The Factory Theater Blog

I'm not safe from her. The Gray Girl opens 11-11-11.

2011-11-07T12:12:00.002-06:00

Tickets available now.

Black and Blue Coming at You!

2011-07-20T15:02:00.002-05:00

Attention Cubs fans, Sox fans, and Factory Theater fans: It's time to grab a beer, pick a side and watch the fireworks!

http://myemail.constantcontact.com/Black-and-Blue-Opening-Soon.html?soid=1101177119940&aid=fb2h9H_Prvw

All the Easy Six Kick-Off Party Details.

2011-03-22T13:03:00.001-05:00

ROLL THE BONES

The New Adventures of Popeye Opens This Week After Jenny and Jenni!

2010-11-16T21:11:00.009-06:00

Hello all! Factory ensemble member Sarah Rose Graber here! I wanted to let you know about another show we have coming up: “The New Adventures of Popeye!” We’ve taken five clowns and created a series of episodes using your favorite Popeye characters and put them into more modern scenarios. We’ve used the world of Popeye to embrace current issues through high-energy slapstick comedy, cartoon inspired fights, and just the right amount of satire.

Many of you saw our first stab at this idea during the Abbie Hoffman Festival. There was an overwhelmingly great response to our quirky take on modernizing the old, classic Popeye episodes. As you can imagine, we couldn’t have been happier. People wanted more, so we took our little show to Strawdog for another successful performance! And now we’re back home at the Factory for a whole late night run! Friends, we are jumping for joy! EXCITING!

We’ve been learning a lot from each other and developing how we work as an ensemble. As a result, we feel our material for this show is even stronger than the last! We’ve created a brand new series of episodes for this late night run and we have done our best to bring this cartoon world to life in our writing and execution. From the moment you walk in the theatre, we will have games and prizes for people, and in true Factory Theater form, we encourage you to grab a beer and dive in with us for a good time! The water feels just right!

Almost there...

2010-11-04T12:23:00.004-05:00

Tech Week. That magical time when everyone involved in a show comes together to make sure everything happens as it should. It's exciting to say the least.

At the Factory, there is an extra sense of anticipation because we're bringing a world premiere to the stage and that premiere is more often than not, the product of people within our ensemble.

Jenny & Jenni marks the playwriting debut of longtime Factory ensemble member Shannon O'Neill, as well as the Factory main stage directorial debut of ensemble member Laura McKenzie.

Previews begin tomorrow night and we are really thrilled to bring audiences in for the first time. It's

pretty cool to be able to present something that no one has ever seen before. For only 10 bucks, Factory Theater gives people the opportunity to be able to say, "Jenny and Jenni, 2010 first preview...I was there, man, I was there." Come check it out. It feels good.

Factory Theater Meets Ditka

2010-10-13T14:33:00.000-05:00

1985 — Da Coach & Papa Bear talk the play and more

2010-09-23T11:02:00.000-05:00

TOGA TONIGHT!

2010-07-22T14:09:00.005-05:00

Toga Party Tonight!

T's Bar! 5025 N. Clark

Come for the drinks...stay for the drinks.

Special bonus deal for party attendees: I can only tell you if you're at the party.

Special bonus deal hint:

Dateline: Factory

2010-06-30T17:24:00.012-05:00

Chicago. May 30th-June 6th

Seven Things I've Learned In The First Week Of LOA Rehearsal

1)Fight Rehearsal, or How I Learned to Parry:

For those of you in the theater community reading this, I'm sure you've all experienced rehearsals in a space other than where the performance will eventually take place. It's never a really big deal; kinda like having the hiccups. A minor inconvinience, but you know at some point you'll be breathing again. And there's no comparison to tech week when there's the constant give and take adjustments going on all the time. Like trying to win an argument with my wife. Luckily, I always manage to duck when she chucks a Fresnel at me. I'm all about similie.

2) Sweating:

I try not to, but my glands are tied. There's no better way to get to know a complete stranger than sliding together like freshly harvested eels at a 4am Japanese fish market, (thanks for the similie tip, Bourdain). It's even better if you already know the person. 'Cause then it's like, "Hey! This deepens our friendship! We don't even need a towel for this"! Note to all directors: Stage combat rehearsal in the month of June equals cast bonding, (I'm talking to your collective armpits Sevigny and Dughi).

3) Rehearsing in a Former Funeral Home, or How One of Our Cast Members Sees Dead People:

Funeral homes are fun, let's all agree. I mean, you never know what will happen. Well, you might have a general idea. But there's always something going on. Lingering spirits, for instance. During rehearsal I tried to deliver a right cross to Gorsky's chin and turned into Whoopi Goldberg. It was fun for a while since I was the only black person in the cast, but eventually everyone called me on my relationship with Ted Danson. I cried openly, (but it might have been Whoopi's tears) and went down the street for some hot links. Engle was pissed.

4) How I Figured Out How to Reinforce the Relatively Recent Pride That Comes with Proclaiming Yourself a "Geek", Wondering if You Should go to That Party or Not When You'd Rather Stay Home Pounding PowerAde with Your Buddies for an "Old School" Night of Dungeons and Dragons, or How to Take the Concept of "Viral Video" and reduce it to a "Viral Phrase" via the Interwebs:

Geek-O-Friendly

5) BARS: Why are they located next to theaters?

Tip: If you go to the Burlington (pronounced grandly in descending tone as "UHtheburlington"), bring your night vision goggles. And I'm convinced Dukes is run by canines. That is all.

6) Shooting a Promo in the Rain, or How None of the Tennants Appreciated Corri's Wonder Woman Costume (except a little kid):

Shannon and Chuck were gracious enough to let us film on their sharecroping expanse of cement, but I should quit smoking. Nothing like doing a fight full-speed multiple times. And then gasping like a Lung Fish that just reached land. See? Similie and Sea Creatures. Which is the name of my next album.

7) How to End a Blog:

JAZZ HANDS!!!

What Would (your) Koken Do?

2010-06-30T14:30:00.005-05:00

Koken: The black-robed stage assistant of Kabuki who assists the actor with properties and costume on stage. (thank you bookrags.com)

Mine would carry a sign that says shazaam!

And anytime I said something like "I want a root beer" or "Give me back my beard clippers" my Koken would go:

And then I'd get what I want.

Geek of the Week: Comics

2010-06-10T14:00:00.000-05:00

Comic books have a fun outlook on life. Examine the stereotypical comic book format: wonderfully overblown characters, impossibly proportioned bodies, and the sweetness of superpowers, for starters. Add in characters talking to themselves to describe narrative action ("Head spinning...stomach empty...gotta have sandwich...") and pages gushing with splashy action and you have a great gumbo of enjoyment. My favorite absurdity, however, is the sound effects. For one of the best examples of this trope, witness the Batman fights via Adam West:

Start your smorgas-soundboard off with "Sock," "Pow," and "Zok" with plenty more to come. There is a lot of silliness to the Adam West Batman. A LOT. But it's a head-first, fun-loving dive into a ingrained trait of comics.

Comic book sounds can be so ingrained that they take on a life & recognition of their own. Some characters can lay claim to their own unique sound effects. "Snikt!" is closely tied to the X-Men's Wolverine and "Thwipp!" to Spider-Man just to name a couple. According to Wikipedia, these sounds are trademarked by Marvel Comics, but a detailed search of the US Patent and Trademark Office did not confirm this (always double-check Wikipedia, kids).

As this is Geek of the Week, I have my own broad sampling of the comic sound effects oeuvre. Here follows a shortened classification:

Contact Sounds (usually fist-on-face), i.e., the Adam West Batman specialty:

Pow! Wham! Boom!

Vocal Reaction to Contact Sounds. What the fist-on-face recipient says after said action:

Ooof! Ungh! Argh!

Weapon Sounds. Those made by lasers, eye beams, energy blasters, and other props:

Zaakkkk! Bzzzzt! Va-Whoom!

Character-Specific Sounds:

Snikt! Thwip! Bamf! Zapt! Shazam! Krakadoom!

During the so-called Golden Age and Silver Age of comics, these types of sound tropes were common. While some of these onomatopoeic (Vocabulary! Ka-Blam!) methods remain in place, modern comics seem to favor a shorter, more efficient sound style. Instead of "Yeeeeeaaaaarrrggghhhhh!!!" a character today might simply say, "Nnf." Although nothing tops the single-digit sound effect, often employed when a character dies or passes out:

"*"

Shortest word balloon possible.

To me, the sound exclamations are a big slice of the fun pie that is comics. Within this brand of literature, imagination runs wild and any flight of fancy is within reach. It is also a visually-based medium, allowing simultaneous expression through pictures partnered with text. I like things graphic, so comics are specially simpatico with me. Fortunately, many good writers, past and present, have graced this medium. Which brings us to The League of Awesome.

This show furthers the medium's indulgences. It's a romp with appreciative nods to classic and modern comic stories. It's also girl-centric and girl-penned. Women writers are a very underutilized branch of the comic book tree. This trend is changing, and The League of Awesome is a terrific trailblazer.

I can't say what sound effects will be employed, but I know L.O.A. has action abounding. I expect this show to have the cheeky fun of Adam West's Batman but be far cooler to look at and much smoother in its execution. My money's on it. In fact, I expect the smart whips involved in this show will find a way to leverage cool sound. They are a group of super heroes after all.

Until next issue, WHAM! (the sound, not the horrible music group)

Grilled Meat, Cold Beer and Kicking the Ass of Villains or What I Did on My Summer Vacation

2010-06-03T12:36:00.014-05:00

by Corri Feuerstein

For some, summer begins with Memorial Day and the chance to wear those white shoes that have been calling your name since March. For others, it begins when children come back into the house, their laughter filling the room when you ask them to clean things. For others, a barbeque is the inaugural summer kickoff meal, and thus the season begins.

For me, summer begins when I don red, white and blue spandex and start delivering roundhouse kicks to the face.

Sure, this may not be the typical tire-swing-over-a-river, Country Time Lemonade type of vision most have, but screw it. Rivers are filthy and no one trusts the ropes on a tire swing unless they're drunk. And everyone is drunk in those commercials. Make no mistake. Summer begins with The League of Awesome.

Last summer, Sara Sevigny and I took on a project with a deadline of July 1. We had to finish our first draft of The League of Awesome in order for it to be considered for the next Factory season. We wrote furiously, ignoring sleep and day job responsibilities to get it done. One of us is now unemployed, but we'll just go ahead and say that isn't related. Obviously, we finished. And 97,000 drafts later, The League of Awesome is now in rehearsal, scheduled to open on July 16, 2010. There is a phenomenal cast and crew attached, and we're watching this thing come to life. The only eloquent thought I have on that is: Holy Shit.

I have wanted to be a superhero for so long -- I used to dream I could fly. It was a top secret thing, and people would freak the fuck out in my dream when I showed them. My voicemail has declared me a part-time superhero for the last six or so years. I have wanted to write with Sara for a damn long time, and write a show for the Factory ever since I saw Alive. (Yeah, I just dated myself. Let's say I saw it as an infant, ok?) So now, all of this comes together nicely in one summer package wrapped with a kickass bow of justice.

Summer and superheroes go nicely together. I mean, seriously, those thumbtack-sized costumes aren't built for winter warfare. Mine fits in a Ziplock bag and I'll be living on gum, caffeine and pure will.

As we head into summer, we see those kids on vacation out there, doing what we did at their age: playing outside and pretending to be stronger than we actually are. Whether sprinting at lightning speeds for the ice cream truck, aiming higher on the swings, cartwheeling and spinning 'til you puke, or balancing on someone's feet on your stomach to play "Superman", we've all dreamt of being a hero. And now, thanks to shirking the responsibility of a job that pays me and locking myself in a dark theater away from sunshine, my loved ones and reality, I get to be one.

This really is going to be the best summer ever. It's the summer of Awesome, and I'm happy as hell to be a part of it.

Ensemble Update

2010-05-05T15:54:00.012-05:00

Need a Factory fix before the summer? Check out what some of our ensemble members have been working on:

Matt Engle, after recently closing Legion with Wildclaw Theater, is back as a buccaneer at Navy Pier. Check him out. Watch him shake his pirate treasure. At the end of May, he begins rehearsals for Factory's LEAGUE OF AWESOME!

Corri Feuerstein, founding director of Will Act For Food Theater Company, recently produced the currently running Ten Unknowns by Jon Robin Baitz. Shows run Thurs.- Sun. through May 29. Go here for more details. All food donations benefit the Lakeview Pantry.

Laura McKenzie is part of the two-woman comedy rock extravaganza known as the Laura On Laura Comeback Tour. Shows run on Thursdays through May 20 at the iO Theater. Click here for more info. Click here to read the review in the Tribune.

Eric Roach will be appearing in The Odd Couple, a little-known diddy by some dude named Neil Simon. Previews are May 18-22 and opening night is May 23 at the Raven Theater. Click here for more info!

Now go see some shows!

So Easy Being Cheesy

2010-04-10T18:48:00.016-05:00

If you are thinking about seeing the show tonight, it's sold out.

But here's an 80's fix for you from one of the authors of the HIT SOLD OUT SHOW, Kirk Pynchon.

Hey, Kirk. What's so funny? Seriously. Stop laughing.

Remember when headshots were in black and white? Like 90 years ago.

I wonder what that shirt feels like.

SO EASY BEING CHEESY

By Kirk Pynchon

The summer of my sixteenth year I thought I was the coolest motherfucker on the planet. Not because I had my own car (a 1983 blue Oldsmobile Cutlass Sierra previously owned by my mom). Not because I started wearing two different types of cologne (Polo in the day, Drakkar Noir in the evening). Not even because I started dressing like Don Johnson from “Miami Vice”(who was, and still is, something of a mentor to me). No, I was cool because I spent the Sunday nights of my summer hanging out at a nightclub called The Cosmopolitan or, for those in the know, Cosmo for short. Sure, The Cosmo was an under eighteen club that served no booze and was located deep in the burbs of Cleveland, Ohio, but what did that matter? I was a clubman and The Cosmo was my home.

The Cosmo was located at the very end of a shopping mall in Mentor, Ohio, about an hour outside of Cleveland. This being the Midwest, the club was very democratic. There was no doorman, no velvet ropes, no VIP’s. You simply walked up to the front door, paid your five-dollar cover and entered the hippest place on earth.

To be honest, I’m sure that the inside of The Cosmo looked like a nightclub on the ground floor of a Ramada Inn located just outside of any major U.S. airport. But at sixteen, to me it was the epicenter of all things cool. Strobe lights, dry ice machines, loud 80’s dance music, and chicks with ridiculously big hair – The Cosmo had everything. And I was a part of it.

One of the greatest and coolest moments of my life happened one night at The Cosmo – which makes me quite the sentimentalist or just plain pathetic. I was on the dance floor grooving to “Can You Feel the Beat” by Lisa Lisa and Cult Jam. I had just performed my patented spin move, you know, the one where I spin around one and a half times rather than once because one spin is for pussies? And as I finished my turn, there she was: the cutest girl I had ever seen. She wore long spandex pants and a huge, oversized paisley shirt. Brightly colored, neon bracelets covered one arm. She wore earrings so big they could choke a donkey. And she had the biggest fucking hair I had ever seen. It was massive. It was more than just a hairdo – it was a lifestyle. She might have been wearing perfume, but it didn’t matter as I was intoxicated by the overwhelming smell of her Aqua Net Hairspray.

I slow motion walked over to her and immediately started dancing. Didn’t talk, didn’t ask, didn’t beg. Just immediately started dancing in front of her. She couldn’t resist me. She couldn’t resist my incredibly moussed hair. She couldn’t resist my white sports jacket with the sleeves rolled up and the collar popped. She was mine.

As we danced she told me her name was Trisha and she worked weekends at The Chess King (I quickly made a mental note: “If I start dating her seriously, I bet I could get a discount!”). We danced with each other to every song. We danced to the good – “Kiss” by Prince, “Word Up” by Cameo. We danced to the bad – “Take Me Home Tonight” by Eddie Money, “Dancing on the Ceiling” by Lionel Richie. And we danced to the just plain bizarre – “St. Elmo’s Fire” by John Parr? The thing was, it didn’t matter what song we danced to. All that mattered was that I was a dude grinding with a chick without any parental supervision.

Then the DJ, as if he knew ahead of time that Trish and I were meant to be together, slowed things down and spun “Broken Wings” by Mister Mister. I looked at Trisha. Trisha looked at me. No words were spoken. We started to slow dance. Trisha put her head on my slightly hairy chest and we just swayed. She looked up at me with those big, heavy, mascara eyes and smiled. I felt like we were the only two people on the dance floor. I felt like we were the only two people in the world. We were one.

So I sang to her.

“Take these broken wings/And learn to fly again/Learn to live so free”

“When we hear/The voices sing/The book of love will open up and let us in”

(And yes, I whispered the “Yeah Yeahs” right after the chorus. I whispered it right in her ear. Cause I was that cool.)

As the night drew to a close (this being an underage club, I think all of us had eleven o’clock curfews), I decided to take it to the next level.

“So,” I asked Trisha, “Can I call you sometime?”

Trish smiled and took out a pen from her silver studded purse.

“Do you have anything to write on?”

I looked around, hoping to find a cocktail napkin at the bar, but there was nothing. I guess teenagers really, really need something to rest their Pepsis on. I knew I’d never remember her number and yet I knew that I had to have it. I couldn’t leave The Cosmo and never see this girl again.

Then it hit me in a flash: A way to get her number and a way to impress her at the same time. Suavely, I pulled out my wallet, you know, the ones that velcroed, pulled out a one-dollar bill, gazed into her eyes…

…And ripped it in half.

“Here, “ I said, casually handing her half of the dollar, “write it on this.”

Trisha’s eyes widened in astonishment. She might have thought I was extremely rich. She might have thought I was incredibly cocky. She might have thought I was a bad ass for committing a felony. But, regardless of what she thought, I knew that at the very least, she thought I was fucking cool. *

(*I have since told my wife this story, and all she has to say about it is, “You dumb ass. Why would you waste a dollar like that?”)

Trisha wrote down her number, leaned in and kissed me. She tasted like watermelon and I could feel just a hint of a moustache on her upper lip (which I actually was a little jealous of).

“Call me soon,” is all she said.

I wish I could say that the rest of the summer was as magical as that night at The Cosmopolitan. But, alas, it was not. Though we did a lot of dry humping that summer in the backseat of my car, Trisha was not the girl for me. In fact, she turned out to be a ball buster and an incredible pain in the ass, and when she got grounded for an entire month at the end of the summer, our relationship died. I never got that discount at The Chess King.

But I will never forget that incredible moment we shared at that nightclub. And I’m pretty sure Trisha didn’t either.

One year later I went back to The Cosmo and nothing had changed. The strobe lights, dry ice machines and the 80’s dance music were still there. Except The Cosmo was no longer an underage nightclub.

It was now a Laser Tag Center.

Opening Night

2010-04-01T23:52:00.013-05:00

Cat Dughi and Jill Oliver

Now that's what I'm talkin' about.

Dancing ladies makes Mike Ooi a little too excited.

Wait. Sorry. That's just a cupcake.

Aileen May and Esteban Andres Cruz

They don't have to take their clothes off to have a good time.

They can dance and party all night. And drink some cherry wine.

UH HUH!

Colin Milroy, the face behind the magic, and Sara Sevigny, the magic, enjoy some crazy green trashcan punch that was CRAZY.

Angelina Martinez and the Bollo

Only rock stars allowed at this party.

Casey Pilkenton and Jacob Ware.

Which one needs help standing?

DJ Chas Vrba, Allison Cain and Noah Simon

Without you, we would be nothing. NOTHING!!!!!

Lovers.

Thank you Factory for a kickass opening night!

Help us get up to 5k TODAY- with IGIVE

2010-03-24T10:41:00.004-05:00

Together, you and iGive.com can make times a little less tough for The Factory Theater

The Factory Theater gets a dollar for each person who joins iGive using the special link below and visits one store via iGive between noon Wednesday, March 24, 2010 (Chicago time) and noon Thursday, the next day.

http://www.igive.com/welcome/warm_reg_promo.cfm?m=483619

The Fine Print:

- Offer active between 12:00 p.m. (noon) March 24, 2010 and 11:59 a.m., March 25, 2010 (Chicago time).
- New members only (never have been an iGive member previously).
- All the normal rules of membership, searching, and purchasing apply, our site has the details.
- Once we've given away $5,000 in total, the offer ends.
- The special link and visiting a store via iGive are necessary. No link, no store visit, no $1.

Help today!

Factory Theater is a Goddamn Chicago Treasure

2010-03-23T11:52:00.003-05:00

Check out TimeOut Chicago's Review of Hey! Dancin'!

May we all just take a moment and agree that the Factory Theater is a goddamn Chicago treasure? In the homeland of scrappy ensembles achieving longevity on their own DIY terms, the Factory’s 18-year run and uncompromisingly weirdo aesthetic deserve praise. There may be no other company that so shamelessly, and regularly, dials up to 11.

Hey! Dancin’!, the company’s latest, sounds nightmarish on paper. It’s 1986, and two silly girls sneak onto their favorite cable-access dance show to hook up with their dreamy guys of choice. The host is named after a douche, the middle-aged station manager is a pillow fetishist, and there’s a magical black girl sent by Prince to save us all. Factory member Beyer and former ensemble member Pynchon, who’ve separately penned multiple scripts for the company, push the ridiculous further than you’d think possible, taking a Saved by the Bell premise to a cocaine-punched conclusion.

First-time director Graber makes sure the plot moves but wisely focuses on the far funnier ’80s stereotypes trapped inside it. The cast is stellar, playing parodies of parodies. Catherine Dughi infuses wanna-be slut Trisha with precision ditziness, while Aileen May’s resident mean girl has a soul as acid-washed as her fringe jacket. Rachel Sypniewski’s costumes are both far too much and just right, down to the purple suede, red vinyl and $14 shades. What could have been a pop-reference death march is, in the Factory’s hands, cheap, relentless and hysterical.

The Insider: Opening Weekend

2010-03-21T22:58:00.005-05:00

I love surprises. Pleasant ones especially, and this past weekend had a couple.

Opening weekend for Hey! Dancin'! is in the bag. As expected, the cast did their work in dazzling fashion. I cannot adequately commend the wonderful attitudes, dedicated energy, and extreme hotness of every cast member with my words. They are golden. The wonderful theater they create needs to be seen and absorbed to its full effect. These beauties are supported by the smartest and sexiest crew there is. I'm so happy with all the technical elements that support the production. I love all these folks. So go see what they've made. It is a wonder to behold.

But on to the surprises. The first happy one was the huge number of people who have already seen the show. Previews were nearly (or completely) sold out every night. Previews! Opening night was sold out, and even with some attendance drop-off Saturday and Sunday, the total attendance for this weekend was astonishing. Good crowds were expected, but having to turn people away during Previews was not, nor was what came as surprise #2.

This next big surprise was the deviously executed operation of sneaking co-playwright Kirk Pynchon from Los Angeles into Chicago for Opening Night. This operation was so stealthy that even this Insider was unaware. The cast and local fan girls of Kirk Pynchon, Jet Set hottie, collectively squealed with glee upon his entrance.

Based on the loud laughter I've heard from the lobby, our audiences are enjoying themselves. As I write this, we have gotten one review so far, and it is very positive. I hope that this tremendously successful first weekend rolls into an amazing run. Part of that depends on you, dear reader, and when you see the show. Please do so, if you haven't already. You'll love it. That will come as no surprise.

Why We Love* the 80's Part I: My Hair

2010-03-15T17:10:00.009-05:00

Hey! Dancin'! is really bringing back the good ol' 1986 memories. Out of everything that comes to mind when I think of my childhood during that great* decade, what really stands out are my epic struggles...with my hair.

Now, granted, that gorgeous* lady isn't me, but because I couldn't find any pics of my own 80's hair ("couldn't" meaning "wouldn't") she graciously donated her face for this post.

80's hair was big. And my baby-fine, heat-resistant, curl-resistant, everything-resistant coif just wasn't up to the challenge. I tried to spiral perm my hair so many times that I'm shocked it didn't simply go on strike and fall out. I remember buying bottles of Rave #4 and using an old tooth brush and a curling iron with a circumference the size of a fishing pole to coax my bangs 3 inches off my forehead -- only to watch them wilt and fall the moment I stepped out into a mild breeze.

But the ultimate futility?

Banana clips.

Other girls had curly, frosted-tip manes flowing in a perfectly centered cascade down the middle of their backs while I had long, anemic straggles, incapable of even holding the clip in. Walking down the hallway at school was inevitably too much jostling for my languid hair to handle, and the clip would simply slide all the way down and sit on my back or, worse yet, completely drop out and hit the floor.

Hey! Factory! How about doing a show that takes place in the 90's? Flannels, ripped jeans, baggy clothes...not only could I finally put away my pencil-sized curling iron and bottles of Aussie Liquid Cement spray, but also I didn't even have to wash my hair. In fact, not washing my hair made me look fashionable! Now that's my kind of decade.

Key:

*- an indication of slight sarcasm

The Hey! Dancin'! Video Promo

2010-02-25T12:32:00.005-06:00

Many thanks to the incredible duo of Mike Tutaj and Elizabeth McQuern for putting this together. Feast your eyes and ears:

The Insider: The Dance So Far

2010-02-24T10:30:00.000-06:00

I positively crackle with excitement as I write this. It’s taken me a while to write about this next great Factory play and I have seen so much to like about the production during that time. The energies building around Factory’s production of Hey! Dancin'! for the past six weeks are hyper-electric. Watching everyone involved lower their heads and charge into the fun makes me giddy. The process cranked to an even higher notch when Chicago was graced by world class cable access chick magnet Kirk Pynchon this past weekend. Kirk dragged himself off the silicon-soaked, botox-infested breast of Los Angeles to make a spectacular return to Chicago and provide choreography for this swinging text he created with Mike Beyer. Based on the swoons of passion I’ve heard from the cast, Kirk’s visit was a resounding success. I can’t wait to see the results.

So, this Insider has so much to review. The cast is stunning. They blend and bond so well. I’m dumbfounded that we could assemble this much talent in one place and not have faces melt. If you think I exaggerate, I dare you to come see what this cast can do. What they’ve created so far on just a bare stage is captivating. I’m so damn thrilled with every single friggin one of them. We are fortunate to have this level of talent to help us produce this play.

Speaking of producing, I personally count my blessings with this production crew. Another amazing level of talent in each area. I’m fortunate to be surrounded by these fine, savvy technicians with mad skills. Their designs and dedicated work running the show will be a big piece of the spectacular dancing pie that the audience will eagerly devour. Based on the response from the rousing Launch Party at Chief O’Neill’s on February 18, we’ve got a show that will thrill. In short, I am really pleased with the process to this point.

So that’s the dance so far. Roaring with promise beyond my wildest expectations. We have a ways to go yet. There’s still a few weeks before the first preview. The cast is off book and will incorporate the choreography this week. The designers start their constructing, painting, recording, focusing, cueing, and fitting as we lead up to Load-In. We've got a lot of parts in place already. Still, many things could happen between now and when the first audience arrives. Tech week will be the usual marathon for everyone. For the cast and crew, I hope for nothing worse than soreness and fatigue from all this dancing and producing. I hope that everyone feels fulfilled in their work. I personally love watching every piece of this production machine go. With Superwoman Sarah Rose Graber steering the ship (one couldn’t ask for a better production partner), we can navigate through the choppy waters. I'm so grateful for the support from those around me in the production, both inside and outside the crew. I believe all the time, hard work, and sweet dance moves going into this production will be rewarded. For what it’s worth, I’m the show’s biggest groupie. I’m as excited to be backstage with these rock stars as the bubbliest teenager from the 80’s. Come and see for yourself.

PS: coming soon is a video promo for this show that’ll blow your leg warmers off. I’ll let you know where to find it as soon as it’s available.

The Cost Of Being Famous

2010-02-09T13:02:00.006-06:00

(EDITOR'S NOTE: As we go full-steam ahead with rehearsals for Hey! Dancin'!, co-playwright Kirk Pynchon shares a particularly fond memory of the year 1986. Enjoy.)

During my junior year in high school I became famous…sort of. I auditioned and became a cast member of “Jet Set”, a local cable access show in Cleveland. Jet Set was a teen show, “produced for teens, by teens”, as the log line went. It was essentially an hour-long talk show where local teen athletes, musicians and honor roll students got interviewed ad nauseam, interspersed with bootlegged MTV videos of the hippest rock bands at the time (Mr. Mister, The Outfield, The Hooters). I was the co-host and VJ of Jet Set – and I thought I was the motherfucking bomb.

Now, in full disclosure, I was never recognized from Jet Set. With the exception of my mom, no one I know watched the show. Occasionally one of my friends would watch it after I bugged them incessantly. They would respond with, “Dude, I saw your show. You looked like a total homo.” But that didn’t matter. In my heart and in my head I was a star and a tall, cold glass of awesome.

There was one time when I actually experienced a moment of idol worship. One of the girls on the show, Tanya, had a friend named Robin who “thought I was the best part of the show and looked just like Don Johnson.” She desperately wanted to meet me. Tanya assured me that Robin was really cute and would I be interested in going out on a double date with her?

Hell yes!

I was absolutely ready and willing and able to meet some of my public. And if my public just so happened to be one cute girl that was enamored with me then even better. I hate to use the term “fan” (as Prince says, “Fan is short for fanatic so I like to call my fans ‘friends’”) but I was about to hook up with my very first, full-blown groupie.

The double date took place that Saturday night at a miniature golf course on the west side of Cleveland. Tanya was there with her boyfriend Jeff and when she introduced me to Robin I knew that it was going to be not a good night but a great night. Robin was absolutely cute. She was a vision of pink – pink shirt, pink skirt, pink socks and pink scrunchy. She had such incredibly feathered hair that Heather Locklear would have wept from jealously. And she wore this incredibly sweet smelling perfume that I only later realized was called “Poison” (I only realized it later because the girl whom I lost my virginity to wore it and today I can’t smell Poison without feeling really, really old).

Robin came up to me, a bundle of nerves, and said, “Oh my gosh! I am so excited to meet you!”

As cool as the other side of the pillow I said, “Well, I’m excited to meet you too, Robin. I’m glad you’re a Jet Set enthusiast. Now, shall we golf?”

Robin melted into a pool of Kirk Pynchon adoration right before my very eyes.

So our time on the miniature golf course was magic. Robin was completely engrossed in all things me. She hung on every word I said. Every subject I brought up fascinated her; the importance of “Miami Vice” in my life, my basketball career and why I deserved more playing time, how much I liked chicken parm sandwiches. Everything riveted her.

We continued our putt putt game, not caring what the score was (which was good because, honestly, I sucked at putt putt). As we moved to the last hole on the course, a gust of wind suddenly blew a leaf into Robin’s well-coifed hair. Seeing a chance to be a gentleman and give her a thrill at the same time, I smiled and said, “You have a leaf in your hair. Let me get it out.”

I put my golf club down and casually walked up to Robin, who looked at me with her expectant, hazel eyes. I reached to pluck the offending leaf away…

…and scraped the entire side of her face with the pencil that I had forgotten was still in my hand.

Robin looked at me with horror and pain as if to say, “Why, Kirk, why?”

Robin now had a huge red wound that went the length of her entire cheek. It remained there for the rest of the night. Luckily, her obsession with all things Kirk was still as strong as ever (but not nearly as strong as mine) and she forgave me. By the time Jeff and Tanya drove us to the nearby Pizza Hut for dinner, Robin had reapplied another layer of blush and it was like the incident never happened.

At the Pizza Hut, while we ordered our Meat Lover’s Pan Pizza, Robin mentioned that she wanted to get a salad from the salad bar. Being the classy guy I was, I offered to go up to the salad bar for her. Robin just beamed.

“Any special requests?” I asked.

“Well, definitely no onions,” Robin said, which I took to mean I can’t wait to make out with you later, “and lots of ranch dressing.”

My heart sank a little bit. I hated ranch dressing. I still do. It is the worst fucking salad dressing on the planet. I’d rather drink my own urine then eat a salad with ranch on it. But I wasn’t about to let ranch dressing come between me and a little tongue action with Robin so I forced out a smile.

“Coming right up,” I said.

I went up to the salad bar and began creating the prettiest goddamn salad you have ever seen. Lettuce, tomatoes, cucumbers, peppercinis, croutons – all perfectly proportioned and all perfectly organized on the plate. Robin would lose her mind when she saw how awesome I had made her salad.

As I made my way over to the tubs o’ dressing, I started to get a little nervous. Could I really kiss Robin after her mouth had been swimming in a ranch dressing pool? I wasn’t sure, so to be safe, I put the ranch dressing in a small bowl on the side. That way I could control the amount of ranch she would be using. Genius, I know.

I sauntered back to our table where I thought it would be really charming if I pretended to be a French waiter and impress Robin with what little of the French language I had learned in school.

“Votre salade, Madame,” I said in the worst accent possible.

And I was right. I was charming and Robin was impressed. That is, until the small bowl of ranch dressing fell off of the salad plate and landed right in her lap. Robin was now completely mortified and rushed to the bathroom with Tanya to clean off the gobs of ranch dressing that now clung to her skirt.

I sat down, full of shame and embarrassment. Jeff, who I didn’t really know and had only met that night, said through a mouthful of pizza, “That shit was hysterical.”

The rest of our dinner was an exercise in me trying to win Robin back. Though she wasn’t cold towards me things were definitely a little chilly and I worked overtime in my attempts to charm the socks off of her. I told jokes and I made compliments. I talked about the inner workings of Jet Set and what it was like working on a hit teen talk show. I even paid for dinner for all four of us just so she’d think I was still a big shot (which Jeff was only to happy for me to do). I did whatever I had to in order to maintain my one true fan and keep my hope for groupie sex alive.

So as it was getting late, Jeff drove us back home. Being in the back seat with Robin, I knew that this was where I needed to make a big move. The move that would effortlessly segue into some back seat heavy petting. Luckily, I had that big move – my killer move. It had never failed me in the past and it certainly wasn’t going to fail me now.

“Hey,” I said to Robin in my best Mickey Rourke whisper, “I’m really glad you’re here.”

“Yeah?” Robin asked with love in her eyes.

I let a silence come between us before I said, “Yeah.”

Robin smiled at me. I smiled at Robin. Robin inched closer to me. I inched closer to Robin. Robin put her hand on my thigh. I elbowed Robin right in the nose.

Okay, in my defense, it wasn’t my fault! Jeff had a beat-to-shit Honda Civic Hatchback that had absolutely zero room in the back seat. Plus he was a slob and had a bunch of crap thrown around so I really had no space to work. So when I went to put my arm around her I accidentally smashed her in the nose with my elbow. I swear, if I had been in a Lincoln Continental then this would be a completely different story.

But none of this mattered to Robin. She had had enough of me. I scraped cheek, a stained skirt and a bloody nose was enough punishment for one night. TV star or no TV star, Robin was going to have nothing to do with me. She stewed for the rest of the ride home, pinching her nose and wiping the tears from her eyes.

As I got home that night I remember thinking to myself, “What’s the big deal? I bet there are other chicks out there who have seen Jet Set and who want me even more than Robin. I’m a TV star! They’ll be coming after me in now time.”

Three months later the show was canceled.

Post script: I recently dug out the video of my Jet Set appearances (which as a teenager I had labeled “Jet Set – The Best of Me”). I popped it into the VCR and watched my younger self for the first time in over twenty years. The cool, hip guy that I had imagined I always was had been replaced with an awkward, nervous and uncomfortable sixteen-year old with bad acne, even worse hair and a voice that sounded like a eunuch. Very sad.

Hey! Dancin'! Official Release.

2010-02-01T18:32:00.002-06:00

Preview Weekend March 12th-14th Fri-Sat 8pm, Sun 7pm $10

Opening Night Friday March 19th 8pm.
Opening night Performance/Post-show party $25.
continuing Fridays & Saturdays at 8pm $20.00,
Sundays 7pm $15.00
Closes April 24th

All performances at Prop Thtr 3502 N. Elston Ave.
Chicago, IL. 60618

Tickets available by calling 866.811.4111 or at www.thefactorytheater.com

The year is 1986. The hair is big, the fashion is ridiculous, and dancing is king. The hottest dance show in Chicago rules the cable access airwaves -- and its name is Hey! Dancin'! It's the last show of the season, and the station manager is threatening to change the music format because the show has gotten "too black". Our heroine Halle Stanton, with the help of her slutty friend Trisha, finagle their way onto the show. Halle hopes to meet the show's Ray-Ban-wearing star -- Kenny Kaposki, better known as Double K. Will love blossom between the innocent Halle and the dance superstar Double K? Will the show survive the change of music from Cameo to Poison? And will Trisha have sex with the show's older (yet willing) host, Randy Massingill? Find out in Hey! Dancin'!

Featuring:

Esteban Andres Cruz, Catherine Dughi*, Dominique Johnson, Laura Korn, Anderson Lawfer, Aileen May, Melissa Nedell, Jill Oliver, Casey Pilkenton, Seth Remington, Sara Sevigny*, Frank R. Sjodin, Noah Simon, Anthony Tournis, and Jacob A. Ware

The Production Team:

Director- Sarah RoseGraber*
Writer- Mike Beyer*
Writer/Choreographer- Kirk Pynchon
Production Manager- Colin Milroy*
Assistant Director- Timothy C. Amos*
Stage Manager- Phil Claudnic*
Assitant Stage Manager- Jermaine Edward Thomas
Technical Director- Jim Moore
Set Designer- Angelina Martinez*
Lighting Designer- Shannon Evans
Costume Designer- Rachel Sypniewski
Sound Designer- Chas Vrba*
Props Mistress- Christine Jennings*
Graphic Designer- Jason Moody

*denotes Factory Member

Give the Factory a buck with igive.

2010-01-20T13:33:00.003-06:00

If you want to help the Factory, but don't have the cash on hand, you can do it by signing up for the Factory igive page. No purchase required. Follow this link:

http://www.igive.com/welcome/warm_reg_promo.cfm?m=483623

Sign up, and we get a dollar. So easy, it's almost sick. The one caveat is it must be done by noon on Thursday (tomorrow) So don't delay.

Closing Time...

2009-12-19T10:53:00.002-06:00

Both 1985 and Hunky Dory say good bye tonight, as does the Factory Theater to its 2009 season. As of this writing- there were some seats still available- so if you are looking for an alternative to that lame holiday party you were thinking about hitting tonight, you just might be in luck. Click the ticketing link on the right of this blog and come on out!

1985- Review from Gapers Block.

2009-12-03T14:45:00.003-06:00

Review: 1985 @The Factory Theater

Chas Vrba's original script deftly combines the eerie, mind-controlled state of George Orwell's 1984 with the eerie, mind-controlled state of Chicago during the 1985Bears season run in this down-home, funny and thoroughly enjoyable production. Do yourself a favor and watch 1984 on Netflix before coming to the show -- at times the parody is shot-for-shot and line-for-line, with hilarious results.

Vrba not only wrote the script but portrays the lead character, Winston, with an Andy Richter-like boyishness that amps up the irony in the piece. With an outstanding supporting cast that includes Scott Oken as O'Brien, Ernie Deak as George Halas (aka Papa Bear), and Laura McKenzie as Julia, an evening spent watching 1985 is the perfect antidote to the onset of Chicago winter with it's bewilderingly early sunsets (4:20pm!), the forced gaiety of the holidays, and the Bears' current season.

Every detail is designed to transport the audience back 25 years, from the soundtrack -- featuring the likes of Wham and Howard Jones, to the hairdos and the fierce sports rivalries that will always define Chicago. The Factory's Elston Avenue ambiance and industrial rolling metal door that separates the theater space from the lobby adds to the experience of stepping into an alternate, Orwellian universe.

This is theater you can bring your husband to; my own theater-eschewing spouse, who has said things to me on the subject like: "I find theater extremely embarrassing," laughed as hard as anyone else in the audience, and spent the rest of the evening quoting favorite lines from the show. The Factory has been getting a lot of attention for this production, and for good reason -- I've seen a number of Factory shows and this is hands-down the best one so far.

Catch this show before it becomes a memory as distant as a Bears championship. Shows on Fridays, Saturdays and Sundays through December 19th. For tickets and information call (866) 811-4111 or visit The Factory Theater.

— J.H. Palmer

Factory Theater on You Tube.

2009-11-30T12:57:00.003-06:00

No- we're not just discovering You Tube, we've had videos up there for years, thank you very much. We just finally decided to have our own channel. You'll find all sorts of stuff, new and old. Give it a look and subscribe.

Here's the channel link: http://www.youtube.com/FactoryTheater#p/a/u/0/ddU5VTVXtJo

3 + 3 = Six Star Saturday.

2009-11-27T08:05:00.002-06:00

Ok- It's so-called "Black Friday" today and you aren't shopping, you're reading our blog. Ok, maybe you are actually standng in the aisles of a Forever 21, Rainbow, or Chess King and you're reading this on a handheld device as you shop for the co-worker whose name you pulled in the Secret Santa thingy they do at your job, whatever. The point is- you are reading this now, and perhaps thinking about attending a Factory show tonight. Only problem is, you can't. We're all either in the aisle next to you or on our way home from our own Thanksgiving gatherings. However, we're back in FULL FORCE on Saturday with the mother of all deals on our double-bill of 1985 & Hunky Dory. This Saturday night, November 28th- we've got both shows going at the 2 for 1 rate- that means you and a pal or relative who is still in town can see both shows for the combined price of 30 bucks. (that's 15 bucks a person for two shows) Pretty sweet.

Incidentally both shows received three star reviews in The Chicago Tribune over the last week, so you're looking at 6 stars for 15 bucks.

Check it out, here's 1985's review

and here's Hunky Dory's review.

Now go here to get tix. Enter the code word "thanks" for each 2 ticket purchase and you are on your way.

Audition Notice for Factory's Spring Show

2009-11-19T14:17:00.004-06:00

Like REO says, keep on rollin'. 1985 is open to rave reviews and Hunky Dory is hot on its heels. Get your tickets for these fantastic shows! See them individually or take in a double feature! With these two terrific shows in full operation, the Factory rolls out auditions for Hey! Dancin!, the first show of the 2010 season.

Here's the official announcement:

The Factory Theater holds auditions for "Hey! Dancin'!" by Kirk Pynchon and Mike Beyer at the Prop Theater, 3504 N. Elston. Slots available on December 5 from 1:00 PM to 4:00 PM and December 6 from 12:00 PM to 3:00 PM. You will be asked to do a cold reading and to show us some of your dance moves. Looking for men and women from early 20's to late 40's who move, celebrate big hair and dig the 1980's music. The show runs March 12th-April 24th. Email headshot and resume to Producer Colin Milroy at colinmilroy@gmail.com. Further Factory information: www.thefactorytheater.com.

Send your stuff in for auditions. Come on out and play with us. We've had a gnarly Ensemble read-through already, playwrights Beyer and Pynchon worked hard sharpening this fine piece, and we will have a terrific show. Like Bono says, can't stop the dance.

1985 cast to appear on Monsters in the Morning.

2009-11-16T18:10:00.006-06:00

Set the alarm, brew the coffee, or just program that DVR. The cast of 1985 will appear on Comcast Sportsnet's Monsters in the Morning at 7:30am tomorrow. The show airs from 6:00am to 9:00am, check your local cable provider for channel number. We'll do a brief scene from the show, and probably have a short interview with North & Jiggetts. Should be fun, check it out if you can. We imagine Tim McGraw will be on after us. Sadly, we'll be missing Jerry Rice by two days.

1985 featured in today's Sun Times

2009-11-12T12:48:00.003-06:00

From today's Quick Hits column by Elliott Harris

'1985': On stage: Meaning of being Bears fan

The closest Quick Hits generally gets to culture is occasionally having a bit of yogurt.

When it comes to being a theater buff, Quick Hits thought the term had something to do with ''Oh! Calcutta!''

So attending a play is somewhat unusual -- although, in this case, it was sports-related.

''1985'' is a takeoff of George Orwell's novel 1984 -- with George Halas as Big Brother. The comedy -- which premieres Friday at 8 p.m. at the Factory Theater, 3502 N. Elston -- takes a look at what it means to be a Bears fan. The play is written by Chas Vrba, who also portrays the central figure of Winston. It's directed by Eric Roach.

After viewing a preview performance, Quick Hits wondered: Why no Honey Bears in the cast?

''That's a very good question,'' said Vrba, who started writing the play when the Bears were celebrating the 20th anniversary of their 1985 Super Bowl season. ''We had a launch party to raise funds for the show. A number of the women in the company did go in full cheerleader regalia. It basically was fantasy brought to life. Maybe we could have them in the box office selling tickets.''

His inspiration for writing the play?

''A love for the Chicago Bears and for literature, specifically 1984. I thought it would be really cool if I could get fans of literature and sports in the same room together 'cause most of my peers tend to like one or the other. There are exceptions. I'm working with a great theater company with a lot of great sports fans.''

Cast members tackle their roles like All-Pros.

''I think there's a little Winston in all of us,'' Vrba said. ''I'm an everyman character guy, and in that way I think Winston is that.''

Everyman and every fan.

Anyone who enjoys the Bears (and to a lesser degree the Cubs) and/or enjoys making fun of anguished fans and/or enjoys plays should enjoy ''1985.''

The Cheap Seats

2009-11-05T09:36:00.004-06:00

While our makeover might not be quite as extensive as the job done on Soldier Field in 2003, we've done a bit of rearranging in our space over at the Prop Thtr. We haven't added any skyboxes or anything, but we have made a marked improvement to the sightlines of what were formally the worst seats in our house. Gone are those "obstructed view" seats you would find right by the door as you entered the theater. Instead, you'll find that the section has been shifted to the center of the house providing a great view of all the action.

This weekend will allow for the first "test drive" of those seats. 1985 has its preview performances this Friday, Saturday and Sunday. It's a great opportunity to get the first look at our new show before final adjustments are made for next week's OPENING NIGHT and it can be done on the cheap. Preview tickets only cost $10 bucks. So, come check it out and scratch off #37 on Time Out Chicago's list of 65 Things to Do This Fall.

Sweetness Remembered. 1954-1999

2009-11-01T09:52:00.003-06:00

It has been ten years since Walter Payton passed away. Factory Theater was in the midst of the run of Endzone, a play that focused heavily on the mania surrounding high school football. The day Walter passed happened to fall on our Industry Night performance of the show and it was a no-brainer to dedicate the performance to Sweetness.

It's hard to believe a decade has gone by since then. But it has, and once again, Factory Theater remembers the great Walter Payton as it prepares to open another football-centric show, 1985.

While 1985 celebrates the man, and you probably know all about his football accomplishements, today we'd like to share a quote of his that has nothing to do with football.

"Most important thought, if you love someone, tell him or her, for you never know what tomorrow may have in store."

Sound advice from a beloved Chicago icon who inspired many of us at the Factory Theater.

Everything will be Hunky Dory.

2009-10-30T11:22:00.006-05:00

Yeah- Maybe we're a bunch of clowns over here at the Factory Theater. We certainly like to juggle. As we gear up for load-in, build and tech week for 1985, we've got another show hot on its heels.

Who doesn't like watching TV all day and eating well cooked meals without
lifting a finger? The American dream, right? Well, there's a little work
involved. What with signing the social security checks of the recently deceased,
not to mention the necessary clean-up- you think it's easy? Maybe. Factory
Theater's comic thriller Hunky Dory takes you back to 1975 Haneyville, Texas. A time and place when life was easier, but so was death.

That's right, we do 'em two at a time over at the Factory, and you can too. We've got our fabulous Factory Double Feature Deal that will let you see both shows for one low price. Check it out by clicking here.

So, that's kind of cool, right? We think so. No tricks here, all treats and no @#%!ing rocks.

HAVE A GREAT HALLOWEEN!

We're Grabowskis not Smiths.

2009-10-22T17:21:00.004-05:00

Grabowski :: CHICAGO SUN-TIMES :: Chicagopedia:

"Grabowski /grah bow ski/n.1.A hardworking, blue-collar, lunch-pail-carrying grunt, as made famous by Mike Ditka before a Bears playoff game. 'There are teams named Smith and teams named Grabowski,' Da Coach said. 'The Rams are the Smiths. We're the Grabowskis.'"

The Factory is a Grabowski theater company, without question. You can decide who the Smiths are.

We're just a few weeks away from the 1985's first preview. Make your reservation soon, or suffer like Phil Simms and the rest.

Starting Steps

2009-10-02T09:30:00.003-05:00

The first show of Factory Theater's 2010 season will be Hey! Dancin'! by Kirk Pynchon and Mike Beyer. Upon first reading, this play felt like a hilariously twisted take on Disney's High School Musical if it was set in 1986. There's much more to it, as will be seen (and heard) this weekend. On Sunday, the play will get its first reading for the ensemble to chew on. I expect ideas to fly and my perspectives to change after the reading and discussions. These are the first steps in the process; I'm excited to hear the collective ensemble gears turn as we develop this show.

Two ensemble members will be doing something different for the Hey! Dancin'! production crew. The sparkling Sarah Rose Graber will be directing a Factory show for the first time, and I will be producing a Factory show for the first time. We are neither of us green in these capacities, but this is our first time doing these jobs in the Factory uniform. We are wonderfully supported by a sturdy ensemble. I am pleased to put on this particular hat for the company and I'm eager to see what devious plans Sarah Rose has in store.

In the meantime, keep a lookout for 1985 updates. I expect DJ Chas to share more goodies as the November 6 previews rapidly approach. Bear down!

Official 1985 Poster Unveiled

2009-10-01T12:08:00.004-05:00

Design By: Tom Donalek. Click on Poster for larger view. Actual Poster is obviously crisp and clear, but you get the idea.

Bear Down!

THE SUPER BOWL SHUFFLE FACTORY STYLE

2009-09-29T10:41:00.004-05:00

Saturday, September 26, 2009: The day the Super Bowl Shuffle came back. Now as everyone knows that song is a Grammy nominated classic (yes, really-Best Rhythm & Blues Vocal Performance- Duo or Group) So- needless to say we had our work cut out for us if we wanted to do the song justice. Rehearsals began in earnest, um...the day before the event. Hunkering down with The Cain Mutiny in their basement rehearsal space we worked dilligently to get this right.

We must have run it 3 or 4 times before the night was over! Sure, perhaps we could have eased up, maybe we didn't need all that work, but we can't let something so complex overwhelm us, and the only way to ensure that is to work our asses off. The "step, touch, step touch" choreography that was mastered by the original Shuffling Crew proved to be a challenge. These guys were pro football players, they know a thing or two about dance. We just had to practice and pray. In the end- We feel that we pulled it off. While we lacked the services of Tyrone Keys on the keys, or Calvin Thomas on the sax and there was certainly no way to replace Maury Buford on cow bell- we were game and worked hard to overcome such obstacles. However, we encountered a setback that could have proven to be catastrophic- our very own Paul Metreyeon wound up on the injured reserve. We thought it might be a game time decision, but the flu bug knocked him out hours before kick-off. We needed a "LA Mike" and had to look at the free agents available at the party to find one. Enter Brian Serio. Finding out he was going to play just moments before he hit the stage, Brian proved to be a invaluable role player on this night. We felt very lucky to have him there. So, with that set here was our starting line up:

Chas Vrba- Walter "Sweetness" Payton

Scott OKen- "Speedy Willie" Gault/Lead Guitar

Allison Cain- "Samurai Mike" Singletary

Mike Beyer- Jim "The Punky QB" McMahon

Corri Feuerstein- "Momma's Boy" Otis Wilson

Timothy C. Amos- Steve Fuller

Brian Serio- "LA Mike" Richardson

Carrie Sullivan- Richard "Sack Man" Dent/Bass

Josh Graves- Gary "Hit Man" Fencik

Eric Roach- William "Refrigerator" Perry

Mark Rew- Drums/ Stefan Humphries

Well, with that list of All-Pros, You can see why this thing went as well as it did. We "love to play for the World's Best Fans" so Thanks again for making it such a memorable night.

Also, an extra special thanks goes out The Wanton Looks, ROYCE and Lady Jack for great entertainment, to Magnolia Cafe for providing all the food, and of course, The Lakeview Baseball Club for providing such a great venue.

BEAR DOWN!

Randoms

2009-09-28T11:14:00.003-05:00

Happy 39th birthday Scott OKen!! A new poll has been constructed in his honor. I didn't include "Repair Guys" or "God, Guns and Gold", but only because they are shorts. But those two are actually a couple of my very favorites. Vote early and vote often.

TREMENDOUS time at the Factory Rooftop Shuffle this past Saturday night. The bands rocked out, Lady Jack was sexy but all too brief, and the Super Bowl Shuffle defied all words. Thanks to all who came out and supported the Factory. Pictures will be forthcoming soon. Let's do it again!!

Is it just me, or did Devin Hester look like a real NFL receiver yesterday? The fingertip catch and stretch for a first down was absolutely epic....

I shouldn't be surprised, but "Dirty Dancing" edged out "Road House" for Best Swayze Movie. I suspect some poll skullduggery, but at this point I should just be happy people are taking the time to vote.

Shows in Chicago to see! Treasure Island at Lifeline! The Hostage at the Griffin! Dinner For Six at Metropolis! Animal Crackers at the Goodman (if you have a million dollars)! St. Crispin's Day at the Strawdog! Support the arts! Have I forgotten any shows? Well, excuuuuuuse me! It ain't like this blog costs you anything!

Always good to see old Factory friends out on the town like Susan Donatello and Christian and Lauren Murphy, who showed up at the Rooftop Shuffle. As Bob Seger would say...."see some old friends, good for the soul." Also, Melissa Nedell is back in Chicago after a summer in Montana. Just in time to take care of Sir Gimp-A-Lot (Matt Engle) who is preparing for ACL surgery.

Bon voyage to Heather Tyler and Matt Samsel, who will soon be striking out for LA to seek their fortune. We'll be sending them off in grand style (check your Facebook events calendar). I could be wrong, but I believe that drinking will be involved in that particular event.

Coming soon to this very blog -- a cast retrospective of the 1993 Factory classic Santa Claus Conquers The Martians. Find out what those cast members are up to in 2009, and get their thoughts on one of my personal Factory faves.

Saw Curtis Armstrong all too briefly on the season premiere of "House"! That man is a genius -- why doesn't he work more? I mean....he's Booger! He's Miles! He was Lane Meyer's coke-snorting buddy! He pals around with Cybill Shepherd! Come on!

If it's a Yankees-Red Sox ALCS, I will bash my head against a post. The world does not need four-hour games filled with working counts, drawing walks, and fouling off pitches. Note to sabermetricians: It's a way to win ballgames, but it isn't fun to watch.

Do I sound bitter, perhaps? Let's see....I'm 40 and have never witnessed any of my favorite teams celebrate a championship! The Indians just broke an 11-game losing streak, the Browns are 0-16, and I'm preparing for LeBron's last year with the Cavs! What could I POSSIBLY have to be bitter about?

Champion: Derek Jarvis

2009-09-24T10:20:00.003-05:00

Congratulations to Derek Jarvis, who was the first one to answer our 5 questions correctly. There were many who followed up with the correct answers but Derek was first. Derek and a guest have won two free tickets to the Factory Theater Rooftop Shuffle!

What about everyone else? Well, there is a consulation prize. Answer the following question (in your head, don't write the answer here) and click the ticketing link. Write the correct answer in the promo code box and you will receive 5.00 dollars off per ticket for the Shuffle. Pretty sweet.

The Question:
What is the last name of the man being hoisted on Steve McMichael & William Perry's shoulders in the above picture?

Click Here To Answer and Get the discount.

WIN TWO TICKETS TO THE FACTORY THEATER ROOFTOP SHUFFLE.

2009-09-23T01:18:00.005-05:00

The Rules:

Answer the following questions by replying in the comment section. (Make sure we can tell who you are) The first response with all 5 questions answered correctly wins! These ain't easy, but you do have a computer in front of you. Answers will be accepted until we decide to check the comments to look for a winner. (Could be quick, could take all day, who knows?)

The Prize:

Winner will receive 2 tickets to the Factory Theater Rooftop Shuffle which takes place this Saturday September 26th at The Lakeview Baseball Club. (8pm to 2am)

You should go even if you don't win this contest. There will be other chances for you to win stuff in life, hell, you might even win something at the Rooftop Shuffle. BEAR DOWN!

The Questions:

1. How many kick returns for touchdowns did Willie Gault have as a Bear?

2. Who was the Bears starting Quarterback for Sept. 19th. 1985?

3. What was George Orwell's birth name?

4. Two members of the Bears 1984 starting defense held out of the 1985 season over contract disputes. Who were they?

And here's the one that will separate the players from the pretenders...

5. Take the jersey numbers of the two players mentioned in question 4 and add them together then subtract the combined point total of the Bears three playoff opponents from the '85 Super Bowl Season. Multiply the total by the title of Paul Hardcastle's biggest US hit (hint-it's numerical and came out in the mid 80's) Finally, subtract Chicago Cubs great Ron Santo's Jersey Number. What Number did you get?

Ok, that's it...and seriously if you get that last one, we are impressed!

A Conversation With Lady Jack

2009-09-22T21:12:00.010-05:00

There are many reasons to attend this Saturday's Rooftop Shuffle, which is taking place this Saturday night at the Lakeview Baseball Club on Sheffield Ave. There's open bar and delicious food. There's the spectacular view of the legendary deserted Wrigley Field, where George Halas, Mike Ditka and Gale Sayers held court for a time (when a baseball team called the Cubs weren't in there). There's live music by the incredible Cain Mutiny, the Wanton Looks, ROYCE and DJ Chas. There are valuable prizes to be won. There's the comedy of host Stanley Grabowski, fresh from his triumphant East Coast tour capped by four standing-room only shows in Key West, FL. All this for a mere 40 bones.

And then there's Lady Jack, perhaps the most unique performer the Factory has ever seen at events like this. Her Facebook fan page describes Lady Jack as "a solo Burlesque performer....that conspire[s] to create worlds of midnight festival, magic and eroticism for an audience that wants to play." Intrigued? Read on....in an EXCLUSIVE Q&A with Lady Jack in advance of the Saturday night show.

How did you first become interested in vaudeville/burlesque?

It began more with an interest in macabre storytelling, physical theatre, narrative dance, music videos, Erte (an art deco fashion designer), female archetypes, magical realism, and eroticism in art. Put that in a giant vat and combine it with the tendency to create characters that go through a metamorphosis and and you sort of have burlesque.

I actually started out with a character concept of "Lady Jack" -- the name was inspired by playing a role of a Jack in the Box in a show. I kept the jester/trickster concept, added a flair of sexy....and Lady Jack was born. But I first began exploring the concept through a duo "Jack and Jinx", which was very much a concept of Vaudeville meets the live music video. Then I branched off from that into solo burlesque -- both character/story based performance art versions and classic/neo striptease.

Besides the launch party, what are you working on these days?

I just produced my first show at Debonair Social Club (Carnival Burlesque on September 16), which met with great success! I will be producing a Halloween burlesque night there on October 28 and I am already excited about it. I am also playing the title role of Queenie, a burlesque star from the 20s, in Silent Theatre Company's production of "The Wild Party" -- Fridays at 8 and 10:30 at the Prop Theatre through the first week of August. We are running a variety show in tandem on Saturday nights at 10:30.

I typically work with Oona Productions, Silent Theatre, Angela Eve and Eve's Parlor Varietease Cabaret, Vaudezilla Productions, Mo' Roses Productions and have performed often at Debonair Social Club and Theatro. Shows are always popping up with these groups and venues!

I have to ask, since your costumes are so awesome -- do you design your own costumes, or do you just mix and match, or does someone help you out with that and do your costumes?

Thanks! It's a combo of both. Mostly mixing and matching and I do some embellishment. I. Am. NOT. Crafty. So I try to keep that to a minimum. When I can work with a costume designer I go for Barb Staples. She is phenomenal.

Book you are currently reading:

I'm actually reading one -- hooray! It is Interpreter of Maladies. So very good. I'd forgotten I actually enjoy reading. We are so driven by the Internet now.

Also...do you choose your costumes on look, or how they feel, or how easy it is take them off in time to the music?

All of the above. It was a learning curve -- which I'm still riding on -- that costume removal process is extremely important to burlesque. I'm more focused on dance and story and concept and timing. But the more I get into the more striptease elements I see how important the costuming is to the piece.

I stay home to watch:

Hard-core pornography. Obviousssssly. No, I'm kidding. No....I'm serious. Well. Maybe I...uh...(cough)....Were you asking about books? What?

(Laughing nervously) Hahaha! Jeez, what WAS I asking about now? Um...so --are you a Lisa Ann gal or a Deauxma fan, or do you prefer the old-school Vanessa Del Rio stuff? And what's the deal with the MILF Hunter? I can't stand that guy.

MILF HUNTER? I just checked out the Web site for the first time in my life. I smell deceit and deception. I don't think there are MILFs on the Web site. Nor were they hunted. Just a personal educated hypothesis.

Wait just a second! Are you suggesting that this entire site is NOT what it claims, and that all involved are in fact PAID for their -- oh, whoops! My kids just walked in. Time to switch gears -- you seem to have worked with quite a few photographers. What do you look for in a photographer, and do you find the whole process tedious or exciting?

Exciting. I love working with photographers. In terms of what I would look for, it entirely depends on the project. But one thing I hope for is that the photographer gives creative input whether it is my project or theirs. Another thing is trust and respect in the situation. And thirdly, I prefer working with someone with whom I can get a great improvisatory groove going, where I just feel free to shift continuously until they ask me to pause to make a slight adjustment.

I really don't care for being posed from the get-go. It goes back to the trust and respect issue. I'm a trained actor and dancer, so I feel like I can accomplish some goals without being treated like a mannequin. A good photographer acts like a good director. So being posed straight-off is like having a director telling you exactly how to say a line, before you've even worked on the character. I even had a photographer I had just met (and there was no money on the line) walk up to me at the top of the shoot and physically place my arm where he wanted it. Punch.

If I could hang out with anyone for a night, it would be:

Let's go with a double date -- Obama and me, Kanye West and Taylor Swift. I live life on the edge, people.

Rooftop Shuffle This Saturday Night!

2009-09-21T12:12:00.002-05:00

You can purchase your tickets for this landmark event here. Come on down and support -- and stay tuned this week for a revealing Q&A with event performer Lady Jack. In the meantime, I submit for your viewing displeasure a night of unspeakable horror. Watch...if you dare.

Catching Up With.....Eric Roach

2009-09-17T13:20:00.007-05:00

If anyone embodies the current soul of the Factory Theater, that one would have to be Eric Roach. He wrote the amazing Siskel & Ebert Save Chicago, directed three shows (including the upcoming 1985), served as ensemble director, and has starred in countless other productions. He has stamped his current sensibilities on the Factory while effortlessly retaining the spirit of its raucous, ridiculous past.

As much as anyone, he led the infusion of talent into the Factory around the middle of this decade, which reinvigorated the company and changed its direction. His stellar work has led to gigs at other theatre companies around town (and his very own celebrity roast), but his home is here. The Factory Theater Rooftop Shuffle is next Saturday (tickets still available) for 1985. So with that in mind, we sat down Lipton-style with His Comic Majesty:

NAME:

Eric Thomas Roach

MEMBER OF THE FACTORY SINCE:

2005

After your turn as the doomed cop Mac in Dead Wrong, you're jumping right back into the fray with 1985. Give the blog readers a quick synopsis of the new Factory show, and why the script appealed to you.

Well, it's George Orwell's 1984 mashed up with the 1985 World Champion Chicago Bears. I mean, that's the deal. It's also hilarious and weird and dark and also science fiction, which is one of my favorite genres. It's real sci-fi too, in that it's something that is an allegory for something else...namely the poor tortured soul of the average Chicago sports fan. But, doing a show about a Chicago sports fan would probably cause audience members to hang themselves, so this is an amazingly entertaining way to tell that story.

You're known for your comic characters, so the role of Mac (Dead Wrong) was a big departure for you. Looking back on Dead Wrong, was the investment in the character different for you, and was it easier or harder than some of your previous roles (such as Laughter on the 23rd Floor or Red Noses)?

Mac is a character like any other I've played. He just happened to have almost no sense of humor, which is definitely different for me. It was fun to be him for a while, and to explore a kind of sick side of myself. Please don't ask my wife what she thought of my "process" though. I wasn't very fun at parties for a few weeks.

You wrote the brilliant Siskel & Ebert Save Chicago, probably the biggest hit the Factory has had in the past five years. How did you come up with the idea to make Siskel a James Bond-type back from the dead, to fight the evil forces led by Oprah Winfrey?

I came up with the concept right after Siskel passed away, probably because I'm a sick bastard! I always loved Siskel's reviews, and I knew that At The Movies would never be the same when he passed. He and Ebert were heroes, just not superheroes...yet! It took a few years for the idea to germinate, but with the help of the Factory Writer's Workshop (who were absolutely invaluable with shaping the play and the characters) I was able to formulate a first draft that I was happy with.

The opening night of Siskel & Ebert Save Chicago may go down as the greatest opening night in the history of the Factory. Looking back, what are your memories of that night?

I remember being hungover...we were still doing Saturday benefit nights in those days, and I had had a scorcher of an evening the night before. I was like any 1st time writer...scared shitless that no one would show up, and scared again that people would show up and hate it! I remember that we were about to start the show, and Scott OKen (director of S&E and AD of the company) came up to me and said "Don't shit your pants!" And in walks Roger Ebert himself. I don't even remember if I said hello to him. He and his wife and some other folks grabbed their seats. Scott, Mike Tutaj (who did our amazing credits sequence), and I ran down the hall and silently screamed for about 3 minutes and went back in. The fact that Mr. Ebert was laughing at bits that I had come up with was amazing. When he pulled away in his car after the show and gave the cast outside a thumbs-up...well, I'm kind of choked up even writing about it. I remember having an amazing night that night, and the rollercoaster ride of the next few weeks was incredible. It was truly something I'll never forget, and the fact that Roger Ebert even wrote about us in his column in the Sun-Times and helped us out when he didn't have to is one of the highlights of my life. Thanks, Mr. Ebert.

A gun is pointed to your head and you must choose. Point Break or Road House? Discuss.

Point Break, definitely. I know Road House has Sam Elliot and the Jeff Healey band, but it's always been a little too redneck for my tastes. However, Point Break has Gary Busey. Busey wins.

You seem equally comfortable as an actor or director. Is there one "hat" you enjoy wearing as opposed to the other?

Either function has it's own set of challenges. No one becomes a director because they love accolades...if your show succeeds, it's the result of your actors. If it fails, well then fuck you, you shitty director! I suppose I enjoy being an actor because I know that I have 100% control of myself and that's all you can go for in this life. But directing truly immerses me in such a collaborative state...I love the idea of full show unity, even if it's only a goal and not a possible destination. The fact that it's all about having you and your cast and your crew and ultimately your audience working together to make something worthwhile...that's what directing is for me.

Kenneth Branagh is slated to direct Thor, which comes out in 2011 -- should we just give up on this project now?

Hey, now...as long as Branagh doesn't cast himself as Thor we should be okay. Thor is a great comic book character...I just don't know how well he'll translate to the big screen.

How did you discover the Factory Theater, and what made you decide you wanted to be a part of it?

God...let's see. The first thing I ever saw by the Factory was Dragontales...back in the DAY! I kept up with shows as much as I could and would submit my headshot from time to time...but, apparently back then I must have been too much like Mike Mazzara or Todd Oldham or something because I NEVER got called in. I was about to give up when I got cast in a production of Factory's Lab Rats at Stage Left. It was a dismal show, but I met a lot of great people and had a ton of fun with it. But, again, once I was done wearing that sweaty rat suit nobody gave me a call. WTF, yo? Finally I went in and KILLED at my audition for Menage a Trailer and soon after was asked into the company. I believe it took about 5 years of trying to be noticed by the Factory...and thank God they did, because Factory is one of the best things that ever happened to me.

I'm going to list the following movies for you to rate "GOOD" or "SUCK" -- and of course, add additional comments as the spirit moves you:

Spider-Man - GOOD. Sam Raimi wins.
Batman Begins - GOOD. Thank the LORD Nolan resurrected it.
Superman Returns - SUCKSUCKSUCK. The most disappointing movie of the summer that year. Holy BALLS.
Spider-Man 2 - GOOD. Alfred Molina stole the show.
Fantastic Four - SUCK. Asstastic Four.
Hulk - SUCK. Sam Elliot with no mustache = bad film. Do the math.
The Incredible Hulk - Didn't see it, I kind of want to give it a shot.
The Dark Knight - I waver between GOOD and SUCK on this one. Has someone done the 25 minute Heath Ledger only cut yet? Because I would watch that again.
Blade - GOOD. Always bet on black vampires who hunt evil vampires with Kris Kristofferson.
The Descent - GOOD. This is actually one of the finest horror films of the past decade. Don't believe me? Watch Rob Zombie's Halloween and try to argue with me.

What Factory show or role are you the most proud of/satisfied with?

There's so many that are great...but Mac from Dead Wrong challenged me the most. I am satisfied by a job well done. I am also egotistical and a genius.

Anything else you'd like to add about 1985?

I'm more excited about this show than Mike Singletary contemplating a juicy QB sack!

The Factory Announces Its 2010 Season!

2009-08-26T11:46:00.003-05:00

We've been busy here at La Factory. First off, we had the always successful, always drunken Abbie Hoffman Festivus over the weekend of August 15-16. Despite taking the stage at something like the crack of dawn, the Factory rocked it as usual.

Also, the Factory held its first reading for the soon-to-be-American-Classic 1985, written by the indomitable Chas Vrba and directed by the sublime Eric Thomas Roach (who rocks a blue tie, by the way). As stated previously, our little Rooftop Shuffle is right around the corner. Buy your tickets and get the latest info on bands for this explosive shindig here.

Last but not least, we are proud to announce our season for 2010. These three shows are original works -- all comedies, completely subtlety-free! I think it goes without saying that in 2010 There Will Be Bits. Without further adieu:

"Hey! Dancin'!"

by Kirk Pynchon and Mike Beyer

SPRING 2010

The year is 1986. The hair is big, the fashion is ridiculous, and dancing is king. The hottest dance show in Chicago rules the cable access airwaves -- and its name is "Hey! Dancin'!" It's the last show of the season, and the station manager is threatening to change the music format because the show has gotten "too black". Our heroine Halle Stanton, with the help of her slutty friend Trisha, finagle their way on to the show. Halle hopes to meet the show's Ray-Ban-wearing star -- Kenny Kaposki, better known as Double K. Will love blossom between the innocent Halle and the dance superstar Double K? Will the show survive the change of music from Cameo to Poison? And will Trisha have sex with the show's older (yet willing) host, Randy Massingil? Find out in "Hey! Dancin'!"

"The League Of Awesome"

by Corri Feuerstein and Sara Sevigny

SUMMER 2010

The superheroes of The League Of Awesome have done it again. A villain has been vanquished, the city's fears have been quelled, newspapers have their story and all is well. See, they decided to punish this villain by trapping him inside a Hardy Boys book. Yeah, it was a little unconventional. Sure, they know that. But it's not like Drake Hurtcliffe, a horrible evil mastermind who inflicted sadness upon an entire city with his SorrowMaker, is gonna get out of the book. Zoe, Sylvia, Penny, Kitty & Rumble wouldn't let him escape. I mean....come on! What are they gonna do, accidentally create another hero who is clueless enough to join Drake's forces or something? That's ridiculous! They'd have to be drunk to do that! Now let's watch them celebrate their victory over Drake with mojitos.

Oh....oh, dear.

"Jenny And Jenni"

by Shannon O'Neill

FALL 2010

Before the Thighmaster. Before Sweatin' To The Oldies. And before Jane Fonda, there was....JENNY AND JENNI. Watch this unlikely duo rise to the top of the exercise and fitness food chain before we even knew there was one. Friends since childhood, Jenny and Jenni overcome difficult parents, initial public mockery, and an evil Jordache model to become trailblazers in the fight to keep America fit and feeling good. Follow the adventures of Jenny and Jenni as they invent the exercise studio, awesome fitness apparel, and the workout video. But will success bring this famous pair true happiness after all they've been through? Or will it tear them apart? One journey, two Jennys.....just spelled differently.

The Insider: Exposing a Factory Secret

2009-08-20T08:45:00.008-05:00

This post is brought to you by a newer set of eyes. I'll be writing from time to time to show the Factory from a slightly different lens. See, I'm new to the company. Relatively. I've been on board since 2007, but that makes me a squalling infant next to the likes of Mike Beyer, most senior member of the company, and DJ Chas, one of the ruling caste of the organization. The Factory Theater is a storied institution, producing shows in Chicago for over 17 years. That's one of the longest tenured theaters in this city. And they only make their own work! Sure, you could mount existing plays by long dead Greeks or flowery Englishmen or even familiar, home-cooked American playwrights, but this company is a wholly different beast. If I sound reverential, it's because I am. I pretty much squealed with excitement when I was invited into this company. After two years, I thought I’d reflect back on working with this company. In doing so, I decided to expose a secret about this company. I'll get to that, but there’s some history needed to illustrate.

I started watching Factory shows about seven years ago. The Factory produced balls-out theater that was unafraid of taking risks, attracting a strong reputation in the Chicago theater community. A mini-remount of White Trash Wedding and a Funeral for the Abbie Hoffman Festival had an audience packed tighter than a bulk Q-Tips package inside tiny Angel Island Theater, roaring with appreciative laughter very late into the sweaty August night. I'd also heard many happy returns from people who worked with the company. My friend Amanda, playing a crack whore in Poppin’ and Lockdown 2, was so proud of her first line, "I'll suck your cock for a dollar!" That's an entrance. I'd been working in Chicago theater since 1995, but there was something unique and enticing to the Factory. I was aching to play with them. So I auditioned.

Here's where a shift occurs, and this has to do with the secret. After my first Factory audition for a show centered around vagina, I got the best rejection ever. Everyone at the Top Shelf Gash audition thanked me several times for actually coming to the audition. Later, I'd run into other company members who also thanked me for my time. They'd invite me to company functions where they’d repeat their appreciations over beers. This was unlike the usual silence or one sentence blow-off after an unsuccessful audition. And this wasn’t just for me. After the TSG audition, I heard from other uncast people who received the same courtesies. The Factory appreciated every moment of time given to them, whether you were in the show or not. Most unusual. When I was cast in Factory shows, I discovered flexible scheduling, extra-warm camaraderie, and supportive encouragement to put all of my guts out on to the stage with everyone else. In my second Factory show, I played a poisoned English Teacher going mad with violence and lust toward my students. For the crazy scene, the director said, “You gotta get yer face IN her crotch! ALL THE WAY in her crotch! Go full out!” My nervous reactions weren’t mocked; cast and crew merely made me more comfortable so I could go all the way into that crotch. In subsequent shows, I have experienced support and love that is only akin (and sometimes even superior) to family. While it’s common for cast and crew to bond closely during a production, the Factory creates a closer, more visceral bond that comes from their attitudes toward life and theater.

So here’s the secret I discovered at the Factory Theater. This little company, with all its occasional vaginal humor and irreverent frat boy content, its full-time pulsing playground energy and naughty-naughty language, is one of the city's most mature and well-rounded companies. A paradox? Not so. Here’s why. The Factory Theater understands that all our moments spent together creating theater are at the sacrifice of something else. If an artist chooses to give time to the Factory, they are given the respect and appreciation of the company. This is uncommon in this city. The Factory is keenly aware of reality in the plays they make and appreciates how to produce them. There are no false, high class illusions in Factory plays, which are proud of their coarse, potentially offensive subject matter. There is an integrity to that because the company does not set limits on the theater it creates. The company collaborates openly and honestly, encouraging new works from new sources and fully supporting its artists along the way. For years now, the Ensemble has expanded, allowing more artists to put their stamp on the Factory, which has only made the company grow in its vision and abilities. Honesty, appreciation, and a no-limits approach to theater speaks to me of a mature company. If nothing else, the Factory Theater’s about to turn 18, so it can be tried as an adult. I’m glad to be here. I hope you’ll hear from me again.

Bear Down!

2009-08-18T22:30:00.005-05:00

I'm posting just to fulfill my contractual obligation. I got nothin', you know? The well has run dry. Anything you want to see me write about? Send me ideas. I just finished writing a show with my buddy Kirk, and I guess that took it all out of me. Apologies, Factory Theater Blog followers!

We got a ton of shit coming up this fall at the Factory. Be a part of our magic!! Dead Wrong is sadly closed and struck, but as usual we got one in the hopper that's sure to knock your goddam block off! Our new show, 1985, written by the one and only Chas Vrba, opens November 13 at the Prop Thtr. The show's Facebook page describes itself as "an Orwellian take on Chicago sports".

Directed by comic maestro Eric Roach, this show promises to be another Factory smash. Look at this all-star cast:

Timothy C. Amos

Christy Arington

Ernie Deak

Laura McKenzie

Scott OKen

Mike Ooi

Manny Tamayo

Stacie Barra Tournis

Chas Vrba

Come on! Look at that collection of talent! LOOK AT IT! TRY TO TAKE YOUR EYES OFF IT! YOU CAN'T!

Not only that, but this fall we'll be trying something brand new for our launch party. Instead of our usual digs at Chief O'Neill's, we'll instead be hanging out that night at the Lakeview Baseball Club for our launch party on Saturday, September 26, at 8 p.m. (you can buy tickets here). In case you are a Sox fan, or live under a rock, the Lakeview Baseball Club is a "rooftop" establishment on Sheffield Ave. that overlooks Wrigley Field itself. The Cubs, sadly, will be out of town that night, but our host Stanley Grabowski (filling in for Jackie Shollins, who is currently on his Far East Tour) will be there.

Also, fantastic live bands such as The Cain Mutiny and The Wanton Looks will be there to rock you harder than a Butkus sack. DJ Chas will spinning tunes and reminiscing about the Cubs' 2009 season highlight (the sweep of the hapless Indians). There will be food! Open bar! Prizes for YOU to win! And of course, a preview-type performance related to our upcoming smash hit 1985! You must attend!

For your edification, enjoy the following. Bear Down.

TONIGHT WE CELEBRATE OUR BEAVE WITH YOU

2009-08-17T17:46:00.004-05:00

We're a day late with this one and for that we apologize. After not hitting the boards at the Abbie Hoffman Festival until about 2:25 am (scheduled start time was 1am) on Sunday- we totally overslept and missed Beave's big day. The Factory's "oldest living member and resident frat-humorist" deserves more respect. As the primary contributor to this blog and official Factory historian- Beave gives so much, and yet we skip his birthday in return! Shame on us.

Dear readers- if you happen to see Beave in the near future give him a birthday hug and congratulate him for being co-author ( with Kirk Pynchon) of the first show of next season. Hey! Dancin'!

We Love Beave. He Rules! His Cleveland Browns however, suck. His preoccupation with Billy Joel is a bit disturbing as well- and we're not even gonna say a word about that photo.

Down time? No such thing....

2009-08-07T09:38:00.007-05:00

As most of our faithful readers know, there hasn't been much to read here as of late. Which probably makes the readers job pretty easy. Well, consider the little hiatus to be the calm before the storm. One might look at the fact that Dead Wrong has closed and think the Factory is taking their summer vaction now. And sure, we like to go to the beach and Lollapalooza and do all sorts of other stuff, but really- it is during this "down time" when we get tons of stuff done. There's a ton of stuff in the works...and some other things to report, so let's do it.

First things first- Long time Factory fans, friends, and followers know that when August rolls around- you'll find us over at Angel Island presenting something for Mary-Arrchie's Abbie Hoffman Died For Our Sins Festival. Really, you could just forget about Lollapaloolza this weekend- because as far as August festivals in Chicago go, you can't beat Abbie Hoffman- now in it's 21st year. Basically you're looking at 3 days on non-stop entertainment- starting with a march from Daley Plaza to the theater on Friday, August 14th at 2pm and continuing untill the final performance sometime after midnight rolls around Sunday into Monday. Over 50 different companies, groups and performers do their thing and you never no what you'll see. Quite honestly- the opportunity exists for you to see both the best AND worst thing you've ever seen on a Chicago stage before. Very exciting.

The Factory has gotten in on the action for a number of years now. Last year- we performed our Factory Third Shift Production Shameless Shamuses. In previous years, you may have seen our encore performance of Rapid Fire (an older Factory Classic) or a preview of the yet to be produced Wrestling Show. We've also given sneaks peaks of Captain Raspberry, Operation Infiltration, and others before they were produced. Sometimes we do sketch material, we did Speed the Play one year, hell, one time we passed out beer and shaved Jason Lubow head to toe! It's always something nutty with us.

This year- You'll get a couple of sneak previews of our upcoming fall shows (1985 & Hunky Dory) as well as some new sketch material (Nice Ones & The Factory Time Machine) Good times to be had! The schedule is a bit fluid, but show up just after midnight on Saturday August 15th and you should be able to catch us. (Our scheduled start time is 12:30am.) Rich Cotovosky and the Mary-Arrchie gang are great hosts and this Festival is an essential part of our vibrant theatre scene in this city, Get There!

In other Factory Theater News- Our 2010 Season has been selected! We've got three great shows lined up for next year and our busting at the seems to tell you all about 'em. But...we're gonna wait. A formal (or as formal as we get) announcement can be expected in the next few weeks. Stay Tuned!

This Monday (August 10th)- Make sure you are signed up to get the Factory Theater Eblast

as we will be sending our subscribers details about an event that will be too incredible to miss. It's the type of event you'll want to be able to say "Man, I was there" when all is said and done. Look for it!

Finally, In Factory Sports. Our softball team enjoyed another fun season. Now, in truth we are definitely one of those "it's not whether you win or lose, but how you play the game" type teams. We always have tons of fun and on occassion win a few games. This year, we made it to the second round of the playoffs before gracefully bowing out and hitting Christina's for post-game drinks. Whether celebrating victories, or drowning our sorrows- Christina's Place has been our favorite post-game watering hole. We thank them, and whole-heartedly recommend you check out the "Home of the $2.00 Guiness"

And that's What's Going On, Factory Friends! (lame version link in honor of Lollapalooza, good version HERE.)

See Dead Wrong! TONIGHT!

2009-07-10T19:25:00.003-05:00

But don't believe the Factory blog. Believe Time Out Chicago or the Chicago Tribune. There is nothing I can add that Chas hasn't already said in his previous blog. And I agree with Nina Metz -- this is a summer popcorn movie onstage. It's alternately fun and creepy and extremely well-staged.

Director Manny Tamayo sharpens and perfects his already strong grasp of noir, which theatregoers were first introduced to about a year and a half ago with Dirty Diamonds. The show runs through August 1. CHECK IT.

Dropping by to say Dead Wrong is RIGHT ON!

2009-06-22T17:52:00.011-05:00

Hey Factory Blog Readers-

Beave has graciously allowed me to post to the Factory Blog and I've decided to take him up on the offer. To quote one of Beave's favorite artists (Prince) "I could never take the place of your man" and that certainly isn't my intention- this is Beave's World...Chas is just visiting. Oh yeah, probably should introduce myself. It's me- Chas Vrba, Managing Director of the Factory Theater. I imagine most (if not all) Factory Blog readers know me- but if you don't- that's who I am. I've appeared in a number of Factory shows over the years and designed sound for many of them as well. It's fun to work for and with such an incredible group. If I were particularly religious- I might even say I'm blessed. As I'm not really that religious...I will go with fortunate.

I think Beave might be a bit melancholy after the beat down his Cleveland Indians took from the Chicago Cubs over the weekend so it's probably a good thing that I'm filling in today. I mean no one wants to read posts that are colored by the infinite sadness of a depressed sports fan- so as I am rather jubilant after this past weekend's games- perhaps this is for the best. At least for today.

Aside from a stellar Cubs weekend, the last few days also included some exciting times for the Factory. New ensemble member Ray Brazaski married his sweetheart Jessica Fogle (Congrats, Ray!) and our new show Dead Wrong saw its first audiences outside of company & production team members at preview performances. I was able to attend the first preview on Friday night and found it to be a very exciting departure from our usual fare.

Friday night allowed me to just be a fan of our company once again. Aside from the marketing campaign and various other in-house tasks...my direct involvement in this show has been more limited than it typically is. I'm not in it, I didn't write or direct it, and I didn't design the sound for it--I just got to enjoy it. Sometimes it's nice to take the time to just appreciate the work of your friends and colleagues and to be reminded how talented they all are. I certainly feel that way now.

Dead Wrong is a departure show for us- close followers of the company will notice that the last few seasons have included a show that takes us out of our comfort zone- I think it's fair to say that most people know and expect us to bring the funny. We can do comedy. However a few seasons ago, we added Dirty Diamonds into the mix and last season, Ceres. This year's curve ball is Dead Wrong, written and directed by ensemble member Manny Tamayo.

If you know Manny, you know that he has a certain affinity for 70's cinema. He is very big fan of the horror genre as well as those B-movie cop and caper thrillers. If you've seen his previous behind-the-scenes Factory work, Operation Infiltration: An Experiment in Terror (writer) and Dirty Diamonds (Director) you know this to be true. While both of those shows had contemporary settings, each one also gave knowing winks and nods to 70's exploitation films.

Dead Wrong continues this trend in Manny's work . I don't want to reveal too much but I will say, Manny's exploration into the exploitation/thriller genre has afforded many Factory regulars with opportunities they ordinarily wouldn't get on our stage and has attracted some talented newcomers as well. Here are some of my thoughts on this talented bunch:

Eric Roach jumped straight from his celebrated turn in Strawdog's Red Noses into the shoes of Mac- A detective with a hard-boiled faced and a streak of unsolved murders that may be his undoing. Roach and drama- Believe It!

Allison Cain returns to the Factory stage for the first time since 2005 (Top Shelf) While it's been great seeing her in numerous successful Lifeline productions over the last few years, it's fantastic seeing her on our stage again. Allison is Donna, a smoky lounge singer who has a Marlena Dietrich/Nico quality to her and the ability to catch Mac's eye.

Anthony Tournis gives us a completely different look from his most recent Factory outing. Those of you who saw Bustin' Out of The Hell and want to see more of the nebbish little funny man are about to get smacked in the face.

Corri Feuerstein has been favorably (and justly) compared to Carol Burnett in the past. I've always known she was hilarious- but she's got incredible dramatic chops as well. Very cool to see her on a Factory stage in a way you haven't seen her before.

Timothy Amos amazes me with his ability to find the freak lurking under his character- this is a wickedly delicious off-beat turn from him.

Josh Graves joined the Factory after working behind the scenes on a few of our shows, He surprised the hell out of me with his role in Mop Top Festival and makes the most out of his stage time here in Dead Wrong. A nice, quiet unassuming fellow (for an actor) off stage, the guy is completely captivating on it. His on stage work has been one of my favorite things of the 2009 season.

Scott Pasko first hit the Factory boards with his suave turn as Gene Siskel in Siskel and Ebert Save Chicago and returned to play with us again during Mop Top Festival. His versatility has been a real asset and despite the t-shirt he likes to sport he is far beyond being "Occasionally Entertaining" His work as Cameron is top notch.

Anderson Lawfer is on our stage for the first time. I look forward to our audiences being introduced to his work. Having seen his work in Red Noses and Open Eye's One Flew Over the Cuckoo's Nest among other things and now with his turn as Clarence in Dead Wrong, I'm thinking this guy is gonna corner the market on playing eccentrics if he hasn't already done so.

Zach Bloomfield is a newcomer who I haven't gotten to know very well yet. His creepy turn in Dead Wrong makes me wonder if I should maintain my distance.

Brian Hinkle brings the right mix of naivete and streetwise menace to his role as young Jimmy, you're gonna wonder if you can trust this kid.

Behind the scenes- the show is in the capable hands of Marlena Carlson and Jermaine Thomas up in the booth. (First preview ran without a technical hitch from what I could tell) C.W. van Baale, Dan Tamarkin and Rachel Sypniewski bring their respective talents to the production team and, as per usual, give us dynamite bang for our buck.

Dann Franke provides us with a set that utilizes more of the playing space than we ever have over at the Prop. Very cool.

Some really nice original music from The New Berwyn Ramblers and finally, a really cool sound design from Tony Ingram. My curiosity regarding the sound design for this show was at an all-time high. Between myself and fellow Factory member Nick Booth we've done the sound design for virtually all the Factory shows for a number of years now. Tony came in and created a very compelling sound scape that helps establish tone and environment throughout the play. Really awesome stuff. You need to come hear for yourself.

Ok- I fully admit this is a total love letter post to both Dead Wrong and the Factory, guilty as charged.

And I'm going to go even further and say you need to see why I'm gushing so effusively and you should do so this FRIDAY at OPENING NIGHT. We have a killer (pun intended) show on our hands and always have an awesome party with free booze. In fact, if you receive Factory Eblasts, you will get one this Wednesday that will provide you with a special discount if you buy your tickets when you get the eblast. You don't get our eblasts? Sign up here:

Now, as a sound designer and DJ you didn't think I'd waste an opportunity to throw some tunes your way, did you? You'll be able to hear a LIVE DJ Chas set at the post show party on Friday. But much like Mop Top Festival had me digging into all sorts of Beatles stuff, Dead Wrong has me revisiting all the old cop movies and sound library music from the seventies. David Shire, Lalo Schifrin, Roy Budd- are just a few of the composers who came out with sweet film soundtracks in the seventies- Jazz-Funk was all the rage back then and the hybrid of the two music genres could be heard in TONS of films and TV shows. For crate diggers, music geeks and instrumental fans...you'd be hard pressed to find a better decade to search for forgotten gems. Here's a little treat for you and tip of my cap to Manny & Tony Ingram for reminding me of all the great music from the genre. Just click and listen or download and enjoy! If anyone wants the track list, leave a comment and I'll oblige.

70's Cinema Jazz Funk Mix from DJ CHAS

Speaking of the 70's, I'm also really digging Pepsi Throwback.

and I think Pepsi should send the Factory Theater 10 cases of it and a check for $100,000.00 for letting our readers know. Seriously, Pepsi...do it. Consider this to be our Pepsi Challenge to you.

Well that's all I got. Thanks for letting me stop by, Beave.

Dead Wrong Previews This Weekend

2009-06-16T21:33:00.002-05:00

The victims: A dead woman. A missing girl.

The suspects: A famed film director. A recently released mental patient.

Detectives Mac & Chooch are on the case. But are they getting closer to a killer, or are all their leads ending up.....dead wrong?

Previews: This Weekend -- June 19, 20 & 21

Only $10.

Be there.

Kudos, Neil Patrick Harris.

2009-06-08T11:40:00.000-05:00

Randoms

2009-06-05T15:04:00.002-05:00

I hear that Twitter is the Hot New that theater companies need to take advantage of NOW. But how the heck are we supposed to maximize its impact?

Dead Wrong is going real well. I have a well-connected source who informs me last night's rehearsal was particularly terrific. Don't forget -- previews June 19, opening night June 26. Make sure you attend the big opening weekend soiree as well. It ought to be a rockin' time.

Wow, Land of The Lost is getting shitty reviews? I NEVER saw that coming!

Factory Softball is off to an 0-2 start, and we just as easily could be 2-0. New free agent acquisition Derrick Nelson was a key pickup. Kudos to Factory GM Jim Hendry....er, I mean Joe Gehr.

I could try to talk about the 16-inch softball rivalry known as Factory-Annoyance, but mere words fail the intensity of this rivalry. It's the Ohio State-Michigan of softball matchups. Circle June 24 on your calendar. It's going to be a BLOODBATH!

The blog has not properly welcomed Ray Brazaski and Joie Jackson Graves to the Factory ensemble fold. Welcome Joie & Ray! Spooning with the Beave optional!

Wow, but it was great to see Molly Brennan again at the Factory launch party. We gotta get a Q&A going for her.

Speaking of, the launch party at Chief O'Neill's was all kinds of awesome. Jackie Shollins is a barely contained force of nature on stage. Thanks to everyone who attended. You are friends of the Factory and we love you.

Only three more opportunities to see WAFF's "American Notes" in the usual Factory space at the Prop. There are all kinds of Factory people involved with this one, including director Corri Feuerstein. I myself was coaxed out of my hermetically sealed cave to check it out, and I'm glad I did. It was terrific. The on-stage chemistry between Scott Pasko and Devon Carson in particular is worth your time. The show closes Sunday....see it.

Congrats to long-time Factory friends David Cromer and Jen Grace for winning big fancy New York City awards for "Our Town"! Another old Factory face (Scott Parkinson) is currently appearing in the show as well.

See "Up"! Ignore a certain ensemble emeritus' review! Wonderful movie.

Just for the heck of it: Chas Vrba kicks ass and rules the planet.

Catching Up With.....Allison Cain

2009-05-31T23:58:00.004-05:00

Allison Cain is as responsible for the success of the Factory Theater as anyone. She guided the company through some extremely rough waters during this decade, and it is due to her leadership that the Factory is where it is today. The number of people she has brought into the Factory borders on amazing. Not only that, but she produced some of the Factory's biggest hits and starred in several others. (On a personal note, she was Wilma Gladstone.) What CAN'T she do?

Allison will appear in Dead Wrong (previews June 19, opening June 26) at the Prop, and she took the time to sit down with the Factory blog to plug the new show, reflect on her time at the Factory, and offer her insights into Chicago theater as a whole. The Factory instantly improved once she set foot through our door. She's one smart person and her thoughtful answers reflect it. Enjoy.....

NAME:
Allison Cain

TIME WITH FACTORY:
2000-2009

I saw the first run-thru of Dead Wrong last week, and came away impressed with your performance. How do you feel the show is going?

The process has been great. Manny is really big on feedback, so we are now on version 4. I am a new works freak. As an actor, I feel like I am helping to shape the show and nothing can beat that. The actors in this show are amazing and it has been a joy working with them. I also like that I get to kiss a boy. The last play that I was in, I was a nun and therefore, did not kiss anyone. That sucked.

Currently reading:

When I am in this part of the process, I do not read anything as all of my free time is spent memorizing lines. As I get older, it is harder and harder to do so I really have to concentrate on it. Kind of blows but thems the breaks. When I am off book, I will go back to this biography of Katherine Swynford, Duchess of Lancaster that I started. I also have 2066 next to my bed and I want to get into that one. Ohhh, I also am in the middle of the second volume of a biography of Eleanor Roosevelt. Christ. I gotta lot of reading to do. That just stressed me out.

Recently you signed on as managing director of the Lifeline Theatre. What do you like best about your new job (besides the ability to walk to work)?

Besides the ability to walk to work (the merits of this should not be underestimated), I love that I am now making my living working for an amazing theater company that does new work. Previous to taking this position, I acted in four shows at Lifeline and was very impressed with the organization as a whole. It is an honor to be able to be a part of the staff and have a part in shaping the future of the company. I am a very lucky person.

There are traces of humor in Dead Wrong, but the overall mood of the show seems to be one of suspense that gradually leads to out-and-out horror. Would you agree with that?

Yes, I would. Every single character is this show comes to the table with a lot of personal pain and demons. For some characters, you see it immediately. For others, you learn as you go along and all, of course, culminates at the end.

Your approach to your character is obviously a bit different from Factory roles past. What do you have to say about Donna (without giving the plot away)?

Actually, my approach for Donna is no different that it has been for any other character that I have played. I try to get to the heart of the character as soon as possible and then layer from there. So, whether a part is realistic or cartoon, I always figure out what they want and how they go about getting it. Can't really say much more cause I do not want to tip my hat.

You basically steered the Factory ship for the better part of this decade. What achievement in that time are you the most proud of?

I am proud of the fact that the Factory is a creative and safe place to work and that we have survived for so long. There were times at the beginning of my tenure, that I was not sure we were going to make but through the vision and hard work of many, we came out on top. We also were able to recruit really well. The company has some of the most talented people I have ever worked with. That feels great.

What attracted you to the Factory in the first place? What show did you first see?

Um, well I always considered myself a dramatic actresss. I went to Columbia College for a while there, and Sheldon Patinkin kept telling me that I was a comic actress. When Sheldon tells you something, you gotta listen so I felt like I needed to work out my comedic side which scared the crap outta me. What attracted me about the Factory was the manic brillance of the work, the speed at which the comedy came at you, and the creative forces behind all of it. That and the group could knock back beers like you would not believe. I think the first show I saw was Alive...and I loved it.

In your opinion, what should off-Loop theatres be focusing on to survive the current economic mess we're all in?

Companies need to be conservative in their budgeting and extravegant in their creative product. Programming should never be cut due to lack of funds. If need be, companies should figure out how to do more on stage for less money. Cut back on the set desgin if you must, but never, ever cut your season down. Our shows are our product. If we cut back on them, why would any potential donor or funder, want to contribute?

Do you feel that the on-stage talent drives the success of a theater company, or is it the organization and fund-raising ability of the company's management?

Both. The onstage talent creates the passion necessary to keep the momentum of the company going. The leadership of the organization harnasses this energy and steers the ship by using good business sense which includes but is not limited to fundraising, prudent financial planning and relationship management (with a touch of crazy thrown in because this is a ridiculous business).

Your greatest on-stage moment:

This is tough because every show I do, I fall in love with the character I am playing. So, that is kind like asking me to pick my favorite child. Can't do it.

(Editor's Note: What she meant to say was: "Every moment I have ever spent on stage with you, Beave." But that would have created some problems, huh?)

Jazz or blues? You can only pick one.

If I can only pick one, I guess that would have to be jazz.

If you and Manny could hang out with just one person for a night, it would be:

Wow. Manny and I have to agree on something? Hmmmmm... that is going to be tough. OOOOOOHHH, I got it. Okay, it is two people but I know that he would want to hang out with them. Gonna have to be Gena Rowlands and John Cassavettes.

Quiet About The Set!!

2009-05-28T14:42:00.003-05:00

I've been away for some time. Been working on some things and now they are pretty much finished. So....back here.

I saw Red Noses recently, and I definitely enjoyed it. The main thing that struck me about that show was the near-total absence of a set, which reinforced a personal mantra I've long held: Sets are nice, and they can definitely add to a show's production value. But they're a bit of a luxury, especially in today's brave new economic climate where every penny counts.

We've had some tremendous sets at the Factory over the years: Ren Faire, Dirty Diamonds, Among The Dead and Here Comes A Regular immediately spring to mind. But we've also had a ton of hits featuring sets that were makeshift at best: Alive, Being At Choice, White Trash Wedding And A Funeral, to name but a few. In fact, when the Factory was on Loyola Ave., pretty much all our sets were but a suggestion. Hell, for a few years we had one of our spotlights functioning from inside of a Folger's coffee can. Many area high schools probably had higher "production values" than the Factory at the time. Yet we brought the people in and made a little money in the process. That's because the scripts were strong and the acting and direction even stronger. In my mind, that's 90% of the battle right there.

I say this for no other reason than to spark a bit of a discussion here on the Factory blog. Is a good set that superfluous? Or is it necessary to raise the profile of a production and create a mood that goes beyond "gritty storefront"? I turn this over to you, the Factory blogosphere.....

Launch Party TOMORROW

2009-05-27T10:16:00.002-05:00

Tomorrow night (Thursday, May 28) is the Factory's launch party at Chief O'Neill's (corner of Elston & Albany), starting at 6 p.m. The party benefits the upcoming smash hit Dead Wrong, which previews June 19 and opens June 26.

The show marks the return of Allison Cain to the Factory stage, and the chemistry between Cain and co-star Eric Roach is pretty damn awesome. I love watching sexual energy onstage! Manny Tamayo, fresh off his triumphant directorial debut with 2007's Dirty Diamonds, writes and directs.

These launch parties are fast becoming legendary among the hip and cultural elite of Chicago. There will be a preview of the show at the launch party. There will also a pub quiz, hosted by living legend Jackie Shollins. The sexy Riveters will be trolling the floor.....looking for YOU. There will be a raffle for fabulous, incredible prizes. Tucker will be telling jokes. Sully will be keeping a watchful eye. Metreyeon will have new baby pics (congrats to Paul from el blog)! Chas & Milroy will dissect the Cubs' woes! How the hell can you pass this up? You can't!

Festivities kick off at 6 p.m. I DEMAND YOU ATTEND!

RIP Will Schutz

2009-05-26T13:59:00.002-05:00

Factory Theater remembers this gifted actor and friend to many. I did the short film "Martial Arts In Suburbia" last year with Will, and was immediately struck by his talent. He had many friends in the ensemble and ensemble emeritus. He is sorely missed.

Very few of us get two chances in life.

2009-04-22T14:30:00.004-05:00

But you're about to get them. Mop Top Festival closes this weekend, and tickets are truly going fast. We're about at half-capacity already in ticket sales, and it's only Wednesday. That means these two closing shows will likely be HOT. Plenty of bits. And who doesn't love a good bit? I personally could watch great bits for hours upon end -- as long as they're funny. The bits here are quite great.

My new favorite scene is the flea market, when Lydia overwhelms the snarky record vendor with her sense of smell in order to get Tommy his coveted "The Chipmunks Sing The Beatles". Fantastic. A close second is when Shuey fires the audience member who answered "None of them" when asked to name his favorite Beatle. And, of course, the "Sexy Sadie" song scene remains a staple, as does the line, "Speaking of the Beatles,I need to drink more liquor."

I'll be sad when this show closes, but as always we have another great one to take its place. Come on out -- an impromptu jam session will follow closing night! (And of course, we have strike the following day at 11 a.m.)

Lennon - victorious

2009-04-21T08:57:00.003-05:00

The second Factory poll closed yesterday, with John Lennon capturing the Favorite Beatle title rather easily. George Harrison closed with a late rush to grab second place (must have been the Hollywood Walk Of Fame star that did it). Poor Ringo, as usual, finished last.

We have a new poll opening today in honor of George -- and also the closing weekend of the great Mop Top Festival. If you haven't yet seen it, you have two more chances to catch this terrific show. Closing night is Saturday, April 25. If you have seen it -- well, there are about 63 new bits the cast has added so I promise you will be thoroughly entertained. Myself, I could watch Shannon O'Neill as the Joey Ramone look-alike record vendor for hours, and I would pay handsomely to do so.

Catching Up With.....Sean Abley

2009-04-15T22:55:00.011-05:00

Sean Abley basically founded the Factory Theater in 1992, and although he had help, there was only one unquestioned Factory Boss in the beginning, and that was Sean. Literally, the fledgling Factory was the perfect situation for a guy who lists his interests on Facebook as "telling people what to do, (and) people doing what I tell them to do."

He wrote the shows, he directed the shows, he was the funniest person in the shows, he worked box office for the shows -- I mean, he pretty much did it all. And it's not like the shows he wrote kinda scraped by (when a Reader critic is breathlessly comparing you to Sam Shepard, you're obviously doing something right). Every production he touched turned to gold, and in time each new Sean Abley show became An Event.

He was a singular voice within the Factory, and his shows set the bar for the rest of the ensemble to try and match. I personally learned a ton from Sean, as did most ensemble members. He wrote wickedly hilarious shows, and what's more he made it seem effortless and easy.

I can remember him rushing back to his Addison St. apartment after making a ton of copies of his latest script at a nearby Kinko's, called Santa Claus Conquers The Martians. The copies were for the cast, who had assembled at Sean's place for the cast's very first read-through. The paper itself was still warm from going through the copy machine, and he scrawled the title page with a Magic Marker because he had basically finished the script thirty minutes before the read-thru was scheduled to begin. And of course, that show went on to place #2 in New City's Top 5 Shows Of 1993. Amazing.

He left for Los Angeles at the height of his powers (after writing the brilliant Nuclear Family), and worked to start Factory West in L.A. Now a successful writer, director and producer in Hollywood, Sean graciously agreed to devote some of his time to answering this blog's hard-hitting questions:

NAME:

Sean Abley

TIME WITH FACTORY:

1992-1997

So what are you working on these days?

The most recent film I produced, PORNOGRAPHY, is starting the film fest circuit. In the meantime, I’ve been writing like a crazy madman, with the sequel to my first feature, SOCKET, called SOCKET: BRAIN CELL and SWITCHCRAFT, a supernatural gay sex comedy. We’ll be shooting those this year. I also decided I wanted to get back into theater, so I’ve been writing a play a month and am going to start sending those out and about. Oh, and I write the GAY OF THE DEAD blog for Fangoria.com.

You started the Factory Theater with a group of like-minded Second City "refugees". What led you to undertake such a monumental project?

It’s funny – it didn’t seem so monumental at the time. In fact, everybody in town was doing the same thing. I’d produced a couple of my own plays, including REEFER MADNESS, which Jeff Rogers directed. He and I had known each other for years, gone thru Players Workshop and Second City Training Center together, tried to put a show or two together. So after REEFER, we decided it was time to form a company. He brought in Mike Meredith and Tom Purcell, and I brought in Amy Seeley. Very soon after that Bo Blackburn came on board. We all put in the grand sum of TWO HUNDRED DOLLARS apiece to pay the first month’s rent and mount the first show. I can’t speak for everyone else, but I did it because I really wanted to be a playwright as well as an actor, and I was tired of waiting for other people to let me do those things.

How did you discover 1257 W. Loyola Ave. (the Factory's very first home), and what are your memories of that space today?

Jeff and I sort of knew a few people from a company called Cardiff Giant (which, incidentally, the creators of URINETOWN were part of), and word got to us just as we were thinking about forming a company that they were looking to get out of their space in Rogers Park, but couldn’t break their lease. So they needed someone to take it over. We met with them, and they asked for thousands of dollars in payment for all the lights, props, stage, etc. They also let it slip that they needed $600 for past due rent. So we offered them $600 total for the whole thing, and they sort of had to take our offer. I have so many memories of that space, but the saddest one is of the autograph wall, started by many companies before us, and now gone forever. Every show had a space on that wall where the cast and crew signed on opening night.

Over the years, I have heard talk about certain Factory ensemble members that goes like this: "He/she is so dedicated to the Factory -- he/she practically lives at the space." But you actually DID live at the 1257 W. Loyola space for a time when you were first getting the theater off the ground. Give the readers a sense of what that was like.

Well, my “apartment” was actually a walled off space in the downstairs dressing room. Literally flats nailed together with a flimsy door to form a “room”. It was big enough for a bed, dresser, and a TV and not much else. I cooked on a hot plate in the box office, and took showers in the shower backstage. I lived there because A.) the Factory needed an additional source of rent money and B.) because I had a huge falling out with my roommate at the time and had no place to live and very little money. The problem was, our landlords were next door – we literally shared a stairway between the two spaces leading to the adjoining basements. They did NOT want someone living there, so for the 18 months I was down there, I lived in fear of them discovering me showering backstage at 8 a.m.

It was actually really cool for awhile. I loved being in the theater, and living there made it easy to be at rehearsal. But after awhile it became a real drag. There was rehearsal literally every night we didn’t have a show, and on show nights I had 50+ people in my “house”. So I never had any privacy. But I’m glad I did it. And I also did IT onstage once.

You are now in charge of Facebook. What changes do you make (if any)?

That’s a tough one, because I usually just get used to whatever changes happen. I guess I’d make it easier to stop being notified every time someone comments on something I’ve commented on.

What's the very best part of planning a wedding?

If you mean my upcoming gay wedding, I'd say - Having planned a wedding. During the actual planning, not much is “fun”. Although I do like getting the RSVP postcards back in the mail. I’m sort of fascinated by the mail, and love sending actual letters.

My own memory is that the Factory literally became an overnight sensation with the public, even if critics such as Jack Helbig were loving the Factory pretty much from the beginning. Is that your recollection as well?

Hmmmm, sort of? As I remember it, our first couple shows – the remount of REEFER MADNESS, a sketch comedy show called SNAFU, and a truly horrible play, SPIN DOCTORS – were all doing really poorly for the first six months or so. Then we did my show, ATTACK OF THE KILLER B’S, and suddenly we were selling out. And from then on, at least during the five years I was there, we had hits with about 90% of all the shows we mounted.

"Bitches" will forever be the show known as the Factory's first gigantic hit, and in many ways it still has never been surpassed. Were you consciously writing with that idea in mind (i.e. "I'm going to write a huge smash hit show that people will stand in line to see") -- or were you just trying to write a funny show to make your friends laugh?

I’ll quibble with that assessment, because I really feel like KILLER B’S was the first big hit, but BITCHES did amazingly well, and had a life beyond the Factory, so it seems like it was the first biggie. And much like KILLER B’S, I wrote BITCHES out of desperation – we needed a new show. KILLER B’S I wrote in four days, BITCHES was written in about a week, with two key scenes added after we started rehearsals. I created some parts for specific people, and then just cast around for the rest of the guys.

The initial idea behind "Bitches" (13 men playing 13 women) was brilliant, but I always thought the differences in the characters' costumes really set it apart. Some actors really took dressing up in drag seriously, while other actors were basically going out there in a wig and a visible five o'clock shadow. In your opinion, what was the key to that show's success?

Hands down, that amazing original cast. Once the gimmick of 13 men in drag wears off, what are you left with? In the case of BITCHES, it was a bunch of guys who were all really great actors playing the truth of the characters, playing women, rather than playing “at” playing women and going for the easy jokes. I’ve never had a production of any of my plays that equaled the perfect casting of BITCHES’s opening night, and that was 15 years ago.

Is there any restaurant in LA equal to Chicago Oven Grinders?

Well, Eat A Pita is pretty great, if only for the fried cheddar cubes and Malibu Chicken Crisper.

I try to never miss a single episode of:

Currently, 30 ROCK, AMERICA’S NEXT TOP MODEL, RUPAUL’S DRAG RACE, LOST (because my husband forces me to watch it), INTERVENTION, and DAMAGES.

I've heard you talk about your Second City training experiences -- and of course, you skewered the entire process in the Factory's "Second City Didn't Want Us (Or, Is There A Spot In The Touring Company For My Girlfriend)". What was it like to perform that show in front of Kelly Leonard and other Second City "royalty"?

On opening night, Kelly Leonard’s dad, Roy Leonard, the incredibly popular film and theater critic, sat in our theater and watched me play his son in a very unflattering way. I have to say, I’ve never been more gut-wrenchingly nervous before an opening night, or elated immediately after. I could have closed that show after opening night, because it went over 100 times better than we expected, and we got what we wanted – a ton of press for daring to poke fun at The Man, and the validation that Second City had fucked up by not hiring us because we were all too f-ing talented. I know, that sounds INCREDIBLY pretentious, but fuck it. Various Second City folks saw the show, many of whom we either played or mentioned by name, and I had many of them tell me they loved it. SPOILER: Apparently it wasn’t so much fun working at Second City.

Funny or not funny?

1. Dick jokes – frequently funny.

2. Mad Magazine – Funny. Especially up until the mid-80’s. But still funny.

3. Tina Fey – Funny. But apparently not funny enough to be cast in a Factory show. Truth. We had a general audition during one of the early years of the theater, and we asked for a “non-traditional comic monologue.” Toward the end of a VERY long day, this very mousy girl with a scar on her face came in and did “Jackie Collins’s ‘Letters from Nam’”. It was hilarious, but she was so quiet and had no “umph” when we talked to her, so we never called her in for anything. She seemed more like a writer than an actor. I wonder how she’s doing now….

4. Fart jokes – Hmmm. Fart SOUNDS? Funny. Fart jokes? Eh.

5. A kick in the crotch – Always funny, unless it’s my crotch.

6. Pee Wee Herman – Funny, and my hero.

7. An anvil dropped on the foot – Eh. Depends on whose foot. A one-legged amputee? Funny.

8. Mel Brooks – Used to be funny, but sadly, not funny now.

"Nuclear Family" was your swan song at the Factory Theater, and many still consider the show to be the finest play ever produced at the Factory. It was pretty much a 180-degree turn from your earlier efforts -- what led to the writing of that show? Was it just a matter of trying to do something different, or had something else happened to trigger the play's creation?

If by “many” you mean the critic Justin Hayford, I’ll agree with that. NUCLEAR FAMILY was a great note to go out on, because the show really did well. I wrote it for Amy Seeley, Nick Digilio, Marssie Mencotti, Molly Brennan and myself, and ended up with three other really great people in it as well – Wendy Tregay, Hal Kilgore and David Babbit. And of course, the late Joey Meyer, my best friend, directed it. After doing all the movie-inspired stuff, I just wanted to see if I could write a “straight” black comedy, with real people and no breaking the fourth wall, etc. It was incredibly hard to write, mainly because I couldn’t rely on schtick, and it was largely autobiographical in that I poured a ton of my personal life into each of the characters. I had no idea it would be as popular as it was, and even now I think the second act needs a complete overhaul. And strangely, I’ve never ventured into that territory again as a playwright. I guess I got it out of my system…or I’m too afraid to go back…

Best horror film no one has ever seen:

That’s tough, because I watch so many horror flicks, and I have no perspective on what normal people have seen. But I’d say either DON’T LOOK IN THE BASEMENT, a really nasty exploitation film from 1973 set in an insane asylum, or HORROR, this trippy, “Is this a dream?” film by Dante Tomaselli.

The votes are in......

2009-04-14T11:19:00.004-05:00

Revolver was named as the Beatles' best album in The Poll That Took Way Too Long To Complete. Thanks to a late push, it narrowly beat the second-place White Album by a vote of 12-9. Abbey Road came in a close third place with eight votes, followed by Beatles For Sale with seven suspect votes. Personally, I was surprised by the relative lack of Factory Blog love for A Hard Day's Night and/or Let It Be. But I personally voted for Revolver, so in the end I can't quibble too much with the poll results.

I find it interesting how time has treated the Beatles' albums. I do think Revolver is their best album, though it beats out Rubber Soul by a nose. And had the White Album been condensed into a single album, it may have gotten my vote as well. Finally, I think Side 2 of Abbey Road is pure brilliance, but Side 1 has too much pedestrian Beatles for me to vote that record their all-time best. Discuss!

We'll do Beatles-themed polls until Mop Top Festival closes (and you have two more weeks to catch this outstanding show). Until then, vote in the new poll and stay tuned for more bloggin'!

Creative Differences

2009-04-09T09:27:00.005-05:00

NOTE: This post is one jagoff's opinion, and does not represent the view of the Factory Theater. OK, carry on.

The recent brouhaha at ATC got me thinking about the power of personalities within a theater company. Now, I strongly believe that differing sensibilities within the Factory have actually led to some of this company's very best work. I can cite a bunch of shows off the top of my head where that was the case. A show often has two or even three strong personalities and voices, all working their collective asses off to put together a great show. They're not going to gel 100% of the time. It's never pleasant, and sometimes the ends don't even justify the means. I won't go into specifics because then I'd have to name names and dates and shows, which would only get me into trouble.

But I've never had a problem with that kind of conflict, because it means that people care. Sometimes conflict then leads to change where a key person or two leaves the company. Then it remains to be seen whether that change is a good thing overall. The Factory has experienced plenty of turnover in its 16+ years, with tons of ups and downs. I personally think we're on a great roll right now. We continue to nurture new writing, actors come back time and again to work with us, and our product quality still remains high.

(To those few who disparage our product, I say only this: YOU write something, pal. Otherwise, shut it.)

I obviously don't know jack about what's going on at ATC other than the one Time Out Chicago piece I read yesterday. But from what I can gather, ATC hired an artistic director to clean up their mess. It seems he was doing exactly that -- only they didn't like the way he was doing it. Personally, I think there is an inclusive way to go about change that gives ensemble members a stake in what's happening, as opposed to just firing them. But that obviously isn't P.J. Paparelli's style, and you have to give him credit for being himself (even if it caused pretty much the entire ensemble to RESIGN).

Is there anything new about conflict within a theater company? No. Is there anything new about an entire ensemble telling its artistic director where to stick it? I guess (I would love to see some of the back-and-forth e-mails flying around within ATC). Sometimes, conflict against a single ensemble member can unite a company. Once that uniting factor goes away, other disagreements can bubble to the surface which may even be worse for the company overall. What are these 23 former ATC ensemble members going to do, now that they don't have P.J. Paparelli to kick around anymore? Hopefully they won't turn on each other.

I can remember several ensemble meetings at the Factory that were absolutely charged with tension. Huge arguments. Big buildup to said meeting (which usually took place inside a bar the night before). I would drive to the space for ensemble meetings, just positively filled with dread. I would envision the fireworks that were sure to go off, and rehearse my responses.

But here's the thing: I found that everyone usually felt better after such an "explosive" meeting 99 percent of the time. Once an issue or disagreement was brought out in the open, face to face, it was like a weight was lifted and the company was better able to move forward. I saw this time and again at the Factory. A while back, we had a much-maligned ensemble member resign under pressure to all our faces. That was one of the gutsier things I ever witnessed in my life. Then we went out as a company and put together a couple of shows that rank among our very best. In my opinion.

So a pressure cooker isn't always a bad thing, as long as the quality of shows remains high. As for Chris Piatt's point about a democratically-run ensemble being unable to operate as a successful business -- well, I respectfully disagree. I believe successful theater leadership consists of communicating with an ensemble, finding out what they want, and then working to make sure it all happens. That's been happening here at the Factory more or less since the beginning. People want to be led, and we've been lucky to have great leadership over the years.

Catching up with......Scott OKen

2009-04-07T13:51:00.006-05:00

Scott OKen is an American original. There literally ain't no one else like him. I sat next to OKen at last night's Actor's Night for Mop Top Festival (3 more short weeks!), an experience almost as entertaining as the show itself. This is a guy who gives it everything he possibly has -- even when he's just sitting there watching a show. Granted, it was a show he himself wrote and directed, but still.

When White Trash Wedding And A Funeral was in its first few weeks, the Chicago Tribune decided to grace our ramshackle theater company for the very first time with its exalted presence. Until then, we usually had great luck with the Reader and had done fairly well through word of mouth. We were putting butts in the seats, but the major Chicago media continued to ignore us -- until that fateful night in late '95.

So Larry Bommer sat uncomfortably in our dilapidated seats at 1257 W. Loyola Ave., while we the cast tried our very best not to freak out too much backstage.

Anyway, White Trash began with the opening notes of Lynyrd Skynyrd's "Free Bird", and at the very top the lights went down one by one with each drum fill -- as opposed to a traditional slow fade. It really gave the show a rock n' roll feel (I swear, this whole aside has to do with OKen. I tend to ramble). As the first organ notes began to play that night, with our destiny before us and the liquor-fueled crowd of about 45 starting to whoop it up, OKen suddenly and violently took me aside.

"The Tribune is here," he said to me with fire in his eyes. "We're gonna be fucking famous."

I obviously never forgot that moment, and 14 years later he still gets excited about the theater and about the Factory in particular. In many ways, right now he is the Factory. So we put the following tough questions to him!

NAME:
Scott OKen

Member of the Factory Since:

1996

You wrote and directed Mop Top Festival, the Factory's latest hit show. Now that it is up and running, what's your take on the finished product?

I have never been so proud of a cast and crew. They brought my exact vision on to the stage. I am 100% Artistically satisfied.

Movie you are looking forward to the most this summer:

Xmen Origins: Wolverine!

Explain the genius of Bill Bixby.

I grew up on Bill Bixby...he was in a lot of tv series ingrained on my early tv watching brain...My Favorite Martian, The Courtship of Eddie's Father, The Magician, and of course, The Incredible Hulk..(you wouldn't like me when I'm angry...). Truly a genius....plus I just like saying "Bixby".

You have now written several shows for the Factory, beginning with Surface Dwellers. Do you have a favorite show out of all them?

I like different shows for different reasons. Surface Dwellers holds a place in my heart because that is mine and Ernie's first script. Toast of the Town may be the most perfect play that Ern and I have written. Top Shelf was my first solo effort and first lead role..GI's in Europe, I got to play Elvis essentially...Bustin' out of the Hell, was a subject matter that I really had a good time exploring, and Mop Top Festival may be the most personal and satisfying.

The "delivery room" scene near the end of Toast of The Town belongs in the Pantheon of All-Time Great Factory Scenes. How did you come up with the idea and was it easy to write?
It was a slightly heightened version of what really happened with the birth of my first son. Ernie and I added some bits in, and Nick Digilio, the director, really took it to new heights. Yes, it was very easy to write!

What's your prediction for the Cubs this year?

WORLD SERIES!!!!!

Do you have a favorite role out of all the Factory shows you have ever done? If so, what is it?

Tie between, Chet in GI's in Europe, Satan in Bustin' Out Of The Hell, or the Detective in Preying Manthis

What makes Thin Lizzy one of the all-time great rock outfits?

Outfit.....ha!...Phil Lynott is a vastly underrated songwriter and singer. I love the dual guitar attack of Scott Gorham/Brian Robertson(and a few others) Every song on every LP is good...and they jam so hard!!!!!

Toast Of The Town is heavily influenced by the Marx Brothers. Is that how it started out when you first began writing it?

Exactly. Ernie Deak (the co-writer) and I are major Marx Brothers fans...this was the perfect formula for us to use.

Will Jay Cutler be the finest Bears QB since Sid Luckman?

3 Superbowls...just to start out....

The "Sexy Sadie" scene is my current favorite in Mop Top Festival. What led you to choose that particular song? Was it for the reasons that Christine Jennings' character describes in the show? That's part of it. I didn't want to use an "easy" crowd pleaser, like Imagine, or Hey Jude, or something like that. It was always one of my favourite Beatle tunes, and I think it lends it self to the rest of the character participation and buildup perfectly.

As the artistic director of the Factory, what is the accomplishment you are most proud of?
Getting more people to write and submit plays.

What are your goals for the company going forward?

I want the Factory to be on the MAP! I want everyone to know that THIS is the place to be...where creative expression is NOT dead!!!! In a perfect world I would love for us to be in a financial postion to do 6 plays a year.

You are trapped inside an elevator with the members of Genesis. What do you say to them?

Why did you try to ruin music? It almost worked! Stop now! Go now and destroy all the master tapes now! Please! I see why you picked the name Genesis....the beginning...of the END OF MUSIC!!!!

Hardest song to play on the guitar:

Any song by Genesis, Wilco, or R.E.M. because the guitar instantly rejects the bile that those songs produce...it locks up...I have to talk to it and promise to play some Hendrix...

Secretly the most difficult chord progression is the bridge from "Dance Hall Days" by Wang Chung....took me forever to figure it out!!!!

Your five desert island discs as of this week:

1. Thunder and Lightning-Thin Lizzy

2. Let it Be- The Beatles

3. Montrose- Montrose

4. Captain Beyond-Captain Beyond

5. Black Sabbath-Black Sabbath

Actor's Night TONIGHT

2009-04-06T10:33:00.005-05:00

Actor's Night is always an awesome time, and tonight promises to be especially outstanding in light of the new hilarity that is simply CRACKLING throughout Mop Top Festival. I saw it last night and chuckled mightily at about eight or ten new lines in the show.

So....purchase a six-pack of Schlitz and get yer butt up to the Prop tonight! 8 pm sharp for the low low low price of $5! We're going back to 1992 Factory admission prices! What, you're going to watch the stupid NCAA National Championship instead? Who cares? Tyler Hansbrough's a dick (and I hope that last sentence goes straight to the top of Hansbrough's Google page)!

COMING THIS WEEK: More ensemble updates, a Q&A with a living Factory legend, and much, much more.

See you TONIGHT at the Prop!

Enjoy some Wings

2009-04-02T15:30:00.000-05:00

I got nothing today -- so enjoy some solo Paul....

Factory In The Field

2009-04-01T12:27:00.007-05:00

We have a lot of Factory folk doing outside projects and generally having a life outside the Factory. So for today's feature, we thought we would highlight who's doing what in Chicago. I think I have all the info, but if I have it wrong, please correct me. And then I'll get to it whenever I feel like it.

On to the ensemble people and their doings:

Sara Sevigny is in her final weekend of Solid Gold Cadillac at the Athenaeum. A huge Factory group is going on Thursday for industry night, so you know that'll be a rockin' crowd. Yay Sevigny! Join her PhP board too, so you can do a bunch of online things that I don't yet understand.

Chas Vrba will be in Hizzoner, starting this weekend at the Theater Building -- I believe. I can't think of one actor who belongs in that play more.

Christine Jennings is in Mop Top Festival and is anxiously awaiting the start of baseball season. Colin Milroy is also looking forward to baseball season -- but also to the impending birth of his second child. Hey Colin (and Paul Metreyeon) -- two kids are twice as fun as one! Really! They really are!

Laura McKenzie will be showing it in That's Weird, Grandma for six Sunday matinees at the Neo-Futurarium, starting April 12. Showtimes are 2 p.m. We need a Factory kids field trip for that one!

A true slacker in every sense of the word, Corri Feuerstein (pronounced FOY-er-stine) is following up a successful understudy turn in Mop Top Festival by directing "American Notes" by Len Jenkin for Will Act For Food. It goes up May 8 at the Prop Thtr. Everyone's favorite scholar C.W. VanBaale appears in the show, and America's Funny Man Tucker Curtis will understudy C.W.'s role on Memorial Day weekend. Evil Twins fan Nick Booth is doing the sound, and sex kitten Cat Dughi has volunteered her services for the company's foodraising benefit, Cans For Cash (May 18). All photographs by (who else?) the great Paul Metreyeon.

Matt Engle is back from the road and is apartment hunting. He wants to be near the el and pay less than $1200 a month. He still thinks The Proposition is a shitty movie. Learn!

Heather Tyler will be shooting a SAG short film, "Broken," over the weekend with Open Flame Films. She plays heroin Mom. Not to be confused with heroine Mom. Heather has "a big kitchen scene making cookies as the one-year-sober Mom, a death scene as the return-to-the-juice Mom, and a few random scenes as ho-mom who's gotta make a buck." Heather apparently also did something bad in a past life, because she will also be working with an ADD eight-year-old. Apparently, his real mom says to give him a Mountain Dew if he gets tired on set. FUN!!!!

Carrie J. Sullivan is in charge of these here parts, and you better kowtow or she'll have your ass in a Sybaris sling. She is knocking everyone's socks off on stage in Mop Top Festival in a terrific performance. Come see her -- particularly on Actor's Night, which takes place this coming Monday, April 6, at 8 p.m. at the Prop Thtr. Come see us! It's good! I'm working box that night! We can spoon!

Allison Cain is also in her final weekend of Mariette In Ecstasy at the Lifeline Theatre. Do those guys ever do a bad show?

Eric Roach can be seen in the upcoming Strawdog Theatre production Red Noses, which opens April 18. There are a ton of Factory friends in that one! It's gonna be a good'un! Strawdog!!

Congrats to Angie Martinez, who is ADing the next Factory smash hit Dead Wrong, for casting the show over the weekend! Previews are June 19.

We're on WXRT!

2009-03-31T22:53:00.001-05:00

Terri Hemmert on Mop Top Festival

Catching Up With.....Kirk Pynchon

2009-03-31T13:30:00.004-05:00

As a follow-up to yesterday's blog, I caught up with Kirk Pynchon for another hard-hitting, provocative interview that only the Factory blog can provide!!! Enjoy.....at your own risk! This back-and-forth is EXPLOSIVE!

Name:

Kirk Pynchon

Favorite Factory Memory:

My Favorite Factory Memory has got to be playing UNO during "Bitches". All of us guys in drag while we fought over a stupid kid's card game was truly hysterical. The fact that we changed the cards that read "pick four" to "pick 25" made it all the more funny.

Have you recently boycotted any store or product? If so, why?

I am currently boycotting Quizno's Subs because their free sub giveaway turned out to be a fiasco with many of the Quizno's shops refusing to participate. Fuck Quizno's.

While in L.A., you spent some time working with Tim Robbins and the Actors' Gang. What are the three things you learned as a result of that experience?
1) Bush was a bad president
2) Bush was a bad president
3) Bush was a bad president

You and Jesse Dienstag wrote ManCard, which was a huge hit and helped put the then-fledgling Factory Theater on the map in Chicago. What was it about that show that appealed to so many people?
I think what people liked about it was that we celebrated and mocked young white guys at the same time, which back then hadn't been done before. People seemed to appreciate the fact that we knew we were stupid but that we loved being that way.

If you could challenge George Clooney to any game, what would it be? If you won, how much would you taunt him?

Honestly, it would be basketball. Everyone says he's really good, but I think I could bully him on defense a bit. And, actually, I would taunt him very little. After I beat his ass I would walk up to him, shake his hand and say, "Good game, Mr. George Clooney. You played basketball like you acted in "Batman and Robin" - poorly and with enlarged nipples."

What Hollywood actor/actress most deserves a punch in the face?
Your mom. See? See how I do it?

(Editor's Note: I just like to hold Kirk's mom gently, and caress the thigh.....)

"The Crying Game" sketch from Man Card is still one of the all-time great scenes in Factory history. What are your memories of it today? It always got HUGE laughs and often applause. How did you guys come up with it?
That movie was so huge in 1993 and everyone kept talking about "the secret". And one of my idiot friends went ahead and told me the secret (that the woman Gabriel Byrne was in love with was actually a guy) BEFORE I saw the movie. So when I went to see "The Crying Game" anyway I knew ahead of time what I was getting into. And the whole time I'm watching the movie I kept thinking, "I know that's a dude - but that dude is pretty fucking hot". So the whole confusion of feelings inspired the sketch. And when I talked to Jesse about he said, "I feel the exact same way." And we just knew that we had to write something about it and put it in the show.

And just a side note, let me thank you, Mr. Beyer, for coming up with the idea of doing our reaction of realizing Jaye Davidson was a dude in slow motion. It literally made the piece (you will get no more thank you's in this interview).

Jesse and I loved doing that sketch. it was really our centerpiece. Even if we were having an off night we knew "The Crying Game" sketch would win the crowd back. Even when we did it in LA five years after the movie came out we still got a great response. And in the great Factory Theater tradition we kept adding and extending the sketch just to milk more laughs and stroke our egoes!

You ended Man Card with "A Whole New World", which at first seemed out of place with the rest of the show but was in fact the perfect ending. What was the idea behind putting that at the very end?
Lip syncing to "A Whole New World" was really just a fluke. Jesse and I knew we needed to end the show in some big way but we were too lazy to write another sketch. That fucking song was everywhere in 1993 and we just thought it would be funny if two guys sang a love duet to each other. We barely rehearsed and when we did we mostly just laughed. And when we performed it we figured at rock bottom the gang at the Factory would enjoy it. We had no idea that it would work so well and only later realized that the lyrics of the song fit with what we were writing for the show.

Another side note - Now that I have 2 kids I constantly have to play that "A Whole New World in the car for them. And all I can think about when I hear the song is how lucky Jesse and I were that we got away with lip syncing to it. It's such a dumb song.

Word association: I'll give you a name/word and you type whatever comes to mind.
1. Prince - The man plays over 25 musical instruments.

2. Cookies - The one weakness I cannot overcome.

3. LeBron James - Cleveland's savior

4. Scott OKen - This is the God's honest truth. Scott is one of the most naturally funny people in the world. He doesn't even realize how much of a genius he is.

5. Crack cocaine - Only good when combined with whores. (Editor's Note: Hooray!)

6. Oreos dipped in French Onion dip - A delicious taste sensation from the early 90's that makes me miss my days in Chicago.

7. Grindhouse - A massive disappointment.

8. Counting Crows - Music to kill yourself to.

9. Los Angeles - I truly love living in LA. Ironically, the weather is my least favorite part of it.

10. Anthony Michael Hall - Should be a bigger star.

You also wrote Poppin' & Lockdown 1 and 2 with fellow Factory alum Mike Meredith for the Factory, which ran both in Chicago and L.A. What are you two working on these days?
We now write screenplays with a fellow Chicagoan, James Leary. We all hate each other.

How does it feel to know that if we played one-on-one in hoops tomorrow, I would beat you like a little bitch?
Mike, you are a very talented player. You've got a nice jumper, good handle and shockingly good hops. That being said, you are weak minded, lack the killer instinct and after I beat you I would pimp slap you with my dick.

Billy Joel: thumbs up or down?
Geez, that is a hard question. His early stuff is AWESOME but the fact that he wrote that travesty of a song, "In The Middle of the Night" really brings him down. I'm going to give him a hesitant thumbs up.

Who's the hottest Asian chick out there right now (besides Ann)?

Kelly Hu

(Editor's Note: If you click on one hyperlink in your life, make it this one. Sweet Christ.)

Your thoughts on the upcoming Three Stooges movie starring Benicio del Toro as Moe, Sean Penn as Larry and Jim Carrey as Curly?
The greatest casting choices in the history of cinema.

Explain the genius of White Men Can't Jump for those who need to learn:
It is genius based on this one line from the movie. Before a big game a rival basketball player taunts at Woody Harrelson and Wesley Snipes: "You and the Cream of Wheat Man get the fuck back to Mayberry. And tell Aunt B. she better get me my bean pies or I'm gonna kick her ass!"

All right, who's the joker voting for Beatles For Sale??

2009-03-30T14:18:00.006-05:00

I'm trying to do a serious poll measuring the blogosphere's feelings on the best Beatles album, and some Subversive-Man Swanson is CLEARLY stuffing the online ballots for Beatles For Sale! Apparently, Beatles For Sale is the second greatest album in Beatles history, trailing only the White Album!

SHOW RETROSPECTIVE: Man Card

2009-03-30T13:00:00.005-05:00

I thought we’d do some features that talk about past shows the Factory has done here in Chicago. I can’t believe that the Factory has been around for nearly 17 years, but we have, and it is a true testament to all the tremendously talented people that have cared and kept it going throughout the 90s and 00s (or aughts). It’s crazy to think about all the talent that has passed through these doors. So this kind of feature will address past Factory favorites. Hopefully you'll find them interesting, and if you don't -- well, this blog doesn't cost you anything.

From the very beginning, the Factory had put out its fair share of well-received shows, like SNAFU, Reefer Madness and Attack of the Killer B’s. But the Factory really took off like a shot in 1993 and 1994, with shows like Bitches, Santa Claus Conquers The Martians, Hooray!, Alive, and….Man Card. We’ll hopefully talk about all those shows in due time, but today the subject is Man Card.

Man Card was conceived and written by Kirk Pynchon and Jesse Dienstag, two company members who now both reside in LA. It premiered at the Factory’s space on 1257 W. Loyola Ave., and from the get-go it was an immediate smash. Chris Jones called it one of the “best late night parodies out there.” Sid Smith, writing for the Tribune at the time, said it was “hilarious” and a “sterling icon of 90s manhood.” The crowds came out immediately, though the larger production-value Bitches seemed to get all the glory at the time.

I stage managed Man Card during its time at Loyola Ave., and I have always thought that Man Card tackled a familiar topic – the travails of the straight white dude – in a style that was ahead of its time. A show like that can very easily veer into “Defending The Caveman” territory. But Pynchon & Dienstag made it seem very fresh and new. Yes, they were frat-type dudes, and they loved beer, sports, broads and the Spin Doctors. If a chick turned down their advances they would say to each other, “Fuck her, she’s fat.”

But they were also both likable performers, and I always thought the material showed a real self-awareness that nobody else was doing at the time. They had a sketch called “Man to English, English to Man” Dictionary, which allowed anyone to translate the sayings of two typical dudes. Here’s an excerpt (and it’s been 15 years, so I’m paraphrasing):

GUY #1: Dude, what the fuck?

GUY#2: Dude, whatever! What the fuck’s up with YOU?

GUY#1: Yeah, well I usually like a little kiss before I get fucked!

GUY #2: Yeah, well I like a reach-around before I get fucked!

GUY #1: Fuck you!

GUY #2: Fuck you!

(Guy #1 faces the audience.)

GUY #1: Now, using the “Man-to-English, English-to-Man” Dictionary, let’s translate:

(They turn back to each other.)

GUY #1: You hurt me. I’m angry with you.

GUY #2: I, too, am in great pain and feel that my needs have been overlooked yet again.

GUY #1: Your anger hits me like a ton of bricks.

GUY #2: Your insensitivity wounds me.

GUY #1: I love you.

GUY #2: I love you.

The sketches throughout smartly picked up on the whole “metrosexual” thing long before there was even a name for it. The highlight of the show was a sketch that probably seems the most dated today, and it concerns two guys going out to see The Crying Game without knowing the plot. The lights come up on the two sitting in the theatre watching the movie, and saying stuff like, “The black chick is fucking hot!” and “Shh! She’s gonna show some trim.”

Their reaction to the infamous “reveal” in the movie, where we learn that Jaye Davidson’s character is in fact a “he”, was an Instant Classic. Their reaction to the movie’s reveal was performed in slow-motion. Their transformation went from lustful expectation to out-and-out horror and revulsion to seeking involuntary comfort in each other’s arms. They were brilliant at the slo-mo. Sometimes, memory can make my recollection of events seem bigger than they really were, but I’m pretty sure that particular bit never once failed to get huge, huge laughs and often applause.

And, of course, the show ended with an interpretive dance set to “A Whole New World”, from the movie Aladdin. No explanation given – just an ending dance and lipsync. The audiences ate it up. They moved on from the Factory to the old Body Politic, and then the Bailiwick, and finally Los Angeles. The show got big responses and great reviews every time.

“Alive” and “Bitches” get all the love when people talk about the Factory’s early days, but “Man Card” was right there – and just as excellent.

IMPORTANT NEWS FLASH!

2009-03-27T13:51:00.002-05:00

See Mop Top Festival tonight (Friday, March 27). Tickets are available for TONIGHT's show.....at a one-night-only, very, very, very, very good price. Do it!!!

Dude, it's World Theatre Day! You GOTTA get wasted!

2009-03-26T12:01:00.004-05:00

What is World Theatre Day, you ask? Well, look no further -- the organizers have their own blog. In Chicago, they are celebrating tomorrow night (Friday the 27th) at the Chopin (1543 W. Division Ave.) anytime after 9 p.m. Go there -- and celebrate the world of theatre through liquor!

But before you do, swing by the Prop at 8 p.m. to check out Mop Top Festival. Do it -- especially if you love the Beatles (and who doesn't). Then go hang out with the off-Loop theater celebrities at the Chopin.

Also, a quick unrelated comment about the poll: I know it isn't fashionable to proclaim Sgt. Pepper's the Beatles' best album these days (and 20 years ago that choice was a virtual slam dunk), but I find the lack of love for the Beatles' magnum opus very interesting. My God, Beatles For Sale is getting more votes! I'm not saying anything more, other than that I am surprised.

Just for the heck of it......Fannie Flagg

2009-03-25T12:06:00.001-05:00

Catching up with......Sarah Rose Graber

2009-03-25T09:01:00.004-05:00

We're going to be trying some different things with la Factory blog. Some different features and cool things that will hopefully entice you to be a regular here. We added a jukebox at the bottom for your listening pleasure, which leads off with a great tune by the second greatest band of all time. Just scroll down to the bottom and commence with the jams!

I also thought we should do some ensemble profiles, particularly of those in our new smash hit show, Mop Top Festival, which runs every Friday, Saturdays (8 pm) and Sundays (7 pm) at the Prop Thtr., 3502 N. Elston Ave. So today we spotlight the lovely and talented Sarah Rose Graber, who plays Mel in the show. We caught up with Sarah recently, and asked her some tough, hard-hitting Facebook-style questions. Let's get to the responses!!!!

Name:

Sarah Rose Graber

Factory Ensemble Member since:

Summer of 2007

Currently reading:

Team of Rivals: A Political Genius of Abraham Lincoln By: Doris Kearns Goodwin

Most memorable on-stage moment:

Right out of college I got cast as Princess Marina Amphitrite, a jellyfish ballerina princess, in the Shedd Aquarium's holiday show, "Neptune's Holiday Kingdom." While I would not consider it to be a testament to my true acting prowess, my performance was definitely memorable as I pranced around in a tutu with tentacles and taught people about the importance of turning off the water while brushing their teeth.

Best TV show ever made:

This may seem weird, but I'm not the biggest TV watcher. However, I would have to say "The Simpsons." I grew up on it and the longevity of that show speaks to its brilliance.

Easy or hard to learn roller skating?

Roller skating is a breeze! I don't know if I'm really tough enough to be a roller derby girl, but I do like to roll myself around a ring.

Best movie ever featuring horses:

Ha! Animal House.

Why I like the Factory:

I love the camaraderie that exists at the Factory. The entire ensemble is comprised of the most open minded, welcoming, and supportive people I've ever met. There is a true sense of family and I feel lucky to be a part of that.

Genesis: thumbs up or down?

Thumbs DOWN

The guys dig me because:

Hahaha! Well, it's certainly not for the size of my rack! I don't know. I consider myself to be pretty confident and outgoing. I truly love people and really enjoy learning about others. I also just like to have fun. And I smile... A LOT... I think some guys dig that?... or maybe it's because I'm really good at burping?!?! I know guys like burping.

(Editor's note: Oh yes. H-O-T.)

If I could work with any movie director, it would be:

Woody Allen... I want to be his muse.

On my IPod right now (just a quick sampling):

Counting Crows, We Are Scientists, Imogen Heap, Bloc Party, Gogol Bordello, The Killers, Radiohead, Cirque Du Soliel soundtracks.

If I could travel anywhere tomorrow, I'd go to:

Peru. I've always wanted to hike the Inca Trail to Machu Picchu.

Good stuff, Glover!

2009-03-24T15:57:00.000-05:00

I got this from Angie Martinez........enjoy.

Congrats to Allison Cain

2009-03-24T10:59:00.006-05:00

You probably heard that Allison Cain got a new job at the Lifeline Theatre as Managing Director. Well, now you're hearing it ELECTRONICALLY, which makes it much more official. She'll stay on as an ensemble member, of course. I think I speak for everyone at the Factory when I say that Allison was the heart and soul of the Factory for much of this decade. Without her, maybe we would still be around as a company. Maybe. But I would hate to think of the company's condition.

Congrats and good luck, Ally!

P.S. Look for the Cain in this summer's Dead Wrong, the next smash Factory hit. Coming this summer at the Prop.

Mop Top Festival

2009-03-23T13:16:00.002-05:00

Welcome to the new incarnation of the Factory Theater blog. Jeez, if Strawdog has a blog (ingeniously called the Strawblog), shouldn't the Factory?

Obviously, this is a work in progress -- and I have limited experience with posting cool links or video -- but during 2009 we will hopefully be updating you on all things Factory (right now, my personal goal is to post a blog on successive days). Not only that, we'll be doing so in a snarky, Twitteresque way that screams We're Cooler Than You. I'm excited...so let's dive in with the inaugural Factory blog!

Since everyone and their brother seems to be a critic these days thanks to the Internet, I thought I would jump in and write a theater review of my own. So here, for your consumption, is a review of the Factory Theater's first show of 2009, called Mop Top Festival.

On the surface, Mop Top Festival is about a Beatles convention and a character study of the people who spend gobs of money to attend them. But at its core, the show is a joyous, loving celebration of the greatest band of all time. Writer and director Scott OKen wisely keeps that fact in mind throughout the entire production, and his love for the Beatles shows through at nearly every turn. OKen has effectively communicated that love to his cast of 20, which is a gigantic accomplishment in and of itself. One need look no further than Christine Jennings' outlandishly grounded turn as the personal space-invading but ultimate Beatles fan for proof.

If you are a casual Beatles fan, Mop Top Festival will make you want to become a serious fan. If you are a serious fan, Mop Top Festival will make you want to revisit your entire musical catalogue -- both Beatles and solo recordings. And if you are a Beatles purist (as opposed to a Beatles dork or a Beatles freak), the constant references to lyrics, movie lines and trivia will delight at every turn, and you will remember what attracted you to the Fab Four's music in the first place.

And if you don't like the Beatles, isn't it time to re-evaluate your life? Why would you reject music that basically celebrates love and happiness?

But enough about your shortcomings. The Factory has long worn its love for music and pop culture on its collective sleeve, whether it's Bob Dylan (The Lonesome Hoboes), breakdancing (Poppin' & Lockdown 1 and 2), or Abba (1996's ABBArama, a gigantic hit which predated "Mamma Mia" by at least two years). And while some have found such proclamations of worship annoying, what makes these shows great is that they include the audience.

SIDE NOTE ABOUT "ABBArama": That show was HUGE. Literally, they were waiting in line to get in. It was standing room only at the Factory for about four months straight while that show was going, and it could probably still be running today had we wanted it to. According to Wikipedia: "Since its opening in 1999, "Mamma Mia" has grossed about $2 billion worldwide." I will now go light myself on fire.

OK, back to Mop Top. This show continues in the grand Factory tradition of not talking down to or excluding the audience from its influences and objects of worship. It concerns several different story lines that interweave Robert Altman-like throughout the show. The performances are all terrific -- from Edward Fraim's performance as a John Lennon "lookalike" to Shannon O'Neill's hilarious send-up of a harried hotel clerk to Christopher Marcum's tour de force as the evil hotel manager, Tompkins. I single these people out just off the top of my head (is that how Kris Vire operates, I wonder?).

Truly, everyone is terrific in Mop Top and everyone has their moments. And for a cast of 20, that's a heck of an accomplishment.

But more than most shows, the performances and script itself really sublimate itself to the power of the Beatles' music. The cast sing-along of one of the Beatles' lesser known songs "Sexy Sadie" (because it's on Disc 2 of the White Album) is a real tribute to the music -- one that consistently raises the goosebumps -- and I've seen Mop Top four times already.

See Mop Top Festival -- a splendid time is guaranteed for all.