brings the cargo they are to ferry across the river Styx. This time, though, things are different. There are two souls instead of one—a headless girl with wings, and a fallen and furious hero. While Conk and Bone wait to make their perilous passage, Achilles finds a sword, the girl disappears, and a long-dormant secret creeps closer to the surface. Help playwright Joe Musso, director Kyra Lewandowski and The Ruckus take Conk and Bone a step further on their journey toward a special kind of hell during this workshop staged reading. Audience talkbacks led by guest dramaturgs follow each performance.

DUMB ANGEL by Seth Miller | directed by Katie Canavan
September 19, 20 and 25, 2011

A chord is a complex thing. It changes and grows, and more often than not, it’s the discordant note that brings it to life, for better or worse. Part transcript, part collage and part explosion of the American image of happiness, Dumb Angel explores madness, meaning and the torment of an artist on a quest for auditory joy—beginning with the tumultuous recording session for The Beach Boys’ 1965 number-one hit single, ‘Help Me, Rhonda’. Join playwright Seth Miller, director Katie Canavan and The Ruckus as we tumble into a rabbit hole of Brian Wilson’s phantasmagoria, and watch the boys of summer try to get the syncopation right. Audience talkbacks led by guest dramaturgs follow each performance.

LITTLE TRIGGERS by Daniel Caffrey | directed by Allison Shoemaker
January 13 – February 12, 2012

Once upon a dark and blustery Christmas Eve, a young man named Martin sits waiting. In the corner of the office, a printer spits, smokes and hisses in a way that would seem malevolent if Martin didn’t know better. He waits for the repairman and watches the clock tick, and wonders what it is that he’s doing with his life. Little does he know that before the evening’s out, a series of mysterious strangers will force him to confront his ideas about success, happiness and failure—and they’re starting with what’s hidden in the back of his drawer. Martin has to find the through-line for his story, and he had better do it fast, because the snow won’t stop falling, and the printer’s out for blood.


PERFECT CRASH by Aaron Dean and Allison Shoemaker | directed by Brian Ruby
RUNG by Matt Test | directed by Timo Aker
April 8 – 11, 2012

These two very different one-act plays explore in tandem the necessity of progress. Perfect Crash. In a windowless room, two people sit on an ugly green couch and plot their next move. How much momentum will get the wheel down the track, and how much more is needed to walk out the door? Playwrights Aaron Dean and Allison Shoemaker, and director Brian Ruby devise themselves out of a corner and discover the best kinds of failure in a marvelous machine. Rung. A body needs a voice—verbal or nonverbal, we require communication. But what happens when a voice needs a body, and you can’t keep sharing yours? Playwright/composer Matt Test, director Timo Aker, are helping Norbert Grover Norquist uncover what to do with this spare voice he’s got rattling around in his head.

Big things happen, strange and sad and wonderful things, but still—the machine needs building. Help The Ruckus and these talented artists make progress with these two new plays. Audience talkbacks led by guest dramaturgs follow each performance.


THE THING ABOUT CHEKHOV
devised by the Company | written by Calamity West | directed by Karie Miller
June 22 – July 22, 2012

Life is a story, but it’s not a short one. It has many acts, and they never quite end the way we predict. Built through a collaborative six-month process, The Thing About Chekhov prompts playwright Calamity West, director Karie Miller and a band of fearless actors to try to see the Cherry Orchard for the trees in this company-devised work: an exploration of realism, tragicomedy, and never quite arriving in your personal Moscow.

The Ruckus seeks...

DEVELOPMENT MANAGER

The Development Manager oversees all fundraising, grant writing and event planning efforts for The Ruckus, under the supervision of the Managing Director. The Development Manager also serves as liaison to Ruckus Board of Directors, and plays a key role in strategic planning for the organization. This is a part-time volunteer position within the organization with a great deal of flexibility and room for growth; a commitment of approximately 8 hours a week is expected. The successful candidate will be goal- and deadline-oriented, trustworthy, enthusiastic and passionate about new work and have the ability to ask people for money. [MORE INFO]

COMMUNICATIONS MANAGER

The Communications Manager develops, implements and evaluates all programs and systems designed to meet or exceed The Ruckus’ ticket revenue and attendance goals, under the supervision of the Managing Director. The Communications Manager plays a key role in planning and executing all marketing and publicity plans, serves as a spokesperson to the media for the company and collaborates with The Ruckus’ leadership on the continued strategic development of the company’s brand across all media. This is a new, part-time volunteer position within the organization with a great deal of flexibility and room for growth; a commitment of approximately 8 hours a week is expected. The successful candidate will be goal- and deadline-oriented, trustworthy, enthusiastic and passionate about new work, have the ability to think strategically and creatively—and sell lots of tickets. [MORE INFO]

Please send cover letter, resume and two writing samples to jeffrey@ruckustheater.org. No calls please. Game on.