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Archive for the category “Wayward Women”

The Wayward Women Rides Again

May 25, 10pm, at the Playground Theater (3209 N Halsted St), Scooch Tap presents: Scotch Tape! Unrehearsed Shakespeare will be joining in the shenanigans.

And at long last: Unrehearsed Shakespeare and We Three will be joining forces to present a scene from The Wayward Women, performed in the First Folio Cue Script Technique and featuring an all-new cast!

Who will play what role? There’s only one way to find out!

Be there! Be square! Cause why not both!

WW17 008

“Take his standing by itself.” Nathan Ducker, Gilly Guire, Alexandra Boroff, and Katy Jenkins

‘Let Women War’ Concludes

Thank you to everyone who helped make Let Women War what it was. Production photos for The Passion of Boudicca and The Wayward Women are now open for viewing.

The Wayward Women: Photos

Here’s a few production photos from our 2017 remount of The Wayward Women.

Photos courtesy of iNDie Grant Productions.
Costumes by Delena Bradley.
Lighting by Benjamin Dionysus.

Let Women War!

[The Production is now closed]


The Cast of The Wayward Women



All tickets are FREE!

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

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 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!

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 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.


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!


“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.

The Wayward Women: Kind Words


Here are some flattering words from a debut audience member, Patrick Bushnell

“Hey Chicago friends,
I had the pleasure of seeing a very entertaining play in the Shakespearean style last night. Enjoy all of the word-play, sharp wit, and bawdiness that you love from that period. The actors and actresses all delivered fantastic performances with great presence, enthusiasm, and expression. The intimate setting at this theater affords you the joy of seeing their expressions up close, giving you a feeling of almost being part of the show.
The costume design by Delena Bradley was simply terrific; the costumes were beautiful and obviously meticulously crafted, and helped immensely to set the scene for the show. Also contributing to the atmosphere was the lighting. Quite often, the lighting of a show does not stand out to me; but this show was greatly enhanced by some outstanding lighting designs. They lent themselves perfectly to specific themes and emotions.
I enjoyed this play so much that I went on a research hunt to find out who penned it. To my surprise, I couldn’t find “The Wayward Women” anywhere. After a little more digging, I found out that Jared McDaris wrote this himself! I can’t stress this enough, I was astounded this wasn’t an actual Shakespeare play that I somehow missed- he displays such a talent for writing dialogue that I will endeavor to see any play he’s written.
I cannot recommend this show enough; go, have a couple drinks, and see this play. It is original, playful, hilarious, and you can tell that every single person involved in this production put everything they had into it.
A solid 4 of 4 stars; do yourself a favor and go see “The Wayward Women”. I promise you will have a fantastic experience. To top it all off, tickets are only $3!! Don’t forget to let all of these wonderful folks know what you thought of it. Support your local thespians!”

And that’s just dandy.

March 17 – April 2
Thursdays, Fridays, Saturdays @ 7:00pm
Mary’s Attic, 5400 N Clark St
$3 at the Door

The Wayward Women: Wooing


“My brest has stirred in thee, fine boy, and I / Am render’d simple. Tongue nor supple brain / Can tell what artistry lives in thine eyes.” Aquiline (Guilly Guire) woos the fair Cordelius (Jack Sharkey)

Perhaps not surprisingly, Aquiline’s wooing of Cordelius mirrors Hal’s wooing of Katherine, though it lacks the sinister undertones of conquest. Like Katherine, Cordelius has been removed from his seat of power and is very much a fish out of water. Like Katherine, he does not trust his wooer’s intentions. And most tellingly like Katherine, Cordelius is concerned that his potential paramour’s words of love are salted with domination. The Swiss gentleman does not like to be made to feel unmanly, and he is clearly used to being the hero of his own story (as well as everyone else’s story).

It’s in this respect, I think, that The Wayward Women most overtly comments on gender roles in Shakespeare. Cordelius serves as the primary love interest of more than one character. Consequently, though he is often the center of everyone’s conversations (so much so that this six-women-to-four-men play strains the Bechdal Test), he is granted very little agency in his own fate.

A woman’s lack of agency in Shakespeare is, I think, most evident in his histories. Katherine’s demurring to Hal brings us a happy ending with a ‘proper’ queen. Margaret’s refusal to submit to Henry VI brings us a three-play tragedy (though King Henry VI himself is also indicted, the “unmanly” king to Margaret’s “unwomanly” queen, which has its comic parallel in Joan of Arc and the Dauphin). You can of course also see this in Taming of the Shrew’s Kate or the older noblewomen of Richard III and King John. Shakespeare does occasionally throw a bone to a woman’s intellect with Beatrice or the Princess of France or either Rosalind, and of course many of the ‘howling stereotypes’ are more complicated than they initially appear, but one need look no farther than Luciana and Adriana (at the beginning of his career) or Miranda and Sycorax (and the end) to conclude how ‘proper womanhood’ was generally defined in Elizabethan and Jacobean England, at least in their literature. It’s these standards that are applied to Cordelius, and he does not care for it. Not one bit. Unlike most of Shakespeare’s women, however, Cordelius is granted the right to complain of the inequity of it all.

In this little scene, Quill (Aquiline) echos Hal’s tripping tongue, though her desire is motivated solely by strict romanticism and not by political convenience. Indeed, Quill’s concerns of being forced to marry Cordelius after enjoying his fruits are soundly squashed by Dame Grendela (Quill’s personal Falstaff) in the previous scene. With echos of Romeo and Troilus, Quill is a direct contrast to a woman’s romantic agency in Shakespeare’s work, where our best examples of female independence (in matters of wooing) come again from Queen Margaret (accomplice in a premeditated affair) and Tamara (the same), both of whom are depicted as immoral and even “unnatural.” Later in Shakespeare’s career, sexual independence can be found minutely in Lear’s elder daughters, both of whom are directly called “unnatural hags.” Shakespeare may have held the mirror up to nature, but that mirror was certainly not always a flattering one, frequently revealing the prejudices of the times. To be fair, he commented on those prejudices as well, and some of his independent *and* intelligent women came to happy ends (Rosalind, Beatrice, and arguably Adriana and even Bianca).

COSTUMES by Delena Bradley
LIGHTING by Benjamin Dionysus
PHOTO by iNDie Grant Productions

The Wayward Women: The Duel


Dame Anu (Sarah Bell) and Cordelius (Jack Sharkey) engage in a “friendly” spar

“The Duel” pits two cliches against each other. On one hand, we have Cordelius: the cocky man who is invariably put down in a physical confrontation with a more experienced woman. On the other hand, we have Dame Anu: the pompous blowhard who his invariably put down in a physical confrontation with an underdog. It’s a sort-of unstoppable force meets immoveable object situation.

Though short on poison and political intrigue, the Dual also has some parallels with Hamlet’s famous climax: it too is broken into three parts, and it too features combatants who are only pretending this is casual fun.

In addition to good ol’ spectacle, the Duel solidifies each character’s opinion of the other, strongly influencing their future relationship (such as it is).

COSTUMES by Delena Bradley
LIGHTING by Benjamin Dionysus
PHOTO by iNDie Grant Productions

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