INTO THE FIRE Pt. 7 ((home/land & tresspass/do not tresspass))

MOTHER OF SMOKE uses the texts of The Trojan Women, The Cherry Orchard, and original writing and music from Chicago theater artists to tell stories from around the world of immigration, displacement, trauma during wartime, reclaiming identity and land in a post-war era. These are huge ideas, so following two of our performances, we are…

INTO THE FIRE Pt. 6 ((city of fire/city of fear))

DEEP CUTS TODAY//As we go into opening weekend, we are digging back into the first seeds for Mother of Smoke and finding some juicy stuff. Check out Thom’s first writings about the project…a lot of these questions and ideas are still present in the work: “Proposal- CITY OF FIRE / CITY OF FEAR: A collage of work…

INTO THE FIRE PT.4 ((blood on stage?))

We are dealing with lots of violence in this show. And where there is violence there is usually blood. There are lots of questions that have come up about how representative we can/should be and how much we can ask an audience to watch and our actors to portray. It has been a great testament to the…

INTO THE FIRE PT. 3: ((the Beckys))

Playwrights Morgan McNaught & Lucas Baisch have joined us in rehearsal with some of their text! One of the scenes they have brought in features a woman of color amidst a group of “Beckys” (their character names Becky 1, Becky 2, etc). We won’t say anymore than that…to prevent spoilers… but you can infer from there. After working…

INTO THE FIRE: PT. 2 ((femme togetherness))

FROM THE REHEARSAL ROOM: The Women’s World layer. We are using original text from Morgan McNaught and Emma Stanton in our piece and a lot of what they are writing explores the ways women relate to each other. There can be a togetherness about women in varying stages of tragedy — and also a separation…

INTO THE FIRE: PT. 1 ((storytelling as coping))

FROM THE REHEARSAL ROOM: The Trojan Women layer. We are using text from Chuck Mee’s Trojan Women: A Love Story in the first section of the piece. We are thinking a lot about what the act of recounting tragedy serves. How do we be extremely intentional about why we are enacting these retellings? It is not…