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!)