We Three

Plays & Stuff

Assistant Costumer: “Let Women War”

WE THREE’S Repertory Productions of

THE PASSION OF BOUDICCA & THE WAYWARD WOMEN

Is seeking an

ASSISTANT COSTUMER

COMPENSATION: $200 (single sum payment)

TO APPLY: Email resume and/or references to jared@wethreeplays.com.

RESPONSIBILITIES – The Passion of Boudicca (premiering) and The Wayward Women (a remount of our 2016 production) are being costumed by Delena Bradley. Bradley will be leaving Chicago before these shows open. An assistant will be required to help finish costumes before her departure and make adjustments as necessary up to and throughout the run of the shows.

The Passion of Boudicca is a premiering show with a cast of eighteen. The Wayward Women is a remount with a cast of ten. Most of the The Wayward Women’s costumes are complete or in need of only minor upkeep/alteration. Only a few will need to be refitted, redesigned, or rebuilt.

VENUE: Chase Park Theater 4701 N Ashland Ave.

SCHEDULE

Rehearsal Start: August 1*
TECH: September 2 – 6
OPENING: Boudicca: September 7, Wayward Women: September 10
Monday through Thursday Rehearsals: 6:30pm to 9:30pm
Saturday Rehearsals: 11:00am to 2:00pm. Saturday rehearsals will focus on stage combat. The exact hours may be altered to suit the needs of the venue, fight director, and combat ensemble.
*July Rehearsals: Up to four Saturday rehearsals will be scheduled in July for stage combat work.
PERFORMANCE DATES: September 7 through October 1.

W3 Flag 6

Assistant Stage Manger: The Wayward Women

WE THREE’S Remount of

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Is seeking an

ASSISTANT STAGE MANAGER

COMPENSATION: $150 (single sum payment)

TO APPLY: Email resume and/or references to jared@wethreeplays.com.

RESPONSIBILITIES – All responsibilities are the purview of the Stage Manager. The Assistant Stage Manager will handle or assist in the duties below by mutual agreement and under the supervision of the Stage Manager.

  1. Facilitating communication between the Producer, Actors, and Designers whenever necessary.
  2. Managing all Rehearsals (excepting those excluded by an approved absence), ensuring that such Rehearsals run smoothly and productively, and stay reasonably within the confines of their respective schedules.
  3. “Holding book,” and prompting Actors of their lines whenever requested.
  4. Taking line notes to ensure accurate memorization.
  5. Maintaining a log of blocking for the Actors, only when requested. (We Three productions tend to have very organic blocking, and such logs are rarely demanding)
  6. Managing all Performances, ensuring that such Performances run smoothly and productively, and stay reasonably within the confines of their respective schedules.
  7. Operation of the Production’s lighting and sound equipment during Tech Rehearsals, Dress Rehearsals, and Performances. (The Wayward Women is a traditional-style Elizabethan show, and thus has relatively simple light/sound demands)
  8. Supervision and light/reasonable maintenance of the Production’s costumes, masks, and props.
  9. Front-of-house Supervision: Managing audience access to The Venue for performances.
  10. Attendance and supervision at Strike: ensuring that the Production’s properties and set pieces are properly disassembled and removed, that all costumes are returned to their respective destinations, and that all other properties of the Production are removed from the Venue.

VENUE: Chase Park Theater 4701 N Ashland Ave.

SCHEDULE

The Wayward Women is being performed in rep with The Passion of Boudicca. As such, the listed rehearsal dates will be shared between these two productions. Neither show will rehearse more than four times per week.
Rehearsal Start: August 8
TECH: September 2 – 5
OPENING: September 7
Monday through Thursday Rehearsals: 6:30pm to 9:30pm
Saturday Rehearsals: 11:00am to 2:00pm. Saturday rehearsals will focus on stage combat. The exact hours may be altered to suit the needs of the venue, fight director, and combat ensemble.
PERFORMANCES: 6:00pm call, 7:30pm Curtain
PERFORMANCE DATES:
Sept 10 – 5:00pm
Sept 15 – 7:30pm
Sept 17 – 5:00pm
Sept 23 – 7:30pm
Sept 24 – 5:00pm
Sept 28 – 7:30pm
Oct 1 – 5:00pm

Assistant Stage Manager: The Passion of Boudicca

mygalb-rbn824WE THREE’S Production of

THE PASSION OF BOUDICCA

Is seeking an

ASSISTANT STAGE MANAGER

COMPENSATION: $150 (single sum payment)

TO APPLY: Email resume and/or references to jared@wethreeplays.com.

RESPONSIBILITIES – All responsibilities are the purview of the Stage Manager. The Assistant Stage Manager will handle or assist in the duties below by mutual agreement and under the supervision of the Stage Manager.

  1. Facilitating communication between the Producer, Actors, and Designers whenever necessary.
  2. Managing all Rehearsals (excepting those excluded by an approved absence), ensuring that such Rehearsals run smoothly and productively, and stay reasonably within the confines of their respective schedules.
  3. “Holding book,” and prompting Actors of their lines whenever requested.
  4. Taking line notes to ensure accurate memorization.
  5. Maintaining a log of blocking for the Actors, only when requested. (We Three productions tend to have very organic blocking, and such logs are rarely demanding)
  6. Managing all Performances, ensuring that such Performances run smoothly and productively, and stay reasonably within the confines of their respective schedules.
  7. Operation of the Production’s lighting and sound equipment during Tech Rehearsals, Dress Rehearsals, and Performances. (The Passion of Boudicca is a traditional-style Elizabethan show, and thus has relatively simple light/sound demands)
  8. Supervision and light/reasonable maintenance of the Production’s costumes, masks, and props.
  9. Front-of-house Supervision: Managing audience access to The Venue for performances.
  10. Attendance and supervision at Strike: ensuring that the Production’s properties and set pieces are properly disassembled and removed, that all costumes are returned to their respective destinations, and that all other properties of the Production are removed from the Venue.

VENUE: Chase Park Theater 4701 N Ashland Ave.

SCHEDULE

The Passion of Boudicca is being performed in rep with The Wayward Women. As such, the listed rehearsal dates will be shared between these two productions. Neither show will rehearse more than four times per week.
Rehearsal Start: August 1*
TECH: September 2 – 5
OPENING: September 7
Monday through Thursday Rehearsals: 6:30pm to 9:30pm
Saturday Rehearsals: 11:00am to 2:00pm. Saturday rehearsals will focus on stage combat. The exact hours may be altered to suit the needs of the venue, fight director, and combat ensemble.
*July Rehearsals: Up to four Saturday rehearsals will be scheduled in July for stage combat work. Attendance of these rehearsals are negotiable with the Stage Manager and Director.
PERFORMANCES: 6:00pm call, 7:30pm Curtain
PERFORMANCE DATES: September 7, 8, 9, 14, 16, 21, 22, 29, 30.

The Cast of The Wayward Women

THE WAYWARD WOMEN
CAST

All tickets are FREE!

The Wayward Women will be staged at Chase Park (4701 N Ashland) with the generous cooperation of Fury Theatre.

PERFORMANCE DATES:
September 10 (5pm)
September 15 (7:30pm)
September 17 (5pm)
September 23 (7:30pm)
September 24 (5pm)
September 28 (7:30pm)
October 1 (5pm)

Ensemble Sought for The Passion of Boudicca

ENG151196034  01

Boadicea Haranguing The Britons. John Opie, R.A. (1761-1807). Oil On Canvas.

We Three is looking to cast the last member of our six-person ensemble for our September production of The Passion of Boudicca. We are seeking experienced actor-combatants.

The Passion of Boudicca is a new Elizabethan-style verse play following the military campaign of the legendary queen of the Britons, who sought to expel the Roman Empire from her borders.

All performers receive a token payment of $50, due no later than September 9 (opening weekend).

If interested, please send your resume to jared@wethreeplays.com.

All actors will be allowed to read the script before accepting their role.

As actor-combatants, the Ensemble will be principal participants in two-to-four alarum scenes (as our schedule allows). The actors playing Gaius and Mutius will participate in two other fight scenes with lead actors.

All violence will be managed by a professionally-trained violence director (Christopher Elst) and fight-captained by an actor selected from the Ensemble (Lana Whittington).

Time Commitment: Ensemble will be asked to meet between four and eight times in July, as schedules allow, to focus on alarum fights. Rehearsal time will also be made in August (no more than once or twice a week). The actors playing the 1st Briton, 2nd Briton and Roman Knight will be expected to attend any rehearsals dealing with their respective scenes. The actors playing Gaius, Mutius, and the sixth non-speaking role will be asked to attend relevant scenes at their discretion. There will be at least four full-runs before Tech, featuring the alarums, in the latter half of August.

The Cast of The Passion of Boudicca

THE PASSION OF BOUDICCA
CAST

All tickets are FREE!

The Passion of Boudicca will be staged at Chase Park (4701 N Ashland) with the generous cooperation of Fury Theatre.

PERFORMANCE DATES:
September 7, 8, 9, 14, 16, 21, 22, 29, 30
Curtain at 7:30pm

The Wayward Women Returns!

wwbowWe Three are exceptionally excited to share that The Wayward Women will be returning to Chicago this September!

The story of two querulous knights in a post-war culture, The Wayward Women takes place on the Illyria-esque isle of Amosa, where women rule and men are the gentler sex. Cordelius, a foreign noble, and his servant Julian are stranded in this strange land, where they quickly become pawns in the petty machinations of Dame Anu, the Virtuous, and Dame Grendela, the Fartuous.

wwsinThe Wayward Women will be running in rep with The Passion of Boudicca at Chase Park (4701 N Ashland Ave). All tickets are FREE!

PERFORMANCE DATES:
September 10 (5pm)
September 15 (7:30pm)
September 17 (5pm)
September 23 (7:30pm)
September 24 (5pm)
September 28 (7:30pm)
October 1 (5pm)

The Passion of Boudicca: Casual Reading

ENG151196034  01Join us November 12 at 11am for a casual reading of The Passion of Boudicca, an Elizabethan-style tragedy.

DATE: Saturday, November 12
TIME: 11:00am to 1:00pm, with a discussion afterward
VENUE: TBA

We’re looking to get feedback on how to improve the script, both as an exercise in Elizabethan drama and with a specific eye for production.

Queen Boudicca wished to maintain rule over the Iceni (who lived roughly in the Suffolk region) after the death of her husband, King Prasutagus. The Romans felt they were now the rightful owners of the region, and supported this argument by sacking her town, scourging her, and sexually assaulting her daughters. Boudicca countered this point by gathering the local tribes and completely kicking the nine shits out of the Roman army for several years. Taking its inspiration chiefly from Antony & Cleopatra and As You Like It (with a tiny sprinkling of King Lear and Henry VI), The Passion of Boudicca pits Pride against Love, Law against Integrity, and Nature against Individuality.

PLEASE BE FOREWARNED: This play deals (among other things) with sexual assault. It is not depicted onstage, but it does happen during the course of the play, and it is discussed frequently.

CHARACTERS (In speaking order)

Catus, a Roman lord (Read by JD Whigham)

Maeve, the Queen’s daughter (Read by Katy Jenkins)

Cassio Dion, a Roman captain (Read by Nathan Ducker)

Brigid, the Queen’s daughter (Read by Sarah Jean Tilford)

Tacit, a Roman captain (Read by Charlie Baker)

Boudicca, Queen of the Iceni Britons, sometimes called the Queen or Lady of Suffolk (Read by Jessica Goforth)

Scyllia, A Braggart, who tromps about the Leafy Wood (Read by Kaelea Rovinsky)

Paulinus, a Roman Governor (Read by Christopher Elst)

A Clown, called Modred, who lives in the Leafy Wood (TBA)

Helio, a Briton shepherd who lives in the Leafy Wood (Read by Kamron Palmer)

Ester, a Briton shepherd who lives in the Leafy Wood (Read by Gilly Guire)

Beatrice, a Foundling who fights in the Briton army (TBA)

The Wayward Women at Poetry Talk

A scene from The Wayward Women will be featured on Peter Storey’s Poetry Talk, a monthly show discussing contemporary poetics.

PoetryTalk

Stop by the Public House Theater September 13th at 8pm. Guests include Jacob Saenz, Robyn Shanae, and Jared McDaris. Immediately following McDaris’ interview, The Wayward Women‘s Act 2, Scene 1 will be staged, featuring Adrian Garcia, Gilly Guire, Alexandra Boroff, and Katy Jenkins reprising their original roles.

You can also check out original production photos by iNDie Grant Productions right here!

wwPoetryTalk

“Leave the dying bee to buzz itself away.” Katy Jenkins, Gilly Guire, Alexandra Boroff, and Adrian Garcia in Act 2, Scene 1 of the world premier of The Wayward Women. Costumes by Delena Bradley. Lighting by Benjamin Dionysus. Photo by iNDie Grant Productions.

Bathory: Elizabeth, and the Courage of our Convictions

"Heart, petrify, and be as hoary Rock." Mary-Kate Arnold as Elizabeth Bathory. Lighting by Benjamin Dionysus. Costume by Delena Bradley. Photo by iNDie Grant Productions

“Heart, petrify, and be as hoary Rock.” Mary-Kate Arnold as Elizabeth Bathory. Lighting by Benjamin Dionysus. Costume by Delena Bradley. Photo by iNDie Grant Productions

As we all learned in high school (or earlier, if you’re lucky), a Tragedy is defined by its subject’s Fall, or reversal of fortune (or peripeteia, for the vocab buffs). The ancient Romans (and to be fair, Shakespeare himself) seemed to perceive no fall greater than death itself, but for the Greek ideal, there were fates worse than death, and the greatest Greek Heroes were those who recognized this, recognized that they deserved such punishment for their tragic flaws, and accepted their punishment rather than escape through death.

Elizabeth Bathory is, by virtually any metric, a selfish, merciless, parasitic, destructive person. She uses the commoners like animals (both for labor and for sustenance), treats the nobles with disdain, and shows love only toward those who are unequivocally in her power (and often not even to them). Despite all this, she is one of very few characters that is consistent in her own morality, and because of this conviction we can find a certain nobility in her tragic descent.

In a reversal of classic comedies, Countess Bathory begins with a wedding.

In a reversal of classic comedies, Countess Bathory begins with a wedding.

The play opens with Elizabeth, not at the height of her powers, but optimistic and possessing a clear trajectory toward victory. Her opening soliloquy (a parallel of Richard III’s “Now is the Winter of our discontent”) says as much: she is marrying Ferenc Nadasdy to seize his power and reputation. She succeeds by scene’s end, but the seeds of destruction have also already been planted. Despite her efforts, her husband has “infected” her with affection. Ironically (though I’d argue is a fitting reflection of our own times), it is Elizabeth’s capacity to love others, limited though it is, that ultimately leads to her destruction.

Elizabeth Bathory (Mary-Kate Arnold) with Kate (Aiyanna Wade), at the height of her power. Costumes by Delena Bradley. Lighting by Benjamin Dionysus. Choreography by Orion Couling. Photo by iNDie Grant Productions

Even so, the first three Acts of the play are a fairly straight line upward. The Countess is presented with obstacles, and she readily overcomes them using various talents and tactics, especially the myriad complications of 2.2. For Elizabeth, the first half of our production is very much a leapfrog between displaying her social and political talents before indulging bestial desire for domination and blood. This then leads to the first-half climax, 3.4, where the Bathory is allowed to indulge both to her fullest extent: as a general in battle, ruling over massive bloodletting, proving her political and strategic might, demanding and securing her own will over everything. “Let none deny I am indominable” she shouts out into the torrents of death. She does not yet know that her husband Ferenc is dying an ignoble death a thousand miles away.

"I will have royal blood!"

“I will have royal blood!”

In Act 4, Agamemnon‘s prideful tread upon the purple carpet is paralleled in Elizabeth’s luxurious recline in red. Just when she thinks herself unassailable, however, mortality reasserts its heavy hand with the news of her husband’s death. One of the only two people she loves (excepting her divined self) is gone. She responds by upping the ante and insisting upon royal blood tonight,

“For that’s the tincture that will elevate
My sloughing flesh into Gentility
And make my vessel fast eternally.”

The Fall takes another soaring dive with the apparent betrayal by Kate (the other object of her love), and of course the appearance of the distant hand of King Matthias at last making itself known. In one proverbial swoop, Elizabeth loses her loves, her trust, her power, her reputation; and most damningly of all, these reversals ruin her bid for immortality.

throat

“My fear is mine, you cannot take it from me.”

It is endlessly intriguing that, just before her arrest, Elizabeth has the blood of two people available to her. To achieve godhood, she chooses not the royal-blooded Katalin, but rather the common and servile Kate. This, more than anything, suggests that Elizabeth has some other, secret desire in the consumption of blood. The fact that she chooses Kate’s blood suggests that Elizabeth saw something unique in Kate, and yet refused to take her blood before this moment. That, or that Kate had only then become something new, something divine.

The Fall of Bathory

The Fall of Bathory

Elizabeth has unquestionably lost everything in the final scene, when even a glorious death is denied her by the spite and pettiness of the so-called virtuous. However, this play is not just a story of a powerful person losing everything: it is the story of someone fighting to maintain their beliefs in the face of mounting temptation. “Damn hypocrites,” Bathory calls everyone else.

“You Devils have Beauty, wretches the Divine,
But I alone possess them both, both mine.”

In this speech, Elizabeth further implies that honesty is not possible (in others) unless all artifice has been stripped away, even to such an extent that one’s social abilities and natural beauty is destroyed. It may be that her love for Kate comes only because Kate’s capacity to charm has been forcibly removed.

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The King declares the virtue of finery

King Matthias and Count Drugeth show that they are willing to say whatever they must, ally themselves to whatever ethics they need, in order to get what they want. Duke Thurzo appears morally consistent, but as he never does anything it’s difficult to say (it is incredibly appropriate that Thurzo, like the legendarily hesitant Hamlet, is dressed all in black). Petr Zavodsky is alone among Bathory’s adversaries in her moral consistency, but is so made by nature that Elizabeth can barely recognize her as human. Moreover, it could be argued that Zavodsky turns a deliberately blind eye to the King’s hypocrisy in order to achieve her own ends. This leaves the Countess alone as a morally consistent figure in a world that, regardless of its values, consistently abuses and dehumanizes the weak.

Final Tableau

In Act 5, the King offers Elizabeth three chances to escape her tragic fate, if only she will admit fault. Such an admission, however, would make her just like everyone else, and remove all justification (in her own eyes) for her terrible actions. It would make every accusation true, and deny her the Divinity in her own mind that she was unable to assert on Earth. Rather than accept an extraordinarily easy out, Elizabeth chooses a slow, painful, drawn out, ignominious end. She will be slandered, forgotten, and any history will be written by her enemies. No one will understand what she perceived as the rightness of her own actions. Except herself. And that, it seems, is what mattered most.

Her enemies dismiss her as mad, but as the too-thoughtful Thurzo says,

“What else is there, when Madness is giv’n sway?
What else but Madness when the Law is honor’d
In Letter while its Spirit is broken? What
Betokeneth this World where Words are Vapor
And evanesce with their own Breath? What greater
Revenge can this Devil betake on us
Than leave us in this Hell we have created,
Where Men crack fang’d Smiles, and naked Throats
Will justify their opening to us.
I have no Wisdom, not a Tincture for it,
To purge this thorny poison from our Veins.
Be off, be thoughtful, all of us, and ask:
What greater Penitence can we be worth,
Than t’ see ourselves in th’ Monsters of the Earth?”

"The Gods are beautiful and powerful / And through such blessings display their Favorites." Mary-Kate Arnold as Countess Bathory. Costumes by Delena Bradley. Lighting by Benjamin Dionysus. Photo by iNDie Grant Productions.

“The Gods are beautiful and powerful / And through such blessings display their Favorites.” Mary-Kate Arnold as Countess Bathory. Costumes by Delena Bradley. Lighting by Benjamin Dionysus. Photo by iNDie Grant Productions.

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