So Glad I Caught This Dream...

This past Sunday I attended the final performance of Anung’s First American Christmas. Therefore, I “bookended” this particular Vitalist Theatre show. Usually I see them much more than twice. Besides being rich in nuances, Vitalist is compelling. However, due to the “always someplace to be” and “must also get to’s” of the holiday season as well as the fact that Bart and I went out of town for a week, I could only go to the first and last dates. Yet it provided a different perspective. I observed the full evolution of the piece. Considering how much I enjoyed it initially, imagine the impact it made when tightened, re-tuned and “set.” Since the playwright, actors and crew created a world from scratch, they had the opportunity to truly explore and discover it to achieve Opening Night. Since then, their confidence in their performance and the fluidity of the transitions grew… to the point of allowing yet more exploration. The final show resonated with all the glory that sprung from the first, harnessed and channeled to its full effect.

Naturally, this time around I grabbed more strands of the woven culture. Such layering! The simplistic becomes complex just by reference. For instance, Anung is subjected to school. Not the teachings of his Tribe, but that of Western culture…Christian culture. The nun is horrified at the mention of anything Native. One of Anung’s friends shows him the Sears catalog, teaming with magnificent goodies - toys, clothes - you name it. He thrills Anung with White Beard who rides in the sky with his magical elk. Ah. The familiar Santa Claus story. But for a young Native American boy, the story is not so common. But how UNcommon is it? Is the wacky mythology of Kris Kringle and all its fantastical elements really all that different from the imaginative tales and legends of Native Americans? Trade descriptions all you want - you will end up with the same substance. A passion for giving, a devoutness for Nature and creativity. By the way, the boys pronounce it Seers [as in See-ers.]

The interlocking is everywhere… from a snowy Christmas tree comprised of white wings to a heroic Native American youth assuming the role of the Little Drummer Boy. And for the record, Mary of Nazareth is depicted as the great woman many expect her to be - except perhaps a bit greater. For this Mary is full of the compassion and wisdom to observe and accept the connectivity of Native and Nativity.

I don’t want to spoil all of it for you… because there’s wonderful news. The show is expected to return! Despite a few who couldn’t dig deep enough into their own shallow view, the response to the show has been great. The founders of Vitalist had been asked by many, “You’re doing this show again… right?” And it’s been very well received by the First Americans as well. Apparently it captures the spirit of their legends, presenting their culture accurately and with reverence. (I whole-heartedly agree!) Corporate backing may be involved... plus, there are plans to take the show to London! BRAVO!

If you missed Anung’s First American Christmas by the incomparable Vitalist Theatre, don’t make the same mistake the next time it comes to life.

Oh… quite honestly, the intensive, triumphant drumming stayed with me long after the blackout once again. I heard the magical pounding still as I helped out with striking the set after the show. There’s something truly sad about dismantling a 14 foot Dreamcatcher.

But it makes little difference… for Vitalist Theatre will continue to catch dreams!

Helping to Build a Dream

Mystical Elegance

Take a Holiday...

Take a Holiday...

What do the teachings, mythology and cultural icons of Native Americans have to do with traditional ‘Christian’ Christmas? “Incongruous!” you may bark. But if that is your answer, then you have not seen Vitalist Theatre’s new masterpiece, Anung’s First American Christmas.

I’ll admit that when Laughter first showed me the model of the set and explained the premise of the show, I could not help but be skeptical. As I say in the Foreword of Peter Pan’s NeverWorld, I have acquired a great respect and admiration for Native American culture and beliefs. Thus, mixing their sacredness up into all that has come about from the Xmas holiday did not quite sit right with me. But as Laughter explained more of what would develop within the story of Anung, the clouds began to disperse.

I don’t want to say I doubted, for I knew the caliber of those producing the play. I mean after all, it is written by Sparrow, the man who honed the craft of writing in me. Blend these two incongruous clashing cultures? Sure, I knew he’d manage it. But I should have realized the degree to which he could resonate their similarities. During the premiere’s after party Bart (speaking of a particular “cross reference”) told me, “Sparrow is a genius.” Bravo, Sparrow!

It’s a show full of, well, vitality. It speaks to the heart (without the sense of “cheese” that this idea conjures), plays on fears, stimulates the intellect, ignites wonder and generates laughter as well.

Everything I’ve said up until the point of actually viewing it (posts here and here) can be doubled in magnitude. The shadow work, puppetry, costumes, sound design, set manipulation and lighting are not to be missed. A portion of the Dreamtime is truly invoked onto the stage. Anung’s journey races forward and yet pleasantly lingers… just as in a dream.

Everyone is to be congratulated, but the show just would not work as well as it does without the delightful performance of Eden Newmark, who portrays Anung on the quest. She commands the stage, the embodiment of a rambunctious, eager and nervous young boy. Brava! (Gee, what other brave little boy do we know who has been played by talented women?) And allow me to give an additional “Bravo!” to the whole cast.

Children were in attendance as well. How wonderful to see their reactions. Whether it be cowering at the dreadful Weendigo or chuckling at the silly-but-scintillating Turtle, they seemed just as caught up in the dream as anyone.

Anung’s First American Christmas shows that the spirit of one story can take many forms, can be disguised and repackaged until it becomes difficult to see where one version ends and another begins. To give you some idea of what I mean: At one point, shepherds argue whether their visitor had been a bird or an angel. But when the visitor’s message is clear … does it really matter?

At the after party, I literally found myself munching a cracker to the rhythm of the dreams (ok... I meant to type drums... but both work!) at the finale.

It’s a magical work.


If you are in the Chicago area, I urge you:
Take a trip across Space and Time to sink into the SpaceTime Continuum and transmute your old knowledge with (k)new, to gain a better understanding of the mystical world around you.

Bravo Vitalist Theatre!


You can find information about the show here.

The image I used in this post came from the Vitalist Theatre website. The image is © Lori Reed.
Please allow its usage to promote the show and Reed Studios.

But Is It "News"

Since I'll be attending the premiere of
Anung's First American Christmas
tonight and I really want to get some writing done on the current novel, I thought I'd introduce you to a new favorite website.

It's relatively the same as "Headlines" by Jay Leno, if you're familiar with that. I'm not usually one to watch nighttime talk shows, so I can get my fix of wacky stupidity here. It also reminds me of "News of the Weird" in the Chicago Reader.

It's called Criggo. Click here to go.

Be warned. It's addictive. You might find it all too easy to waste time by going backward through the posts.

Weekend Wonders

Sorry... didn't mean to leave you in a lurch all weekend with nothing to read of my rants.

Although we didn’t do much (and certainly not all we planned) Bart and I had a filled weekend. Granted, some of that “fill” had to do with being lazy, too. Specifically, catching up on sleep (though not “sleeping in”) and also on episodes of Ellen. They piled up as I could not keep up with them this week. We also had a lovely brunch on Sunday with Laughter, who regretted not being able to go with Bart, Cassidy and me last Sunday. Yes, Laughter come back and had still been hanging about. He needed to take pictures of and for the Vitalist Theatre show Anung’s First American Christmas that he (we’ve) been working on for quite a while now.

One of the things we did accomplish (as if it counts as a feat!) is purchase the Robert Sabuda P0P-uP book of Peter Pan. It’s a delight. But is that any wonder? You might remember I’d been excited to see the crocodile. It turns out she is one of the side panels that opens up. A tad disappointing, as I had hoped to have gigantic massive jaws snapping down at me. The other mild let down is that there really isn’t a great “flying over London” page. Again, it exits in the flaps on the side. And it’s neat, yes. But not as grand as the moment seems to demand.

Don’t take any of the above comments as dislike. It’s an amazing piece of work just like his other books. Who can sneeze at a full scale pirate ship suddenly appearing before the eyes? One of the more fun pop-ups is Captain Hook sliding down the hollow tree. It’s unexpected and a great effect. Another tiny pleasure derives from the window shade going on at the Darling home as we see the Mr. and Mrs. in silhouette (calling back the shadow of the story) lamenting their loss. And how fun to see the Neverland sprawl out of nowhere!

Bravo Sabuda! (Again!)

Tomorrow is the opening/premiere of Anung’s First American Christmas. Laughter says it did indeed turn out to be a great show… visually stunning with all the puppetry and lighting and costumes. I’ll be sure to let you know what I thought. Though I've no doubt it will be fantastic.

Helping to Build a Dream

Just wanted to take a minute to put in an early plug for the new Vitalist Theatre show. Even though I haven’t even seen it, nor read it. But I can already get a sense of its grandeur . I’m posting this now because the next time I am able to visit the Theatre Building, much more will have been done with the set. For I know what is yet to be done. And it shall be nothing short of magical.

To give you some idea, center stage is a 14-foot dreamcatcher. Yes, you read that right. Laughter built a dreamcatcher that large. Even better, it spins 360° (Vertically…not circularly.) Plus, it can also swing pendulum-like. And be easily lifted and tilted to any desired angle. It’s amazing. It looks terrific, even without all of the “dressing” (wrapped fabric and a painting treatment around the ring) that will go on it.

I should explain that I do know the basic idea of the plot. I also saw Laughter’s model quite some time ago. But watching it come to fruition is causing anticipation to build, right along with the set. Last night while I helped secure platforms, they had a run-through of sorts of the projection elements. Lovely, ornate shadow work…and continuous! As in landscapes scrolling by and by and by and…birds flew in, the moon rose. Just wonderful. Then, the drummers thumped a bit. The sound moved right through the core of the space. A deep, resonant bellow. I thought how the drums would demand attention during a performance. Later, Laughter, one of his former students and I painted the floor - in phase one. Okay, technically I did not paint this time. My job had been to wield the water in a spritz-adjustable bottle. You see, the painting had also been done with spray bottles. The water helped diffuse the color and splatters of the mist. Why on Earth, you might ask? Well, because it is not on Earth! The floor will reflect the amazing colorful gases and nebulae and stars that comprise the Cosmos. It’s the Dreamtime.



Here are some examples of what I am talking about. These are actual photographs, people. Taken by the Hubble Telescope. Behold the mystical, magical glory of the Universe! No, these are not specifically the pictures being used in the show design. Laughter has dozens to inspire him. But it will give you some idea.

Perhaps from the poster (and the mention of a giant dreamcatcher and drums) you figured out this show deals with Native American legends and philosophies. The script is adapted from the novella by Carl Nordgren (as told to him by former Tribal Council Chief Steve Fobister (Baminowekapo) of the Keewatin Ojibway, Grassy Narrows First Nation, Canada). And who is writing it? No, not me. It's penned by the co-founder of Vitalist Theatre, my college mentor. Thus, the production has a special significance for me. He’s quite the poet, so the language of the play will be exquisite and beautiful.

This time Vitalist is pairing up with one of the members of Redmoon Theater, a company here in Chicago acclaimed for their masterful work using masks, physical performance, and an international range of puppetry style. I’ve seen some of the masks while at Knox for Homecoming. And I’m sure they will be further developed and even more spectacular and haunting.

The World Priemere of Anung’s First American Christmas, even in this stage of development, is damn impressive. The little white model is paling in comparison to the marvels that are taking shape. It just didn’t show the true scope of the vision.

I’m not sure how much more I will get to help out before it’s completed, as much of it will probably be accomplished over the weekend. Bart and I have previous engagements all weekend, so my time there might already be spent. I hope not. (But then, for their sake, I do hope they have a speedy completion.) Plus, this time I had the “thrill” of working on a Vitalist show at Knox! All the previous shows I saw the fruits of labor that came from the college which needed assembly here. But I spent some of my time at Homecoming making myself useful, such as grommeting the 40-foot silk curtains-strips as well as the fabrics on which the shadows will dance. But I do know that the next time I see it, I will be “w0w”ed even more. And I’m pretty damn excited to see this show as it is.

Information about the show can be found on the Vitalist Theatre website, here.