Sketchbook 10 Collaboraction

 Schedule of Plays


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06/05/10 - 06/27-10


 Schedule of Plays

 

Kris Vire, TimeOut Chicago 6/17/10 - "Collaboraction’s annual short-play party returns this year to its original home, the Chopin Theatre. After ten years, you’d think the company has this formula down: brief, stylish new works punctuated by DJs or live bands; slick production values and the highest of high-tech (performances are streamed live to the Internet and, via a plasma screen in the Chopin’s lobby window, to Division Street; most of the plays turn on visual gimmickry (what more do you expect in seven minutes or less?).

And for the most part, it works, bringing together dozens (perhaps, no joke, hundreds) of theater artists from Chicago and, in the case of some of the playwrights, abroad—setting them up to ping off one another in breezy but interesting ways. The Hypocrites’ Greg Hardigan, for instance, wrote a clever send-up of the long lists of potential side effects in prescription drug ads (The Ring) and appears as an actor in playwright Andy Griggs’s time-travel sketch The Untimely Death of Adolf Hitler.

This year’s crop veers dangerously close to self-indulgence, with most of the plays ignoring the seven-minute guideline and some tipping toward 20; on opening night, when all 19 pieces were performed, the running time neared five hours. And much is made of the divided slate of ten traditionally written plays and nine “devised” pieces, an artist-focused distinction that means little to audiences. As always, there are both duds—Carolyn Hoerdemann’s impenetrable The Saint and the Imp, Brett C. Leonard’s What I’m Looking For (after which we’ll forever associate the Rufus Wainwright song “The Tower of Learning” with domestic violence)—and gems: Topping the list are Patrese McClain’s dance-theater piece Four Women, which presents a quartet of African-American archetypes through the ages, and Jennifer Barclay’s sentimental Tight Curls Today, which follows a trio of female friends through decades of hair appointments".


Zac Thompson, Chicago Reader 6/17/10 - "The theme of Sketchbook X, Collaboraction's tenth annual festival of short plays, is "Exponential," defined by the company's artistic director, Anthony Moseley, as "variable X, the infinite, and the way we connect with and affect one another." That strays pretty far from the definition in my dictionary—but on the other hand, it's got the virtue of being vague enough to justify including pretty much anything. Can you name any play ever written that isn't in some way about either the unknown, the unlimited, or the interpersonal?

A few of the nerdier pieces in the festival's lineup actually reference the exponent's mathematical function, often using repetition to tease out literal and figurative implications of raising a given quantity to a certain power. In Cory Tamler's Eighty-Four, for instance, a Pennsylvania town called Eighty-Four is magically squared, or multiplied by itself, so that suddenly 84 nearly identical Eighty-Fours dot the globe. Ira Gamerman's Play (by Play by Play by Play by Play by Play by Play by Play by Play by Play by Play. No Repetition.) shows a couple chained to each other, repeating the same argument in an endless loop. But there's also a satire on psychopharmacology, an absurdist seder, a dance set to Nina Simone's "Four Women," and a comedy called Five Lesbians Eating a Quiche that's sure enough about five lesbians eating a quiche. I'd say the theme has a lot more to do with the fact that X is the Roman numeral for ten than with anything else. If this were Sketchbook IV, it could be "Intravenous" (life, death, and the way we connect with one another) and most of this year's 19 works would still fit in just fine.

But maybe I'm nitpicking. After all, thematic unity has never been the festival's strong suit. Far more often it's been admired for the two qualities suggested by Collaboraction's name: active energy and a strong communal spirit. Both are abundant here, even during scene changes. After each piece, a DJ or live band plays music while audience members are encouraged to buy booze, mill around, dance, whatever. If you didn't know better you'd think you were at a nightclub or a party—which is the point. You're supposed to feel like part of something inclusive, anarchic, and fun.

Of course, that can undermine other, no less valuable things theater can offer—stuff like a satisfying arc, a sense of focus, and opportunity for reflection. Sketchbook's relentlessly celebratory atmosphere can wear on the nerves. And sometimes, for all of Collaboraction's vaunted dedication to daring experimental work, it feels like an avoidance of the serious.

Many of the plays themselves seem allergic to substance. Though often amusing and almost uniformly well presented, they frequently offer little more than a few minutes of arty slapstick or absurdism-lite. Dean Evans's clown piece, Sacrebleu—in which two French-speaking, cartoonish bushmen take a fishing trip into the audience before encountering a big, feathered creature who beats them up and forces them to dance—calls to mind the strange, childlike antics in Alfred Jarry works like Ubu Roi, but without the disquieting savagery that made those works revolutionary. In Jason Grote's Yetsi'at Metzrayim, a family of four, gathered for what appears to be a Passover meal, tell a wacky version of the Exodus story featuring non sequiturs drawn from philosophers, poets, and Fight Club. It's notable chiefly for the cast's inventive use of puppets fashioned on the fly from various foodstuffs. (Moses is a pickle.)

Those are two of the better comic entries. The festival's biggest clunker, Carolyn Hoerdemann's The Saint and the Imp, stars Hoerdemann and Kennedy Greenrod as a 15th-century saint and monk who travel through time mostly to try out 20th-century pop music styles. At each stop, a black-and-white video shows the pair, dressed for a given genre—rockabilly, say, or punk—and playing an appropriate song. The piece is basically an exercise in look-at-me-ism and seems to last an eternity.

Of course, the problem of length has bedeviled comedy since time immemorial, and here it fells some initially promising offerings. In the past Collaboraction's seven-minute rule helped keep bloat at bay, but it no longer seems to be enforced—a good many entries stretch well past that mark. Going on too long hurts Andy Grigg's otherwise entertaining The Untimely Death of Adolf Hitler, in which Moseley plays a well-meaning MIT professor who travels back to 1930s Berlin—again with the time travel!—to assassinate Hitler before he can do too much harm. The gag is that other time travelers keep showing up to save the Führer because offing him will somehow lead to the creation of killer robots hellbent on destroying all of humanity. It's a funny and provocative premise, but feels less so after the fourth iteration.

Other prime candidates for pruning include Greg Hardigan's The Ring—which envisions an antidepressant's side effects as a long string of nasty prize fighters and martial artists the pill-popper has to fight—and the aforementioned Five Lesbians Eating a Quiche, Evan Linder and Andrew Hobgood's protracted visit with a quintet of sapphic 1950s housewives, which gets by on the appealing exuberance of its cast.

Amid all the noise and frivolity, pieces that show some depth or sincerity tend to stand out. Ira Murfin's Magillicutty's—about a waiter's fistfight with a customer—starts as a kind of pissing contest but deepens with the playwright's shifts of perspective from the waiter to the man he attacks to the man's wife, ultimately revealing our frustrating inability to understand the people right in front of us. In When I Was . . ., the talented members of A Red Orchid Theatre Youth Ensemble juxtapose interviews they conducted with adults and their impressions of the grownups in their own lives, providing a guileless and perceptive outsider's look at adulthood. Finally, Spider in the Attic, with Jessica Hudson as a lonesome, deformed creature who sits alone at a typewriter, pounding out sentences and looking through fading photographs, presents a moving snapshot of memory and loss.

Such moments—quiet, affecting, true—flicker into view now and then throughout Sketchbook X. But all too soon the DJ cranks up the music and the party rolls on. 

 

'Sketchbook' might make you turn page - Hedy Weiss, Chicago Sun Times 6/16/2010 - "When it is good (and that is less than half the time), it is very good. But when it is bad it is truly horrid. That is the verdict on the first of two programs comprising the 10th anniversary edition of Collaboraction's Sketchbook -- the multimedia theater project that is now inhabiting every corner of the ingeniously reconfigured Chopin Theatre.

Driving all 19 of the scheduled short plays and "devised works" in this season's Sketchbook (I caught one of two programs featuring 10 of the entries) is the theme of the "exponential," which has been interpreted here as the many different ways in which humans develop, grow, change, communicate, echo and destroy each other. Filling the transition time between each piece are overamplified live music and videos.
The good news first. These pieces left the strongest impression:

• "Spider in the Attic," devised and performed by Jessica Hudson -- a work, part Dickensian, part Beckettlike -- in which a crippled clerk employs an old-fashioned typewriter (and newfangled video projections) to muse on the slow nature of change.

•  "When I was...," a charming, often very funny piece devised by Larry Grimm and Steve Wilson, that looks at both evolution and old people (as seen through the eyes of nine deft young performers).

•  "Tight Curls Today," Jennifer Barclay's haunting look at the emotional and physical despair of three women (Kristina Johnson, Lily Mojekwu and Brenda Barrie are all excellent under Logan Vaughn's direction) who chat inanely as they sit beneath dryers in a hair salon and cope with mortality.

•  "What I'm Looking For," a short, harrowing, pitch-black "opera" in the form of a dance of death that looks at domestic violence and murder in the name of love (or love as a sort of murder). The work of Brett C. Leonard (whose "The Long Red Road" was such a disappointment at the Goodman Theatre), its large cast, led by Joel Gross and Heather Bodie, has been superbly directed by Anthony Moseley.

Cory Tamler's "Eighty-Four" has an intriguing metaphysical-meets-sci-fi vibe. And Carolyn Hoerdemann's "The Saint and the Imp," the tale of a crazy cabaret duo through time, is a good idea badly developed.

Beyond dreadful are Evan Linder's "Five Lesbians Eating a Quiche," Dean Evans' "Sacrebleu," Sean Graney's "The Blueberry" and Jason Grote's "Yetsi'at Metzrayim" (Hebrew for "Exodus from Egypt"). Overall, a whole lot of sound and fury that only periodically adds up to something substantive"

 


Memorable plays — although at a festival of short works, short should be the rule - Nina Metz, Chicago Tribune 6/15/10 - " After spending the last few years hopping around various spaces in town, Sketchbook — that sprawling, music-pumping, constantly mutating fest of mini-plays organized annually by Collaboraction — is back at the Chopin Theatre, where it all started a decade ago.

Ten years is an impressive run, and with nary a hiccup in quality or energy. More than anything, Sketchbook is the theater event for people who usually avoid theater — an all-out party masquerading as a show — and if this year's bill feels a tad bloated (19 plays, up from last year's 14), let's chock it up to some anniversary-induced excitement from artistic director Anthony Moseley, who even described the lineup as a "large meal of theater," albeit one "not intended to be digested in one sitting."

Here's what that means: A ticket to this year's event buys you the freedom to return at any point in the 21/2-week run to catch plays you may have missed. That's a nice open-door policy, but in the future I'd like to see Moseley scale back. The fest has always worked best as a juiced-up night of theater that doesn't overstay its welcome. A certain long-windedness is evident in the plays as well.

These tiny one-acts (all less than 10 minutes) require efficiency, and while I admire many of this year's entries, they can feel a bit draggy, even as they entertain — including Ira S. Murfin's exceedingly well-written "Magillicutty's," with its various perspectives on a steakhouse dinner gone awry; the amped hilarity of Greg Hardigan's "The Ring," about a man who battles the side effects of his antidepressant in a boxing ring; and the subversively ribald, 1950s homemaker spoof called "Five Lesbians Eating a Quiche" by The New Colony's Evan Linder and Andrew Hobgood.
Once again, Collaboration incorporates music and visual art in the fest (with a DJ or live band filling the breaks between each play; this year also includes video installations that are somewhat underwhelming). But it's the plays that stick in your memory. With that in mind, a few standouts this year:

"The Untimely Death of Adolf Hitler" by Andy Grigg, directed by Jeremy Wechsler. An idiot scientist (played by Moseley) travels back in time to assassinate Hitler, somehow causing a future robot apocalypse in this absurdist, way-too-enjoyable twist on "The Terminator."

"Spider in the Attic" by Jessica Hudson. "Change is slow," a hunchbacked creature pecks out on a typewriter (Hudson as a human-size spider, it turns out), as we see a man's life span depicted in photos from childhood to old age. At once strange, impenetrable and deeply moving, the piece gets under your skin.

"Sacrebleu" by Dean Evans. A mime with a biting sense of humor, Evans, who has hilariously titled his piece with a French profanity that no one in France actually uses, teams up with performer Molly Plunk as a pair of muttering goofball explorers who resemble a punk-primitive version of Lewis and Clark traversing the Amazon, or something like it.

"What I'm Looking For" by Brett C. Leonard, directed by Moseley. A couple argue violently in complete blackness until one fatally stabs the other. The lights come up, and a man with a bloody knife sings an emo song about loneliness and loss as he is joined onstage by other couples who have met similar fates. The music manipulates, but I was unable to resist its surreal power"


Review: Sketchbook X/Collaboraction - Fabrizo O. Almeida, NewCity Chicago 6/12/10 - "There are many similarities between “Sketchbook” and IML, the International Mr. Leather celebration.

“Sketchbook” is, of course, Collaboraction’s annual festival of mixed-media theater, music and performance art, a Chicago-flavored and smaller version of the Edinburgh or New York Fringe Festivals. IML is one of the biggest gatherings of leather, fetish and kink lovers from around the world, also a Windy City tradition. “Sketchbook” is celebrating its tenth anniversary in style and has taken over the upstairs theater and lobby of the Chopin Theatre for the next three weeks. IML just celebrated its thirty-second subversive year and commandeered the entire Hyatt Regency Hotel this past Memorial Day weekend. Both events are a peculiar mix of sexy, strange, funny, clever, physically mind-boggling, gross-out and consistently surprising entertainment gathered under one roof. Some sequences are painfully long and awkward to watch:  at IML they involve whips and chains; at Sketchbook it’s the cumbersome and time-draining scene changes. The smell of beer permeates the air at both events, indeed, both experiences become exponentially better the more inebriated you become (for the record, this critic never drinks on the job). There’s a lot of techno and trance music blaring at both events (I’ll be forever thankful to Sketchbook for bringing to my attention a wicked good house version of Chris Isaak’s “Wicked Game”).  At both Sketchbook and IML, you’re guaranteed to see things you have never seen before, things you will never see again, and things you hope you never see again. There’s tons of experimentation although the creativity at IML could get you arrested and thrown in jail in some states while at Sketchbook it wins you an NEA grant. You can see people make incredible fools out of themselves at both:  at IML the performers do it for sexual kicks; at Sketchbook they do it for artistic fulfillment. At both, there are some things that make no sense brilliantly; there are some things that just make no sense. Sketchbook has better lighting. IML has better men. Both are terrifically entertaining. Both have moments that are terribly boring.

For five hours on “Sketchbook”’s opening night, critics took in the entire program of nineteen original works—each about ten minutes in length—that will play in repertoire throughout the run. Each performance will stream live on Collaboraction’s web site (collaboraction.org). Huge video monitors in the windows of the Chopin will mean that onlookers can stop and watch what’s happening in the belly of the theater (let’s hope they won’t be driving a car while they’re doing it). And various musical artists throughout the run will DJ each performance, making those scene changes somewhat bearable and imbue Sketchbook with that Ibiza-house party feel it has to it, as if a Chicago storefront theater festival had been plopped dead smack in the middle of Carnival in Rio. Since this type of event defies any act of criticism, rendering even the best critic a glorified reporter at best, future Sketchbooks would do far better filling up the press list with society-page writers, nightlife columnists and world music and modern art critics (the evening sometimes has the feel of a glow-in-the-dark art installation piece).  Because ultimately Sketchbook, like IML, is about seeing and being seen. It’s not so much about the product as it is about the excuse to throw one big multimedia party, a community of like-minded individuals and their admirers coming together, getting off (at IML, literally) and celebrating their love of the art form at hand.

That’s my two cents. But in case you’re interested, the following addendum is intended as artist feedback and for those who may want this critic’s opening-night impression of each of the nineteen of the festival’s pieces, synopsis and video samples of which can be found on Collaboraction’s web site. In no particular order:

“Astronomy for Beginners”: Tries but fails beautifully to be the dramatic love child of Nora Ephron and Tom Stoppard. Blessed with a brilliant trio of instantly likable performers.

“The Blueberry”: When Sean Graney (here acting as playwright) gets sentimental, he gets really sentimental. A sweet and whimsical piece of diarrhea-of-the-brain writing with a lovely and brainy performance by Celeste Januszewski.

“Eighty-Four”: All I remember is the set, which should tell you something.

“Magillicutty’s”: Take a vintage Joe Pintauro one-act about the impossibility of male-female unions, give each character the kind of internal and stream-of-consciousness monologues that Yasmina Reza produced for her characters in “The Unexpected Man,” and appropriate the snappy and profane-laced dialogue of Daniel Therriault. Too bad its best monologue was spoken by actor Ryan Patrick Dolan, whose vocal timbre was grating, who lacked enunciation, had no sense of phrasing and didn’t seem comfortable on the stage.

“Play (by play by play…)”: If imitation is the best form of flattery, then the Beckett estate should be flattered. Based on Becket’s “Play.”

“The Ring”: Finally, someone produces a terrific Second City-quality sketch about those asinine ads that make taking a life-altering drug seem as sunny an experience as a Sunday-school picnic. “At fifteen minutes, however, it’s ten minutes too long.” And when is wrestling between two semi-naked men not homoerotic? When the men involved are as out of shape, pasty-skinned, man-boobed and un-sexy as they are here.

“Tight Curls Today”: Sentimental. Feminist. And utterly predictable. “The Heidi Chronicles” set in a beauty parlor or the kind of nascent play writer Tina Howe would have drafted when she was a student at Sarah Lawrence.

“The Untimely Death of Adolf Hitler”: Clever, pop-culturally relevant and unique take on revisionist science-fiction history. Collaboraction artistic director and gifted comic actor Anthony Moseley steals the show and gives one of the festival’s most memorable turns.

“Yetsi’at Metzrayim”: This irreverent piece of writing exploits Jews, the “Joseph and the Amazing Technicolor Dreamcoat” soundtrack and Chinese dumplings to hilarious effect. And I’ll never look at cucumbers in the same way again.
“What I’m Looking For”: Hard to judge this histrionic musical number out of context from the rest of the (I assume) song cycle. A jealous and philandering boyfriend kills his girlfriend who’s about to walk out on him.  She returns from the dead to duet with him on a bring-down-the-house musical-theater pop ballad, and they’re joined by the ghosts of half a dozen other men and women and their deceased (from a violent crime of passion) partners. I wasn’t impressed by the number, I couldn’t hear the lyrics, but not since Jason Robert Brown’s “Parade” have I witnessed the glorious dichotomy that is soaring music spewing from the mouths of horrible human beings.

“Five Lesbians Eating a Quiche”: If Joe Eszterhas and Andrea Dworkin had been forced at gunpoint to collaborate on something they might have come up with this guiltiest of pleasures. A piece that shamelessly panders to straight-male lesbian fantasies and an unabashed shout-out to Sapphic sisterhood. Go figure. I wish I knew her name, but the female actress who looks and sounds like a young Roseanne Barr steals the show.

“Four Women”: Modern-dance and musical piece with African-American rhythms showcases some spectacular Afro-Caribbean moves and big voices, not to mention brings cultural and artistic diversity to the evening.

“The One About The Whale”: A pastiche of Gilbert and Sullivan with poperatic overtones. “The Mikado” meets “The Little Mermaid.” But could I take two hours of this?

“Sacrebleu”: The enviably talented Dean Evans strikes again. Someone please book Mr. Evans a plane ticket to Edinburgh. Seriously.

“The Saint and The Imp”: Painfully bad, and for a very noticeable seven minutes, the energy in the Chopin hits an all-time low.

“Spider in the Attic”: The insect-like physical dexterity of Jessica Hudson’s performance reminds me of seeing Mikhail Baryshnikov in Steven Berkoff’s “Metamorphosis” on Broadway.  Hudson’s piece is just as disturbing and emotional as Berkoff’s take on Kafka’s short story was.

“Video Phone”: This slice of urban street violence with African-American actors cum slide show of real-life victims of gang wars feels less like a piece of theater than it does a token and in-yer-face Public Service Announcement. Nothing wrong with that, but I wonder how memorable or effective this will be in an otherwise feel-good night of frivolous and abstract entertainment.

“When I Was…”: Children dancing and acting like adults on stage are the performance equivalent of puppies:  cute, ingratiating and quickly overbearing. Just like this piece of writing.

“You Enjoy Myself”: Sample line:  “When the monkey saw the ice cream his brain cells fired.” I last heard, and laughed at, this kind of writing in a black-box studio theater on a college campus during a Performance Art 101 seminar. Boring and pretentious, no wonder it was the first piece of the evening.  Better to forget it ever happened at all"

 

 

SKETCHBOOK is Collaboraction at its best: breaking down the walls that divide theater, music, visual art, video and the Internet. Selected from hundreds of submissions via the Internet, SKETCHBOOK once again brings together the collective talents of more than 200 pioneering directors, designers, actors, musicians and artists from Chicago and around the country for a jaw-dropping evening of creativity, experimentation and celebration.  LineUp:


Astronomy for Beginners by Kristin Idaszak, directed by Sarah Moeller

The Blueberry by Sean Graney, directed by Jen Ellison

Eighty-Four by Cory Tamler, directed by Daniel Stermer

Magillicutty’s  by Ira S. Murfin, directed by Jamie Abelson

Play (by play by play by play by play by play by play by play by play by play by play. No repetition.)
by Ira Gammerman
 , directed by John Gawlik

The Ring by Greg Hardigan, directed by Keira Fromm

Tight Curls Today by Jennifer Barclay, directed by Logan Vaughn

The Untimely Death of Adolf Hitler by Andy Grigg, directed by Jeremy Wechsler

Yetsi’at Metzrayim by Jason Grote, directed by Seth Bockley

What I'm Looking For by Brett C. Leonard, directed by Anthony Moseley


SKETCHBOOK X  Devised Works


Five Lesbians Eating a Quiche Devised by Andrew Hobgood
Collaborators: Andrew Hobgood and The New Colony ensemble

Four Women Devised by Patrese McClain
Collaborators: Pure Art: Patrese D. McClain, Jessica Ellis, Whitney White, Rhonda Bynum, Andi Earles, Samantha Jones, Brandice Manuel, Ashley Honore

The One about the Whale Devised by Emily Schwartz (five-time SKETCHBOOK writer, Artistic Director of Strange Tree Group)
Collaborators: The Strange Tree Group ensemble including Carol Enoch, Matt Holzfeind, Delia Baseman, Weston Davis, Jenifer Henry, Jennifer Marschand, Kate Nawrocki, Michael Downey, Megan Baskin, Rebecca Phend, Noah Ginex, Thomas Zeitner, Cory Aiello, and Todd Aiello

Sacrebleu Devised by Dean Evans
Collaborators: Dean Evans, Molly Plunk and Anthony Courser

The Saint and the Imp Devised by Carolyn Hoerdemann
Collaborators: Carolyn Hoerdemann, Kennedy Greenrod of The Thinman, Carl Wiedemann, Liviu Passare (video/film), Branimira Ivanova (costume designer for Hubbard Street Dance, Breakbone Dance Company)

Spider in the Attic Devised by Jessica Hudson  

Video Phone  Devised by Derrick Sanders

When I was...Devised by Larry Grimm
Collaborators: Larry Grimm (Red Orchid Theatre ensemble member, Red Orchid Theatre’s Youth Ensemble Co-Director), Steve Wilson (Hyprocrites ensemble member, Red Orchid Theatre’s Youth Ensemble Co-Director), and Kirsten Fitzgerald (Artistic Director, Red Orchid Theatre)

You Enjoy Myself Devised by Chloe Johnston
Collaborators: Chloe Johnston, Jon Sherman


For the past decade, Collaboraction’s critically acclaimed SKETCHBOOK Festival has provided a unique and uninhibited platform where hundreds of multi-disciplinary artists have come together to create an immersive, singular world, inviting the audience to be both spectator and artist. For the landmark 10th anniversary, the sky is the limit as Collaboraction explores the theme of Exponential with SKETCHBOOK X featuring an immersive multi-media evening of never-before-seen original works, all seven minutes or less, intermingled with a different live musical performance each night, a visual art component and group participatory art projects.

SKETCHBOOK X returns to perform at the Chopin Theatre where the inaugural SKETCHBOOK Festival debuted in January 2000.

Over the 10 year history, SKETCHBOOK has featured such notable artists as David Mamet, Regina Taylor, Michael Shannon, Wendy MacLeod, Quiara AlegrÌa Hudes, Frank Maugeri, Sean Graney, Brett C. Leonard, Itamar Moses, Beth Henley and hundreds of additional established and emerging theater artists, have been featured.

Author
Kristin Idaszak,Sean Graney, Cory Tamler, Ira S. Murfin, Ira Gammerman, Greg Hardigan, Jennifer Barclay, Andy Grigg, Jason Gro

Director
Sarah Moeller,Jen Ellison, Daniel Stermer, Jamie Abelson, John Gawlik, Keira Fromm, Logan Vaughn, Jeremy Wechsler, Seth Bockley

Performers
Sarah Gitenstein, May Hollis Inboden, Beth Stelling, Maari Suorsa, Megan Johns; Jessica Ellis, Jacquelyn Prater, Kierra Bunch, Dorcas Sowunmi; Delia Baseman, Carol Enoch, Matt Holzfeind, Jenifer Henry, Jennifer Marschand, Kate Nawrocki, Rebecca Phend, Noah Ginex, Thomas Zeitner, Todd Aiello, Carla Kessler, Karen Shimmin, Lisel Downey; Molly Plunk, Anthony Courser; Vanessa Valliere, Tim Reid, Sophie Ostlund, Laura Shatkus, Joe McCauley; Celeste Januszewski, Rinska Carrasco; Emil Shain, Ian McLaren, Nicholas Combs, Alexander Lane, Jennifer Conrad, Ali Clayton, Hillary Patingre, Kate Lane, Jean Moran, Jeffrey Gitelle; Ryan Patrick Dolan,Len Bajenski, Susie Griffith; Tony Kaehny, Marika Engelhardt; John Wilson, Mike McNamara, Emily Gann, Chase McCurdy, Edgar Sanchez, Josh Sumner, Ian Paul Custer, Katy Carolina Collins, Sharon Lanza, Chris Acevedo; Eddie Karch, Erin Myers, Greg Hardigan, Anthony Mosley, Dan Krall; Kristina Johnson, Brenda Barrie, Lily Mojekwu; HB Ward, Regina Leslie, Casey Searles, Nick Demeris; Joel Gross, Heather Bodie, Claire Tuft, Danielle Lavoy, Lauren Sivak, Leah Rose Orleans, Sara Kinsey, Cheyenne Pinsen, Claire Kander, Sheilia O’Connor, Nora Taylor, Joan Merlo, Joyce Porter, Chris Conley, Alex Hugh Brown, Ben Kirberger, JP Pierson, Kevin Crispin, Nik Rokop, Peter Navis, Warren Lavon, Noe Jara, Marcus Kenyadi, Juan Lozada, Matthew LaChappelle, Youth Actors – Caroline Heffernan, Laney Kraus-Taddeo, Adam Rebora, Aria Szalai-Raymond, Elenna Sindler, Elita Ernsteen, Jaiden fallo, Kara Ryan, Najwa Brown, Paolo Lehman, Melanie Nielan, Jackson Challinor, Lillian Almaguer

Production
Production: Executive Artistic Director – Anthony Mosley; Producer/Production Manager – Sarah Moeller; Environment Designer – Sam Poretta; Stage Manager – Betsey Palmer; Asst Production Manager – Deborah Lindell; Asst Festival Director – Drew Dir; Lighting Designer – Jeremy Getz; Sound Designer – Miles Polaski; Video Designer – Liviu Passare; Costume Designer –Katherine Stebbins; Floor Manager – Lauren Glass; Asst Light Designer – Austin Shapely; Asst Environment Designer – Steph Charaska; Casting Directors – Erica Sarini, Hannah Fenlon; Costume Assistants – Amy Hilber, Emma Weber, Amanda Stertz; Asst Video Designer – Davonte Thomas Johnson ; Production/Casting Intern – Susan Steinke; Asst Sound/Intern – Harrison Adams; Asst Artistic Director – Lizzie Lovelady; Technical Director s – Brandon Mojica, Nick Quinn; Run Crew – Ruth Morrison, Iris Kohler, Joel Vining; House Manager – James Holbrook; Costume Design – Branimira Ivanova; Choreographer – Jessica Ellis; Production Management – Kelli Marino. Video Artists: John Boesche, Chaz Evans, Eric Gelerhter, Luftwerk (Petra Bachmaier & Sean Gallero), Gordon Kummel, Sean Maloney, Liviu Pasare, Galina Shevchenko, Edyta Stepien and Mike Tutaj. Musicians: Music Production – Fred Freeman; Vocals – Whitney White; Guitar – Lisel Downey; Band – Jason Labrosse, Saleem Dhame, Matt Cook; Pianist – Cliff Li; Guitarist – Kevin Golden; Drummer – Don Marckus; Violinist – Julia Merchant.

Tags: Festival, American, 2010