Posted by Heidi on May 2, 2008
Posted by Rachel on May 1, 2008
We just taught our sixth and final workshop day at the Chalmers School, and yes, it was rewarding, and yes, the children were amazing, and yes, it warmed our hearts. But also . . . we got candy. And lovely beaded necklaces ceremonially presented by the children.
Yes, that Crunch bar wrapper is empty. It couldn’t wait for the picture.
Posted by Heidi on April 26, 2008
“That’s Weird, Grandma” is back from hiatus. Exciting!
This week’s show will feature the following delightful stories:
The Biggest Fight Ever
The Seven Penguin’s Adventure
Princess Who Don’t Like Ketchup
When I Went to Church with Grandma
What Is Your Life?
Mr. Money and Mrs. Spaghetti in the Dragon and His Wife
Tigers are Here
The Beast Who Want to Eat King Mac
I am a Butcher and I Love Meat
The Two Brothers
The Cowboys Who Fighted
My Name Is Jelly
Dress Up Kitty (Untitled)
Posted by Heidi on March 26, 2008
Ever wonder what ensemble members look for when choosing a story to turn into a song? Or what they are doing when not working with BOM? Executive Director Heidi Thompson Saunders recently talked to Michael Mahler, who has been a monkey since soon after graduating from Northwestern in 2005.
Mike’s last bio in a BOM program was “Michael Mahler thinks his life would make a great ‘House’ episode”, which doesn’t quite cover everything there is to know about him. Here’s a more complete theatrical biography:
Michael Mahler hails from Minnetonka, Minnesota. At 17 he became the youngest composer ever published by GIA Publications, the nation’s largest Catholic liturgical publishing company. He has since released five recordings of liturgical songs. Michael earned his BS in Theatre at Northwestern University, where he wrote about 50 songs for the annual Waa-Mu Show. Since then he has contributed music, lyrics, and/or book to: The American Dream Songbook (Next Theatre Company); The Adams Conglomerate High School Presents…Tales of the 8th Grade (NY Fringe Festival); Will and Bill (Lakeshore Theatre, Chicago Center for the Performing Arts); A Christmas Carol (Provision Theater Company); Barenaked Lads (Bailiwick Theatre); Cinder Edna (Stages Theatre Company); and others. His musical reviews, “5 to 9” and “Moving Forward, Looking Back” (both co-conceived with Jessica Redish) have been performed at Northwestern, St. Olaf College, and The Beechman Theater in NYC. Michael’s songs have been sung in various songwriter showcases in both New York and Chicago, including the National Alliance for Musical Theatre New Works Summit and the MAC/ASCAP Songwriter Showcase. In 2006, his song “That’s When I Miss You” won 1st prize in the Great Lakes songwriting contest. Michael teamed up with Alan Schmuckler (also a member of Barrel of Monkeys) to write How Can You Run with a Shell on Your Back?, a critically acclaimed original family musical that premiered at Chicago Shakespeare Theater. With Alan, Michael is the co-music director/arranger of the Chicago Sound Connection, a contemporary a cappella group touring with Brenner productions. Michael is currently working with David H. Bell and Buddy Farmer on Knute Rockne - All American,, a musical based on the life of the famed Notre Dame football coach, which will premiere at Indiana’s Theatre at the Center in April 2008.
As an actor, Michael was most recently seen in Forbidden Broadway: SVU! at the Royal George Theatre. Before that, he created the title role in Joe! The Musical at Chicago Dramatists. Michael won the Jeff Citation for Best Actor in a Musical for his portrayal of Benjy Stone in the Bailiwick Theater’s production of My Favorite Year. He was also nominated for his turn as Sydney Falco in Sweet Smell of Success at Circle Theater. Other favorite roles include The Balladeer in Assassins (Porchlight), and Hero in A Funny Thing Happened on the Way to the Forum (Noble Fool). Chicago credits include Shenandoah, You’re a Good Man Charlie Brown, Treasure Island (Marriott Lincolnshire); Urinetown (Mercury); Plaid Tidings (Drury Lane Watertower); The Nervous Set (Stages Festival); A Christmas Carol and Cotton Patch Gospel (Provision). Michael is a proud member of Actor’s Equity, ASCAP, and (of course) Barrel of Monkeys Productions.
HTS: You joined BOM soon after you graduated from Northwestern. Why were you interested in BOM?
MM: I was a 4-year Griffin’s Tale* member at Northwestern, so I came to see Barrel of Monkeys perform while I was an undergrad. I loved the music, the energy, the way everybody was so supportive of everybody else, the way the keyboard players were jumping up and taking part in the stories. What I loved most was how true they were to what the children wrote; how they honored the original vision and intention of the young authors. When I moved to Chicago after graduating, I knew I wanted to be a part of such an amazing company with such an important mission.
*Editors note: Griffin’s Tale is a Northwestern University theater company that adapts and performs stories mailed to them by elementary school students. BOM’s co-founders were members and founded BOM in part to extend the GT model to underserved Chicago communities. Many current BOM ensemble members are also Northwestern and Griffin’s Tale alumni.
HTS: What do you look for when choosing a story to adapt into a song? What do you think is the most important thing to remember during the adaptation/development process?
MM: When looking to adapt a story into a song, I’m usually drawn to the stories with the most sincerity. I think for a song to work, even a satirical song, it needs to be grounded in some sort of real honest feeling. So stories that are either really emphatic or sincere usually appeal to me. I also love, whenever possible, to use the stories word-for-word as lyrics, because try as I might, I can never find a better or more interesting way to state things than the way the kids wrote them at first.
HTS: What is something that surprises you about Barrel of Monkeys?
MM: How versatile and brave the ensemble is! It seems like everybody, even if they’ve never written a song before, has no qualms about diving in and trying their hand at songwriting. Or playing instruments — in the poetry show this year I got to write flute and clarinet parts for a song, along with piano and guitar. How awesome is that?! It’s such an incredible group of people to get to play with, and we’ve got the best source material in the world (the kids’ stories) to work on together.
HTS: What is the hardest thing to explain about being part of Barrel of Monkeys?
MM: It’s sometimes hard to explain to my girlfriend why I’m always so sweaty after rehearsals and shows :) It’s a huge blast trying to reflect the joy and exuberance the children put in their stories, but it’s also a lot of work!
HTS: How does your work with other performance companies inform your work with Barrel of Monkeys and vice/versa?
MM: I think as an artist, you’re constantly finding new influences and bringing those influences to whatever you’re working on. When I was doing Forbidden Broadway, I was amazed at how much the Barrel of Monkeys school of throw-yourself-out-there-and-try-something helped me. And vice-versa; working on Forbidden gave me some new confidence and new ideas to try out when adapting stories.
HTS: What do the kids say to you after the school shows? Do they generally approve of the adaptations?
MM: Absolutely. I have two favorite vignettes so far. One was after the poetry show this year. I found out that this really sweet poem I’d adapted into a song by an anonymous poet was written by a boy who was kind of a “tough guy.” He had written “Anonymous” instead of his name on the poem because he didn’t want the other kids to know he’d written it. And the poem was so beautiful.
Another was from last year. I adapted this story called “My Happy Remember” into a song. It was a simple story about a girl and her grandpa and how he always told her how special she was. Afterwards, the author said she was so happy her “heart exploded.” How cool is that?
Posted by Heidi on January 31, 2008
Ever wonder how the adaptation process works? What the actors look for in a story? Here’s one monkey’s answer!
Molly Brennan has been a BOM ensemble member since 1999. She’s currently BOM’s Artistic Associate, which means she’ll spend six months helping Artistic Director Laura Grey by directing shows, leading performance workshops, and giving advice on artistic decisions.
When not performing or teaching with the Monkeys, Molly is a member of the action based clown theater ensemble 500 Clown, a company member of The House Theatre of Chicago (where she recently received a Jeff award for Curse of the Crying Heart), and a performer with the Big Apple Circus’ Clown Care. Molly has performed extensively in Chicago, including with the Factory Theater, Steppenwolf, The Chicago Children’s Theater and Second City. Executive Director Heidi Thompson Saunders convinced Molly to answer a few questions about her work with Barrel of Monkeys.
HTS: Molly, you’ve been a BOM company member since 1999, pretty much from the beginning. What has kept you interested in working with us as your career has evolved?
MB: I feel privileged to be invited into cultures that I otherwise would not be privy to. The BOM work is largely ego-less. People do it for the love the kids, their stories, and each other.
HTS: From your perspective, what is the biggest change to Barrel of Monkeys in the last few years?
MB: It’s a higher profile company for sure. Efficiency has increased, there are lots more members. All the changes are for the best.
HTS: What do you look for when choosing a kid’s story to adapt? What is the most important thing to remember during the adaptation/development process?
MB: Being moved by the STORY, as opposed to putting something onto it. I think sticking truthfully to the text produces the best sketches.
HTS: What is something that surprises you about Barrel of Monkeys?
MB: I am continuously amazed by the extraordinary level of talent that is evident in the members of BOM, teachers, performers and teacher-performers. I am delightedly surprised as new members continue to bring fresh perspectives and unique talents.
HTS: What is the hardest thing to explain to other people about Barrel of Monkeys?
MB: The program. Six weeks, journals, doing just the stories from that school…
HTS: How does your work with other performance companies inform your work with BOM and vice/versa?
MB: Again, through finding the truth in the stories. Bringing forth the humor, the beauty, the tragedy…it’s in the text. I’m a big fan of returning to the simple text, instead of approaching the work with a big “idea” of “Let’s do it as a spaghetti western,” or whatever.
HTS: People often ask us what the kids reactions are after the school shows. What do kids usually say to you?
MB: It varies. They’re usually super psyched and want me to repeat some bit from the show.
HTS: Do you think they generally approve of the adaptations?
MB: For the most part. They’re brutally honest if they DON’T approve. But I think I’ve heard that a total of 3 times.
HTS: What’s your goal for your term as Artistic Associate?
MB: My goal is to share the process of working from the body rather than the mind, and to learn about leadership from Laura.
Thanks Molly! We’ll feature interviews with other company members in future months. In the meantime you can catch Molly performing with 500 Clown in California, DC and Chicago this spring.