If you go the the theatre much in Chicago, there's a good chance you've experienced the compositions and sound designs of Chistopher Kriz. Sound designers are often unacknowledged in theatre reviews, but if you pay attention to the design credits, you'll see Christopher's name all over the place.
Artists in Conversation:
In 2011, the critically acclaimed Silk Road Theatre Project reinvented itself as Silk Road Rising, expanding its mission to include the production of online “video dramas” along with its live theater performances. Artistic Director Jamil Khoury discusses the new mission, the reasons for the change, and the challenges of rebranding a successful theater company.
The words “audit” and “IRS” can strike terror in the hearts of many Americans, individuals and business owners alike. It’s hard not to have visions of a monstrous institution filled with agents dressed like characters in a Dick Tracy comic, waiting in rooms with interrogation lamps and you with your box of crumpled receipts.
Henry Godinez, Associate Professor at Northwestern University, Resident Artistic Associate at the Goodman Theatre, and co-founder of Teatro Vista, has successfully negotiated several artistic collaborations over the course of his career.
Groves of olive trees, Russian tanks, and radio broadcasts in Arabic—these are some of the things I think of when I think of “childhood,” but they're also things I think about everyday, even now, at 37.
I don’t believe in some sharp divide between “childhood” and “adulthood”—some cliff that, once surpassed, remains there
I’m in the Hollywood home of William Fraker, the six-time Oscar-nominated cinematographer of such legendary movies as Rosemary’s Baby, Bullitt, and WarGames. My crew is shooting our conversation for Old School New School, a documentary on the nature of creativity.
Timothy Douglas is Artistic Director at Remy Bumppo Theatre Company. Following a brief stint as an actor in Chicago in the late 1980s, he moved on to a prolific directing career during which he has worked at many of the most renowned theatres across the country, as well as internationally.
For more than a decade, Thomas Cott has been providing an invaluable service to the arts community by compiling a digest of arts-related articles in an easy-to-read email every morning. After scouring the Internet for the hottest topics of the day, Thomas delivers his newsletter “You’ve Cott Mail” to the inboxes of colleagues around the world,
The Awesome Foundation was founded in 2009 as an alternative to conventional forms of philanthropy. The basic idea is simple: ten trustees commit to a pool of $1000 per month. The trustees give away the $1000 as a grant to an "awesome"project.
A year and a half ago, I was sitting on a folding chair at my friend’s high-rise apartment in São Paulo, trying to determine the number of train stations in the U.S. My plan was to move back to Chicago, create a show about high-speed rail, and then tour it to every town with an active stop. Using Amtrak’s website,
Luke Hatton is the Artistic Director of Barrel of Monkeys (BOM), a Chicago theater company that brings theatre to underserved school children, and brings the students’ theater to Chicago audiences. Unlike most theater companies, BOM’s educational mission is an integral part of its creative process.
Last week, I was contacted by one of our art partners from the South Chicago community who had noticed a fallen tree in a vacant lot near the 92nd Street Bridge, the site of the earliest European settlement (established in 1813). This person sent me an email suggesting or asking about the possibility of preserving a fallen tree limb because it looked like South Chicago emerging from the earth, revitalizing itself.
Before he created QLab, one of the most widespread and highly praised pieces of theatrical software out there, Christopher Ashworth was an actor who dreamed of a full-time career on stage.
Kathryn V. Lamkey, Assistant Executive Director and Central Regional Director of Actors’ Equity Association, explains what non-Equity actors and non-Equity theatres should know about the union that represents more than 48,000 actors and stage managers in the United States. Contrary to many struggling actors’ belief that Equity’s primary goal is to prevent them from fulfilling their dreams of becoming fully professional working artists, the aim of Equity, shares Lamkey, is to help actors get jobs
The creator of the notorious Twitter feed, @MayorEmanuel, Daniel Sinker is an Assistant Professor at Columbia College Chicago, where he has a focus in entrepreneurial journalism and the mobile web. A writer, designer, and programmer, he is the founder and developer of the local election tracker
Tanya Saracho was born in Sinaloa, México and moved to Texas in the late 80s. She is a resident playwright at Chicago Dramatists and Teatro Vista, a Goodman Theater Fellow at the Ellen Stone Belic Institute for the Study of Women and Gender in the Media, an artistic associate with AboutFace Theater, and the co-founder and former artistic director of Teatro Luna.
Dr. Carrie Sandahl is an Associate Professor in the Department of Disability and Human Development at the University of Illinois at Chicago. She is the head of the new Program on Disability Art, Culture, and Humanities, which is devoted to research on and the creation of disability art. Beginning in 2010, this program is the new administrative home for Chicago’s Bodies of Work, an organization that supports city-wide disability arts festivals and that promotes disability arts and culture year-round.
Patrizia Acerra is the founding artistic director of Premiere Theatre & Performance (PTAP, formerly the International Theatre of Chicago), a Chicago-based company dedicated to presenting director-driven performances of new works.
I’m a Chicago guy to the bone. I used to go out of my way for cheeseburgers on Maxwell and Halsted (can smell those onions now), can identify 120 BPMs from two blocks away (that’s nerdspeak for house music), and if you give me a street address, I can get you to the nearest major intersection (I worked as a messenger).
How did you get started in the theater industry? Were you ever on the other side of the table?
I have always been passionate about theatre. My degree is in Secondary Education and Literature, but I took a minor in Theatre and my first few jobs out of college were all acting-related.