A Piccolo Panto Dame

The Panto Dame is one of the most loved characters in every panto Piccolo Theatre has produced. She's bawdy, flirtatious, big-hearted, and doesn't mind being the butt of everyone's jokes. She is also usually the first character to connect with the audience and her goofy charm welcomes everyone into the fractured and fun world of the Panto. Piccolo has had the good fortune of having three extraordinary men step into this role. Artistic Director John Szostek, Ensemble Member Glenn Proud and Piccolo's dear friend Andrew Roberts have all donned massive amounts of makeup to hit our stage as Panto Dames.

John Szostek as the Dame in Piccolo's 2005 Panto, Mr. Punch or Jack and the Blase Bride
All photos in this post by rep3.com














I recently talked to Glenn Proud, director of Robin Hood: The Panto! about his experiences playing the Dame at Piccolo pantos Sinbad and Robinson Crusoe. I think you'll get a kick out of his responses.


Denita: As an actor, why is playing the Dame attractive to you?
Glenn: The attractive thing about playing the Dame is that you as an actor can really do NO wrong. She's a character that lives both in and outside of the world of the play, which provides an actor the freedom to stop the action and take control of the stage. It's role that's well suited for a "Ham" actor. Who doesn't love getting laughs and attention?

Denita: Which Dame was your favorite to play?
Glenn: Dame Emphasema from Sinbad.

Glenn Proud as Emphasema














Denita: Did you research any famous Dames to prepare yourself for the roles? If so, who influenced you?
Glenn: I always do research when preparing for a role, and past Dames are my biggest inspiration for my style of make-up. The influences for the Dame characters I create are Monty Python (anytime the men play the women), Hyacinth Bucket from Keeping Up Appearances, Mrs. Slocombe from Are You Being Served?, and countless crazy old women that I've studied while working in a doctors office for ten years.

Denita: What is the biggest challenge for an actor playing the Dame?
The biggest challenge I had was overcoming my fear of talking directly to the audience in the opening monologue of the shows.

Denita: What is the funniest thing that happened to you on stage while playing the Dame?
Glenn: That's a really hard question. I can't really isolate a specific instance, but the most fun I had was working with my wife, Deborah in Sinbad. She played the character Sinbad and I was playing Emphasema. There were some great moments where we'd start to bicker at one another in "character" and she once called me out in front of the audience for referring to her as a "Her" when in fact she was playing a "He." The entire audience started laughing including Deborah. I could just feel my face blushing from under all that makeup. I was speechless for once in my life.

Denita: Is there anything specific that you do/did to get ready to prepare yourself to go on stage for performances?
Glenn: I'm a rather "method" actor when it comes to my process, and once I have all my makeup and hair in place, and in my dress, I'm in character till the end of the evening. I play a lot of grab ass backstage, it helps keep the character feisty.


To see the hilarious Andrew Roberts play the Dame in this season's Robin Hood: The Panto!, check out our final weekend of performances.

Andrew Roberts as Bess Flatbottom in Robin Hood: The Panto!

Robin Hood: An Understudy's Experience

Ensemble Member Deborah Craft paints a picture of what it was like to go on stage for another actor over Thanksgiving weekend.

Last weekend I had the stressful joy of going up on stage in the roles held by ensemble member Amy Gorelow. You’ll notice that last weekend was indeed Thanksgiving weekend and Amy, being from Atlanta, was away with family – like you do – to celebrate the holiday properly. I was also with family, but they’re in the area, so it all worked out that I was able to go up on stage to play around with this gaggle of goofy performers.

Being an understudy is an experience unlike any other in the theatre. Understudies don’t have the same rehearsal experience the regular actors do and need to pick up what they can on the fly in a way. For me, it’s a stressful position, but also one with the strongest adrenaline kick. It’s steps away from being an actor’s nightmare at all times: it’s kind of thrilling and totally intimidating.

So on Tuesday of last week the cast was called in for a put-in – where I was able to walk the blocking (stage movement) with the other actors and get a feel for speaking my lines against the other actors. I was also in costume for this rehearsal. Amy plays 4 different people in Robin Hood and some of those changes she and Vanessa Hughes have are as fast as any I’ve experienced.

It wasn’t just a rehearsal of the on stage work, but the back stage work too. Every actor in a Piccolo Panto works backstage just as hard as they work on stage handing off props, helping with quick changes, and turning flats in scene changes. The behind the scenes work is as choreographed and blocked as the on stage work, believe me. The rehearsal went well so it was left until Friday – in front of an audience – to see if I really knew the part(s).

I got to the theatre dressing room on Friday and the rest of the cast also started streaming in as usual. Vanessa and I started running lines as we put on our makeup and Ben joined in as well to help remind me that I knew what I was doing. I got into costume, handed off my quick change cheat sheet to Sarah, the ASM (Assistant Stage Manager) to tape to the wall backstage (there’s lots of little cheat sheets on the walls at Piccolo during a Panto – next time you’re there, see if you can spot them!), and at the places call went upstairs to wait my turn.

The next two hours went by in a blur. I went on stage and played to my heart’s content. I have to give credit to Vanessa and the whole cast of Robin Hood for making it all feel so relaxed and easy. If I was in the wrong spot on stage I was gently nudged, if I forgot a line (and I did!) my scene partners picked it up and kept the scene moving. Exhilirating. Scary. Stressful. And absolutely fantastic.

I was schmootzed in the face with whipped cream for the first time, I was the head of a cow for the first time, and I lived and breathed the energy of the audience. Thank you for allowing me to play!

Robin Hood: the Panto! a Must See!

Whether you are the type that likes to research before heading to a show, or if you just want to bask in the loveliness with us, you should check out what critics are saying about Robin Hood: the Panto! Click on the links to see the full reviews.


A "Must See" Show! "Jessica Puller's script...captures the fun-loving spirit of the panto. All the actors throw themselves wholeheartedly into their roles. Amy Gorelow and Vanessa Hughes, the ugly sisters/forest sprites, work together in perfect sync like the best comic duos, and Ben Muller's germophobic villain/Guy of Gisbourne injects just the right amount of wide-eyed crazy into his part. ...the audience was rolling in the aisles from beginning to end."
- Lisa Findley, CenterstageChicago.com

"Really. Go. Take the kids. Take anyone who needs a good laugh. For your helping of holiday cheer, this is the genuine article!"
- Patricia Simms, LaSplash.com


"...the cast excels at driving a sassy pace and playing every moment with gusto. What is even more important is the spot-on improvisation and interaction with the audience that they deliver....memorable moments include Noah Ginex’s magic scene and puppetry design, as well as Vanessa Hughes and Amy Gorelow playing the evil spirits of the Dark Forest, busting out a power ballad just like the 1980’s duo, Heart. But the show really is about the pact between audience and players to have a ridiculous, raucous good time. To that end, bring your friends and family. And watch out for the whipped cream."
-Paige Listerud, Chicagotheatreblog.com



"A Hoot and a Holler!" - Katy Walsh, The Fourth Walsh, ChicagoNow.com

"Performed with unstoppable gusto and unfailing impudence...louder than life and beautifully burlesque." - Lawrence Bommer, SteadstyleChicago.com

Need more Robin Hood? Check out this fun game!

It's like this company read our minds! A computer game called Robin Hood- A Twisted Fairytale! What?!?!

If you or your kiddos love matching games, head over to Adobe Marketplace, where you can check out this great Robin Hood game and even download it for free! (I did it, and promptly forgot everything else I was doing as I played it.)


This game IS an twisted fairytale, but you won't find the dame, a slop scene, fun 80s pop music or a thieving cow. You can only find those at Piccolo Theatre!

Have fun matching!!

Interview with Jessica Puller, author of "Robin Hood: The Panto!"

A couple of weeks ago, Piccolo Ensemble Member Brianna Sloane sat down with playwright Jessica Puller, who wrote this year's hit Robin Hood: the Panto, as well as last year's successful panto, Perseus and Medusa. Here Jessica tells us how she got involved with the Piccolinis and then started writing pantos for the ensemble. She also gives some hints about what you might be seeing on the Piccolo stage next year around this time!





Brianna: How did you originally get involved with Piccolo?

Jessica: That's actually a bit of a funny story. After graduating from college, I was looking to get into theatre administration. I decided to start blindly sending cover letters and resumes out to local theatres. Piccolo was one of the many theatres on my list, so they got my business resume. About two months later, I got an email back from Piccolo. It said something along the lines of, "We found your resume and headshot and were wondering if you'd be interested in auditioning for our production of Sinbad." Well, to this day, I have no headshots, but I thought it sounded like a lot of fun, so I asked to audition! On Monday, I did a monologue for Piccolo. On Tuesday, I was cast as the rear end of a camel. On Wednesday, I started rehearsals. And I've been in love with the company ever since!

B: How long have you been writing plays? What are you working on right now?

J: I think I wrote my first play in fifth grade. It was my attempt at science fiction and was basically, I realized, a spec script for Star Trek: The Next Generation, only with the names of the characters changed. Too bad the show was off the air! After that, I don't think I got very serious about playwriting again until my junior year of college. At the time, I was enrolled in all my serious acting classes, but I applied to, and got into, the Northwestern playwriting program. By the end of the year, I was absolutely in love with playwriting and basically switched my concentration and my energy to playwriting.I have a few current projects up in the air right now. I'm working on an adaptation of The Breadwinner, by Deborah Ellis, for the Citadel Theatre. The Breadwinner is an amazing young adult novel about a young girl living in Afghanistan who has to dress up like a boy in order to go out and earn money for the rest of her family. Adapting it has been an interesting challenge. I love writing adaptations, but I've never written one of a book before. I much prefer mythology. Nevertheless, I've found a way to apply my own, unique style to the dialogue of the novel. I'm really looking forward to seeing how it turns out. At the same time, I'm working on a new piece called The Trojan War...or how one bad apple spoiled the world for a new company called the Inconceivable Theatre. Greek mythology has always been a passion of mine, especially when it's used to examine modern day issues, in this case, war. I can best describe this play as a combination of The Complete Works of Shakespeare (Abridged), No Exit, and A Company of Wayward Saints, with maybe a dash of Kevin Sorbo's Hercules: The Legendary Journeys. Finally, I'm also writing a murder mystery dinner for a fundraiser with a theatre group up in Niles, Michigan called The Swansong. All in all, I'm a very busy playwright!

B: What is the most fun about writing Panto?

J: Oh, I absolutely love Panto. I often tell people that it reminds us that in the theatre, it's called a "play" for a reason. I suppose my favorite thing about writing a panto is that I get to work with folktales. They're my favorite kind of play to watch, so therefore, they're my favorite kind of play to write.

B: Is it tricky to adapt a folktale into something like a Panto? Do you find the Panto a rigid or freeing format to write for?

J: I actually enjoy the challenge of adapting a folktale to the Panto format. I think of it like putting together a puzzle. There are all these pieces that need to be included (a shaving cream battle, an old woman played by a man, a scene with magic, etc.) and it's my job to find a folktale that can incorporate all of them. With all plays that I write, I'm an obsessive outliner. I won't begin writing a script until I have all of the scenes mapped out and I know that the beginning, middle, and end are all connected and in place. Writing a Panto just means that when I'm outlining, I have to take an extra step to ensure that all of the pieces are in place. I'm very selective about what stories I choose to work with. Generally, I spend some time on the internet, researching folktales and myths to decide which would best work in the format. Some stories that I absolutely love just won't cut it. Others, that I've never even heard of before, work brilliantly.

B: What is your experience working with the Piccolo directors these last 2 years in the development process we have found together? Or alternately what is it like working with a composer?

J: I love working with Glenn and Brianna on the Panto. The great thing about writing it and producing it pretty much at the same time is that there are three sets of eyes on the script that can see three sets of opportunities. Glenn and Brianna have made such wonderful discoveries that I might have absolutely missed. Likewise, I've been able to come up with some solutions to practical problems. For example, the character of Nestor in last year's show become an entirely different person from the beginning of the process to the end. When I first wrote the script, I pictured Nestor as a sort of Phil Silvers wannabe, a weasely, silly man. By the end of the process, Nestor had become Natasha from Rocky and Bullwinkle, with super powers and a sexy, sleek delivery that was absolutely hilarious. It was beautiful. All three of us, and the brilliant Deborah Craft as well, contributed to the complete transformation of the character.

As for Tyler Beattie (Composer for Robin Hood: The Panto!), he's absolutely amazing. He and I went to Northwestern together, although we never met. I remember seeing some of his work and thinking, "Wow, this guy is good." When I began working on the Panto last year, I knew I needed to find someone to write the songs. I can, and often do, write lyrics, but my musical talents are somewhat limited. On a total whim, I went onto Facebook and looked for Tyler. I found him and sent him a message, asking if he was interested in the project. He said he was! I think I did a happy dance. On Perseus and Medusa, the script was written completely before he wrote the songs. Tyler brilliantly managed to write songs that fit the piece so well, you would never have known. This year, Tyler and I met a few times before I began writing the script, looking for opportunities for music. At the same time, we've also started talking about doing some other collaborations. We both love children's theatre and we both love musicals. I only wish we had met in college!

B: What do you love most about your "Robin Hood"?

J: The cast, of course! They're an incredible group! They're a wonderful group of actors and they've managed to crack me up. And I already know all of the punchlines ahead of time! Without a question, my favorite thing about Robin Hood script itself is the character of Scarlet. She was the very start of the whole story. As I was considering Robin Hood as a possibility for a panto, I started to ask myself questions: Who's the dame?" Maid Marian's nursemaid. "Who's the comic duo?" Little John and Alan-a-Dale (he's always been my favorite Merry Man!). "Who's the good fairy?" That was a question that gave me pause. I thought about it and I thought about it and gradually, the character of Scarlet formed in my head. I enjoy writing spunky female characters, as many of my plays will attest. I think I put a little bit of myself into every character, but Scarlet is the most obvious. I tend to be pretty snarky. I find pleasure in writing adventures I've never had. I have big dreams. All of these elements have been incorporated into Scarlet.

B: What stories are you dreaming of making into Pantos of the future?

J: I've actually collected quite a stockpile of Panto outlines on my computer. I honestly think that I could happily write Pantos for the rest of my life! Right now, I have King Arthur, Puss in Boots, Eros and Psyche, The Snow Queen, and Rumpelstiltskin all sitting on the back burner. Whenever I'm surfing the net and I come upon a story that I think would make a good Panto, I immediately sit down and try to write an outline. The great thing about most of the stories is that any of them could also be written into a children's theatre play with just a few tweaks, so stories that don't make it as Pantos still have life elsewhere.


You can get tickets to Piccolo's annual Holiday Panto, Robin Hood: the Panto! online or by calling the box office at 847-424-0089.

Interview with Artistic Director, John Szostek

The artistic head of Piccolo Theatre, John Szostek was interviewed recently by Behind the Fringe.com, a fantastic website that casts its spotlight on smaller theatres. They give smaller "fringe" theatres and emerging artists in Chicago, New York, London and beyond a place to tell the world about their artistic mission, what projects they are doing, and why you should see them. Check it out!

Excerpt from interview with Behind the Fringe.com

BTF: Will you tell us about your show?

JS: Housewives Antonia and Margherita, fed up with high prices in the supermarket, take matters into their own hands and "liberate" some items from the local grocery store. Keen to hide their light-fingered antics from their hot-headed husbands, Giovanni and Luigi - not to mention the pol

Piccolo Theatre: LOW PAY? DON'T PAY!

ice - the women are forced to resort to more and more inventive hiding places, as slapstick confusion leads to rollicking chaos. The first version of Dario Fo’s We Won’t Pay! We Won’t Pay! was presented in 1974 and was what he described as a "story that was pretty much impossible, if not downright surreal." A few months later the events of the play happened in Milan. The shoppers that went in for "proletarian shopping" were arrested and put on trial.

BTF: How and when did it come about?

JS: Piccolo Theatre’s first full production was We Won’t Pay! We Won’t Pay! presented ten years ago at Next Theatre. In celebration of our tenth Anniversary we decided to remount the show. It was recently updated by Dario Fo and re-titled, Low Pay? Don’t Pay! I had the honor of making the American version of the play.

BTF: What's your story?

JS: I began my love for Commedia dell'Arte while performing in Geoffrey Buckley's Commedia dell'Arte Troupe in Stratford-upon-Avon, England. I have performed as a featured actor in the Lyric Opera productions of Don Quichotte(Arlecchino) and Cosi fan tutti (Pulcinella) and performed in the American Ballet Theatre production of The Firebird and the Chicago Symphony Orchestra production of Beauty and the Beast. I was also played Dan Farblundget in the Emmy Award winning season of Beyond the Magic Door. Since founding Piccolo Theatre I have directed the company in, We Won't Pay! We Won't Pay!, The Artful Widow, Scapin, Mistero Buffo, Sinbad, Vaudeville and Robinson Crusoe. In 1997 I undertook the restoration of the Main Street Metra Station and turned it into a cultural center and theatre. In 2008 I was honored with the Artist of the Year Award by the Mayor of Evanston. I am currently the Executive Director of Evanston Festival Theatre which produces the annual Custer Fair.

To read further about John's theatrical influences and what you should never expect from him, reach the full interview here.

Show photos!

The first round of Low Pay? Don't Pay! production photos have arrived! Check out the Piccolo Facebook page to see more.

Photos by Denita Linnertz

Are you in the mood for a heavy handed, in-your-face, hilarious, agitprop farce? Oh, you are? Well check this out... a play that'll make you think, make you laugh, then punch you in the nuts!

(Thanks to Ensemble Member Glenn Proud for summing up the show so beautifully!)

Critics love "Low Pay? Don't Pay!" and Piccolo loves it's critics

Well, we love them most of the time. And to be fair, they've probably only loved us most of the time. Theatres and critics have always had an uneasy relationship, and Piccolo is no different from other theatres in that respect. We've had rotten reviews and we've had amazing reviews, often for the same show.

But no matter a theatre's relationship with the critics, we have to admit it's been a tough year for arts critics in Chicago.

Those who are not closely tied to the arts may not have even noticed the changes. But to those of us in the field, it's very clear that we are entering a new era. Because of shrinking budgets, the newspapers, magazines and journals you read every day have had to cut back on feature articles, trim the amount of staff covering the arts, or just plain limit the number of performances they review. While this news may not seem like a big deal, you'll find that arts organization and performers rely heavily on these reviews and feature articles.

Picture this: you see a listing for a show and can't find anything good that anyone has said about it. Your eyes skim past it to........a listing accompanied by a photo and article about the famous Italian Director-in-Residence, or even simply the words "Highly Recommended!". Chances are that you are much more likely to spend your money and time to see that show. Aside from personal word-of-mouth, those feature articles and reviews are the next best thing artists have to reach out to you, our patron. Artists depend on the critics to truthfully convince you to pay for tickets and patrons depend on the critics for thoughtful reviews when choosing what to spend their money on. Granted, there is no possible way to guarantee that all critics are ingenuous and discerning, just as there is no way to assure that every theatre out there is putting on life-changing, wonderful work. That's an entire separate blog entry!

So, back to the topic at hand. How do we all accept and embrace the change as the media moves away from old (paper) traditions and into the digital realm? I can only tell you from Piccolo's perspective. This is why you won't see Piccolo taking out traditional ads. It's why Piccolo is developing a strong presence on Facebook, in your email, and here on this blog. It's why we love to hear your thoughts on blogs and hear your reviews on Yelp!. This is why we are spending some of our hard-earned dough on updating our website to accommodate iPads and mobile devices. It's all because we want to make a connection with YOU! And that's why we have been welcoming reviewers and critics from sources in addition to the stalwart, old standbys. Have you seen the reviews for our current production of Low Pay? Don't Pay! ? You may not recognize all of the publications, but we urge you to become familiar with them. Check them out!

“Enthusiastically Recommended!”
–Patricia Simms, LaSplash.com

“Piccolo takes this farce and runs with it…[an] inspired production…"
– Brian Murphy, Evanston Roundtable

“Director John Szostek and [the] cast rock it till it pops…goofy, good-natured fun.”
–Paige Listerud, Chicago Theatre Blog

“…a goldmine of physical humor and sight gags…Piccolo’s savvy cast shines.”
– Tom Wittom, Pioneer Local

“[Playwright Dario] Fo will be proud”
– Charlie Trimarco, EvanstonPatch.com

Notice the new publications? We at Piccolo Theatre are so thankful to the local papers and established blogs who still send critics to see our work. And we welcome the newcomers, hoping the addition of their voices and thoughtful opinions you can trust will convince you to walk through our doors and have a good laugh with us.

By the way, there is still time to catch Low Pay? Don't Pay! Laughs and biting political/economic commentary will be running through October 23.

Want to know more about the the changes taking place in the media or the current state of arts critics? The following readings might be of interest to you.

"What is it About 20 Somethings?" New York Times Magazine
(This article lays out why the media and the rest of the world is being forced to change, thanks mostly to Gen Y!)

"Critics: Who needs 'em? Why They Still Matter." Chicago Tribune
(make sure you read pg 2 of this one.)

Refried Fleas and Freeze-Dried Fleas. Yum!

Now that Low Pay? Don't Pay! has opened and our audiences are laughing, we have time for some other related fun.

For those of you who have seen the show, you already know that the characters are dealing with food prices that are rising so sharply, one family is left to create dinner out of dog food, canary millet, and other less appetizing "gourmet" ingredients. Well, this got us to thinking. And goofing around. Ensemble member Ken Raabe wrote a little ditty about Refried Fleas and Freeze-Dried Flies and we couldn't resist sharing it with you.


Thanks to the awesome Rachel Bykowski for this video!

Here's a live performance of the song by Ken Raabe and Ensemble member Amy Gorelow outside our home at the Evanston Arts Depot.



So we want to know, what the weirdest thing you've ever eaten?

What you don't see...

From Low Pay? Don't Pay! lighting designer, Rich Bryant:

Have you ever taken the time to wonder how something comes into existence? How someone came up with an idea or an improvement of something already in existence? Do you find yourself watching HGTV, TLC, the History Channel or America's Test Kitchen on PBS? Then maybe you're just like me and have a bit of curiosity that pushes you to learn more.

Theatre is a process like anything else and one that has a certain amount of well worn methods to achieve it. Most folks, like yourselves, get to enjoy the end result and walk away from your experience with not only something to talk about, but hopefully also a reason to keep coming back. If you only knew.

In the many years of theater experience I have had I have learned that each show is unique in what it has to say and how it goes about saying it. The playwright has made distinct choices and selected a point of view that he or she wants an audience to hear and see. It is then up to the director, the actors and the designers, who all bring different experiences, thoughts and reasons, to try and address the questions within the play. We don't always agree nor should we. Theater to me is always one part collaboration and one part confrontation (not in a physical sense though sometimes it happens). It is a way for us to relate, to address, to challenge one another. To test our metal against the text. To forge new ideas and grow as people and performers. What I am hoping is that for all the hours, days and weeks I spend sweating, laboring, losing sleep and often times forgetting to eat, you come to the show and take away something you didn't have before. That what you take away continues to raise your curiosity and wonder. That what you didn't see makes you question what you just did.

I'll leave you with this thought and hopefully it makes you laugh and wonder what in the world these theatre artists are doing.

SELF PORTRAIT

anyone who says the square peg
does not fit in the circular hole
has never seen a crazy bitch with a hammer

-From Tricia Warden‘s Attack God Inside

Tech week- it's ON!

It's been tough finding time to post the past few days, because we've been in the thick of TECH WEEK! We have our first preview on Friday (this week!) and have been busy finishing the set, adding sound cues, lights. This is when the magic really starts to literally take shape around the artists.

Have you gotten your tickets yet? They are on sale now online or call 847-424-0089.
For those of you who are super duper budget conscious, check our Cheap! Cheap! Cheap! preview performances. This weekend, Sept 3-5!


Andrew and Amy put up some wallpaper on the set, while our stage manager, Cate, organizes props and Richard programs in some lighting cues.



And rehearsal doesn't stop for the actors, either. Oh, no! They are working through all of this, polishing up the funny bits and throwing in a few more, just because they can. The more laughs the better, right? Coming up next, a sneak peak at our final dress rehearsals!

And don't forget to check out our Facebook profile to see even more pictures.

Fast-Tracking to Anarchy

"If nothing else good comes out of our crisis, perhaps it will serve as a wake-up call for the entire nation. It's time to put our shoulders to the wheel to solve our problems.

Doing nothing is not an option for America. Much of poor America, especially in our major cities, has been Third World America for decades. Soon the urban middle classes and even upper classes will become better acquainted with that world."
- Janet Travakoli, Huffington Post

Remember a few posts ago, I promised that Piccolo would keep you laughing through some pretty serious issues? Just to be sure you don't think we're a fluffy group of actors who dream only of slapstick and slop scenes and door slamming, here are a couple of links and some reading to help you see the meat of our matter.

I can think of no single article to better summarize the "hot topics" in "Low Pay? Don't Pay!" than this article from Wednesday's Huffington Post. I urge you to give it a read here: Fast Tracking to Anarchy. It's not about the kind of anarchy that may immediately come to mind, but something much more real and much more close to home.

Can Chicago realistically fix its own problems? Can Illinois? Do I dare even ask about our national government?

Travakoli has also written about Arianna Huffington's new book, Third World America: How Our Politicians are Abandoning the Middle Class and Betraying the American Dream. I'm adding it to my reading list right now!

For some stunning visuals, visit Alison Wright Third World America Gallery. Click on Galleries on the left column and then scroll down to Third World America.

So now you see what we're talking about...which seems completely counter-intuitive to comedy, right? How does the hell does one laugh through all of this crap? When everything in the world seems to be turned against us average suckers? Playwright Dario Fo knows what he's doing. Stay tuned to the blog and you'll see!

Fake pregnancies are funny

I'm not spoiling anything when I mention that the two women in Low Pay? Don't Pay! spend most of the show faking pregnancy to hide the groceries they have stolen. This leads to some pretty hilarious shenanigans, akward moments with cabbage, and some (eh-hehm!) "educating" of the men. There will be more posts on this dubious topic in the future.

But for now, I just hope to entertain you with this little beauty, which was used to market a production of We Won't Pay! We Won't Pay! produced by The Next Arena theatre company in L.A. in 2005. So now that I've given them credit, pretend Piccolo shot this and then be so intrigued that you have to come to our production. Heh heh!



And let's not leave out hysterical pregnancies. Funny, right? "Hysterical" is right in the name! Before anyone jumps on us for our insensitivity, I know many other theatres would find an eloquent and interesting way to explore the emotional trauma that often comes with this condition. We here at Piccolo urge you to go see those shows, but would simply prefer to crack you up.

As the women in Low Pay? Don't Pay! try to find a way out of their obviously fake pregnancies, one option is to "say it was a hysterical pregnancy! It happens all the time. Women get pregnant and then all that comes out is air." It is decided that the husbands surely won't fall for it, so an alternative plan is hatched.....that is even more ridiculous! (And yes, the husbands fall for it.)

In the spirit of the ladies' initial hysterical pregnancy plan, enjoy this little bit of rediculousness.

The 10th Year Begins

10 years ago, a group of artists started on a journey by tackling Dario Fo's We Won't Pay! We Won't Pay!. The theme of the play being very convenient, because the ensemble was so poor, putting the production up was more like Can't Pay! Can't Pay! Piccolo Theatre had just formed and relied heavily on friends, the vitality of a young and eager ensemble, and some good old theatre magic. And boy, was it magic. Oh, the sweet sound of our first laughing audience!

10 years later, we're still relying on that good old theatre magic, but now have a great board of directors, lots of fun-loving patrons who buy tickets and even donate, a website, a blog (yay!), budgets, our own space, and a bigger, more-talented- than-ever ensemble. We've come a long way, baby!

So here we are, in 2010, returning lovingly to that very first show. With the brilliant John Szostek at the helm again and a cast filled with ensemble members. We can't wait to show you this newly updated script and see how hard we can make you laugh. We're shooting even higher than just "laugh your socks off". If there are articles of clothing you would be uncomfortable laughing off, we recommend duct taping them to yourself (just in case).

For those of you who know Dario Fo's work, or even this particular story, you know that mapcap hilarity runs parallel to some very serious issues. Low Pay? Don't Pay! deals with some economic issues that may hit very close to home for you. And the current political scene? Don't even get us started! Life for us, and you our audience, is certainly a lot different than it was a decade ago.

So how can we expect to keep you laughing through all of this muckity muck the world is throwing at us right now? Well, you just leave that to us at Piccolo Theatre....we still have a good supply of that old theatre magic!

Piccolo takes you way back to the beginning...

Piccolo Theatre proudly presents

Low Pay? Don't Pay!
by Dario Fo

The first production in our hilarious and triumphant 10^th Anniversary season. A decade after breaking into the Chicago theatre scene with this legendary comedy (under the former title of “We Won’t Pay! We Won’t Pay!), the time is ripe to bring it back to Piccolo’s stage. John Szostek, Piccolo’s Artistic Director, directs a skillful all-ensemble cast in the American premier of Fo’s fresh new adaptation.

Housewives Antonia and Margherita, fed up with high prices in the supermarket, take matters into their own hands and “liberate” some items from the local grocery store. Keen to hide their light-fingered antics from their hot-headed moralist husbands, Giovanni and Luigi – not to mention the police – the women are forced to resort to more and more inventive hiding places, as slapstick confusion leads to rollicking chaos.

If the economy has you down, this energetic and pointed farce
will cheer you up ‘Fo’ sure.

Sept 10-Oct 23, 2010

Previews Sept 3-5 Fri/Sat at 8pm, Sun at 3pm

Evanston Arts Depot, 600 Main St., Evanston

Tickets $25 for Adults, $20 for Seniors, $15 for Students, call for group rates

Call for reservations 847-424-0089 or order online www.piccolotheatre.com

Let's get this party started!

We're finally up and ready to get this blog moving. Keep your eyes open over the next few days and weeks as we embark upon our exciting 10th Anniversary season! We promise to keep our readers entertained, informed, and laughing. It's exactly what you can expect when you visit Piccolo Theatre...except from the comfort of your very own home. Or mobile phone. Or laptop. Hey, could you get us a triple foam double shot extra sweet latte while you're up? We've got a lot of rehearsal to get through this year!

Thanks!

Yours always, (or at least until you quit reading this blog),
Piccolo Theatre