Collaboraction

Two Great Shows Close July 1

Dear Friends,

What a year it has been for Collaboraction! With our best Sketchbook and most successful mainstage play (Jenny Chow) running simultaneously and BOTH CLOSING ON JULY 1st, it has been an amazing time in our little company's history. This success could not have been achieved without the incredible passion, love and support that so many people have given to Collaboraction over the past 11 years.

If you have yet to see either of these shows or know someone who would enjoy them, I encourage you to utilize the promotions below so that NO ONE MISSES THESE GREAT COLLABORACTION THEATRICAL EXPERIENCES!

The Intelligent Design of Jenny Chow has been running for 15 weeks for over 5,000 audience members and has become the longest and best selling show in Collaboraction history. The show truly is "Brilliant on all Counts" ( Hedy Weiss, Chicago Sun Times). The show will be closing on July 1st. There are only 8 shows left. If you haven't seen it yet, please don't miss the Last Call for Jenny Chow.

Call 312.733.6000 or go to www.collaboraction.org for JENNY CHOW tickets. The password "Cowabunga" will get you $10 off on Thur. or Sun. - you must call the box office to get this discount The password "Friend of Jenny" will get you a 2 for 1 on Thur. or Sun. - you must call the box office to get this discount

The 7th annual SKETCHBOOK is in the Steppenwolf Garage and the new venue has allowed us to create the SKETCHBOOK environment we have always dreamed of, where audience and art are completely comingled and the staging/viewing options are exciting and in the hands of the audience member. There are two distinct programs, that allow audience members the ability to see the whole collection of 16 plays in the course of 2 shows. The writing, directing, acting and design are sharper than ever and the musical acts are diverse and extremely gifted.

Call 312.335.1650 or go to www.collaboraction for SKETCHBOOK tickets

So, this is your "LAST CALL FOR JENNY CHOW AND SKETCHBOOK". After that, the experiences will be locked into the memory vault and only accessible by those who made it to the space-time event, ahh the magic of theatre.  Please spread the word!

Thank your for all your Collaboraction support and I hope you have a terrific summer!

Sincerely,

Anthony Moseley

Living With Jennifer Marcus

Living With Jennifer Marcus
Posted by Jennifer Shin April 23, 2007

After our first preview at Chicago Dramatists, Anthony Moseley came up to me and gave me a big hug. He told me about when he was in Guinea Pig Solo, how people would come up to him afterwards in tears and thank him for the wonderful show and his wonderful performance. He said how he thought that was the greatest gift an actor could ask for, to know your audience was that moved, affected and connected to your work. He said how he thought that was what Jenny Chow would be for me, and to love and treasure every moment of it. That’s been what Jennifer Marcus has meant to me. I’ve had people come up to me afterwards and tell me they are adoptive parents, or an adoptee, and share their story with me. It is an honor and a privilege to be let into someone’s life like that; to have someone be willing to share something so deeply personal about them. I never take that lightly or for granted. That is why I love, believe, and stay in theatre. That is what makes everything I do worth while. There is fierce power, grace, and beauty in theatre. In that communion and connection, where I can go up on stage a complete stranger and two hours later have people be able to share with me things they maybe haven’t even shared with their own family. There’s this great Mamet quote: “Acting is not a genteel profession. Actors used to be buried at a crossroads with a stake though the heart. Those people’s performances so troubled the onlookers that they feared their ghosts.”  I love that.  To me, that quote is about  revealing so much of yourself to others that they are able to see pieces of themselves in you.  That has happened for me in two major ways working on The Intelligent Design of Jenny Chow. The first is with family. Everyone is in some way bruised by their parents. No one walks away from that relationship unscathed. That’s a fundamental truth in any family. You don’t have to be adopted to understand that.  I’ve been estranged from my mother for eight years, and my father lives half a world away in Korea. A lot of the family issues in Jenny Chow are very close to home for me; thoughts of “why aren’t I good enough”, feeling inadequate or even unlovable.  Everyone can understand the need to feel loved, wanted and accepted by their parents, and everyone can understand the feelings of depression and sadness, the devastating moments when you feel “worthless” and “ugly.” The second is the topic of OCD.  For me, obsessive-compulsive disorder is about control. There are so many scary variables out there. You can’t control if someone’s going to love you back or give you that job. You can’t control if you’re going to be in a plane crash or car accident, or suddenly suffer a terrible health crisis, but you can control having every paper filed perfectly, and every shirt folded symmetrically.  It’s a way of reclaiming a little sense of control and sanity, of reasserting a little power and order in a seemingly random world. I understand that.  I have some very OCD tendencies.  I truly think I’m borderline OCD. It’s so sad and embarrassing, because I see myself do these things, and I know it’s stupid, and such an incredible waste of precious time and energy, but I can’t stop myself. To face that part of myself, to admit it and put it on display for all the world to see has not been comfortable or easy.  Playing Jennifer Marcus has allowed me to put all my family and OCD issues up there on stage. Mentally, physically, and emotionally, it’s taxing. A teacher I had once talked about “the mess,” how as actors our job is not to avoid the mess, but to find, dwell, and even grow to love being in it. She called it, to be precise, “a fucking ordeal.” But when you truly live through the mess and ordeal, people relate, see parts of themselves up there. That’s what matters to me, and is the only thing that really counts. It’s like Mamet said, I want to so trouble my onlookers I have to be buried at the crossroads with a fucking stake through my heart. That, to me, is the goal. Jennifer Marcus has been an incredible ride. I’m so lucky, and I know I’m lucky, and I’m grateful for this opportunity. In many ways, I feel it’s been the role of a lifetime, corny as that may sound.  I’m grateful for Sarah and Anthony and Joel and River and all the great people at Collaboraction, for Cecilie, a wonderful and gifted director who guided me so patiently through the whole process, and the kick-ass cast and crew. I’m grateful I got to be a part of this, to do theatre the way it should be done: always with love and for the love and joy of doing it.

She's ALIVE!

Cecilie Keenan and working on The Intelligent Design of Jenny Chow

How has this story and production grown since the very beginning stages to now extending and re-opening?

The actors have taken over in a very cool way.  I understand that when I pick up a play the playwright knows it best, then (hopefully) I have an understanding that is strongest and then, if all goes well, the actors more fully understand the play and the characters beyond anything I or the playwright can bring to the stage.  That growth is the sign of a truly good play.  It's when that growth stops or doesn't branch out to the actors that the play stops working.

Has working with this story touched you on a personal level?

I really love seeing my husband, Whayne Braswell, back on stage (musician) he has more talent in his little finger than pretty much anyone I know!  We met when I hired him about 10 years ago to be the percussionist in a play that had kabuki dancers.  We have both grown so much over those 10 years, and I think it's taken that long to truly understand how to work together.

Cecilie D. Keenan is a freelance director and producer, is very happy to be working at Collaboraction and directing this wonderful play.  Cecilie most recently directed Another Part of the House for Teatro Vista, Sextet for Eclipse Theater and Living Out for Teatro Vista/ ATC .  Currently Cecilie is Resident Director for Teatro Vista and their Development Consultant.  She has been a frequent director at ATC where she was a company member some years ago and directed Toys in the Attic and Bus Stop.  Cecilie also directs in Minneapolis for Theater Mu where she directed 99 Histories and Falling Flowers .   Other recent work includes adapting the novel “The Messenger” by Mayra Montero for Teatro Vista presented at the International Latino Festival at the Goodman Theater.   Cecilie has worked on staff with many theaters in Chicago including Producing Director at Chicago’s Apple Tree Theater where she directed Anna Christie , The Birthday Party and Private Eyes  and as Assistant Artistic Director for Northlight Theater.  At Bailiwick she served as Artistic Director and she started the Director’s Festival, 11 Minutes Max, and with David Zak, the Deaf Artists Program.    In the past Cecilie has received many awards for directing and ensemble work as well as a  TCG Observership to Mexico and several NEA & Foundation Grants to develop or produce new plays.  Many, many years ago, Cecilie had a blast as Sister in Late Night Catechism under the direction of Mark Silvia and in 2005 she directed the sequal, Put the Nuns in Charge for Vicky Quade. 

The Intelligent Design of Jenny Chow Has Been EXTENDED!

“It’s totally made for Chicago.”
– Rolin Jones

 

Collaboraction is happy to announce that after the amazing, sold-out run at Chicago Dramatists The Intelligent Design of Jenny Chow written by Rolin Jones and directed by Cecilie Keenan has been extended!  Over the past four weeks Collaboraction's production of Jenny Chow has recieved glowing reviews from the press; Chris Jones of the Chicago Tribune said “this hip, smart and insightful play roars to life.”Hedy Weiss of the Chicago Sun Times called The Intelligent Design of Jenny Chow“Brilliant on all counts... supremely winning from start to finish.”Listen to the Dueling Critics on 848 teaming up''This is one of those Chicago finds-go see it!''.  If you missed out on all the fun last month it is not too late.

THE INTELLIGENT DESIGN OF JENNY CHOW:
AN INSTANT MESSAGE WITH EXCITABLE MUSIC
Written by Rolin Jones//Directed by Cecilie Keenan
2006 Pulitzer Finalist//2006 OBIE award winner!

April 14 - May 06//Thurs-Sat @ 8pm//Sun @ 2pm
Previews April 12 & 13 @ 8pm
The WestTown Studio Theater @
The Chicago Center for the Performing Arts
777 N. Green St.; Chicago, IL 60622//Directions
Tickets//$30 General//$22 Students//$20 Previews
Box office 312.733.6000//Group Sales 312.733.6155
Order Online

This hilarious and heartfelt new play centers on 22-year-old Jennifer Marcus, an obsessive-compulsive agoraphobic young woman with a genius-level IQ and a remarkable love of technology. She spends her entire life in her bedroom, in front of her computer screen, with only her adoptive parents, her online friends, and an occasional visit from the pizza guy for company. In a quest to learn more about her biological parents, she builds a fully functioning robotic replica of herself, “Jenny Chow”, who helps Jennifer make the “virtual” connections she needs to discover her Chinese birth mother and eventually her own sense of self.

To Purchase your tickets call (312) 733-6000
or to purchase them online Click Here

Jenny Chow... "A Must See!"

 By Chris Jones - Tribune theater critic
march 12, 2007

Jennifer Shin must have been waiting for Jennifer Marcus her entire life. Or so this young Chicago actor's blistering, careermaking performance atop a fabulous little Collaboraction show suggests.

Penned by Rolin Jones, one of those clever young writers known for language, "The Intelligent Design of Jenny Chow: An Instant Message With Excitable Music" sits on the page with a post-modern haze. To the casual reader it might seem hyperkinetic or pretentious. But in production — especially this production — this hip, smart and insightful play roars to life. "Jenny Chow" deals with a tricky but underexplored topic — the arrival in adulthood of a baby, adopted from China and raised by parents in the United States.

Given that the main character, Jennifer Marcus, is an agoraphobic, obsessive-compulsive malcontent who creates a robotic look-alike to go looking for her real mother in China, you might think this play probes an adoptive parent's worst fears. Not so. Jones has compassion for everyone involved, and his 22-year-central character is not only a certifiable genius (and valued secret employee of the Department of Defense) but a wondrous fusion of cultures.

Shin launches into Jennifer like an actress possessed. Her work is not only every bit as frenetic, smart and endlessly compelling as the character requires, but also reveals a deeply empathetic character. And that's why this show is so darn good. Shin's emotional honesty and vulnerability leavens and settles the frenetic intellectual jumpiness of the writing. An uber-eloquent but elliptical Yale playwright has encountered the honest, play-it-straight-from-the-heart quality of the scrappy off-Loop. Both benefit from the other. And the resultant show is a must-see.

For anyone familiar with Cecilie D. Keenan's earnest, careful directing style over the last decade, this production is a revelation. It moves like T1-line on steroids. Collaboraction has scored shows before — this one has original music by Mikhail "Misha" Fiksel, played live on electric guitar by Whayne Braswell. But whereas Collaboraction's prior fusions have often felt inorganic, Fiksel's music sets this script on fire.

The pumping soundtrack raises the stakes and forces the show to keep up. And it lets Shin find the right techno-beat for her hyperlinked Jenny, a woman who conducts an entire world-changing life on bedroom computer. Shin's knockout performance is part dance and part race to the finish, but mostly a picture of a regular girl who needs only understanding. To play someone eight times as smart as anyone else in the room is a tough assignment. Shin does it either by actually being that smart, or creating one smart facsimile thereof.

But she isn't the only reason to see this show. Scott Kennedy creates several distinctly quirky characters. Laura T. Fisher, as Jenny's long-suffering mother, oozes painful longing. And as Jenny's robotic alter ego, Jenny Chow, Mia Park superbly negotiates the tricky divide between the artificiality of a machine and the warm heart of its creator.

The missteps here — occasional overplaying, and some too-cute staging tricks with models — are minor. Jennifer Marcus — and her faux-Jenny Chow — aren't just excitable, they're exciting.

[email protected]

The Intelligent Design of Jenny Chow By Rolin Jones When: Thurs. - Sat. @ 8pm
Sun. @ 2pm through April 1st Where: Chicago Dramatists, 1105 W. Chicago Ave. Running time: 2 hours Tickets: $25 at 312-226-9633 or click here

THE INTELLIGENT DESIGN OF JENNY CHOW OPENS MARCH 8TH

 

Collaboraction is pleased to announce the Chicago Premiere of:

THE INTELLIGENT DESIGN OF JENNY CHOW

an instant message with excitable music

By Rolin Jones, Directed by Cecilie D. Keenan
A 2006 Pulitzer Finalist and OBIE award winner!
Opening March 8th @ 8pm
Previews March 1st,2nd,3rd & 7th @ 8pm
Chicago Dramatists; 1105 W Chicago Ave

Collaboraction is pleased to announce the first mainstage production of their 2007 season, The Intelligent Design of Jenny Chow, an instant message with excitable music by Rolin Jones. This hilarious and heartfelt new play centers on 22-year-old Jennifer Marcus, an obsessive-compulsive agoraphobic young woman with a genius-level IQ and a remarkable love of technology. She spends her entire life in her bedroom, in front of her computer screen, with only her adoptive parents, her online friends, and an occasional visit from the pizza guy for company. In a quest to learn more about her biological parents, she builds a fully functioning robotic replica of herself, Jenny Chow, who helps Jennifer make the virtual connections she needs to discover her Chinese birth mother and eventually her own sense of self. 

"We are delighted to being this premiere to Chicago! The synergy of Rolin Jones' complex contemporary themes and dialogue, Cecile Keenan's passionate direction and Collaboraction's mad scientist design team will make this production of this amazing play something incredibly special." says Anthony Moseley, Collaboraction's Executive Artistic Director. Collaboraction's production will feature excitable music performed live, flying robots, and theatrical instant messaging.

All performances will be presented at Chicago Dramatists, 1105 W Chicago Ave. Performances run March 8th through April 1st, with the following schedule:

Thursday- Saturday at 8 PM Sundays at 2 PM
Tickets are $25, $18 for students/seniors with ID.
Tickets can be purchased via telephone by calling 312 226 9633
Or online at www.collaboraction.org

For more information about the production, please visit www.collaboraction.org. For interview requests, please contact Lorna Juitt, Collaboraction's PR/Marketing Coordinator: 312 226 9633 or email [email protected].