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Posts Tagged Boss Stage

What’s Realistic?

The Liar Rehearsal

All fabrications?

For the past weeks, I’ve been writing about a play in which everything seems fabricated. The title character is a compulsive liar, but just about every other character is also duping someone else. Of course, I’m referring to the comedy, The Liar, which is on Park Square Theatre’s Proscenium Stage until October 2. Yet, the fact that the play is a farce and, hence, a critique of real-life societal mores, begs the question: To what extent is the play not realistic?

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What will Jennifer and Bob Jones do?

In juxtaposition, on Park Square’s Boss Thrust Stage from September 23 to October 16 will be the play The Realistic Joneses, a comedy/drama in which we watch two couples, both with the last name of Jones and both neighbors to each other, cope with a progressively debilitating illness. Mortality is certainly a sobering notion throughout the production, and how the characters choose to face it is reflected in the play’s title. The term “realistic” suggests a no-nonsense, pragmatic approach to life; but how does this actually play out for those who must face a terminal illness? Well, by relying on a sense of humor, of course; but what more? I’ll let you find out for yourself!

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The talented cast of A Raisin in the Sun

Then from October 28 to November 20 on the Boss Stage, Lorraine Hansberry’s A Raisin in the Sun will make us ponder: How possible–how realistic–will it be for each member of the Youngers, a poor African-American family, to obtain his/her dream in a racially oppressive society?

Is the world the way Beneatha Younger claims it is to her beau Asagai: “Don’t you see there isn’t any real progress, Asagai, there is only one large circle that we march in, around and around, each of us with our own little picture in front of us–our own little mirage that we think is the future?”

Or is she mistaken, as Asagi counters: “What you just said–about the circle. It isn’t a circle….it is simply a long line–as in geometry, you know–one that curves into infinity. And because we cannot see the end, we also cannot see how it–changes. And it is very odd, but those who see the changes–who dream, who will not give up–are called idealists… and those who see only the circle–they call each other the ‘realists!'”

What an irony that theatre so often has the power to bring us closer to what is true to life–and that make believe opens the door to real self-discoveries.

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Plus Season Package Pricing:

Any 3 or more shows starting at $25 each

Any 6 shows starting at $142 total

All 13 shows starting at $294 total

(All “starting at” prices based on preview prices, standard seats.  Programs, dates and artists subject to change.)

NOTE:  All photographs in this blog were taken by Petronella J. Ystma.

ELI SCHLATTER: Scenic Designer for “The Liar”

Eli Schlatter

One of the most exciting and uplifting aspects of my job is the opportunity to meet some of the newest and brightest theatre talents in the Twin Cities. They are young, ultra-creative, incredibly hardworking and very committed to their work. One of these up-and-comers is Eli Schlatter, who is tasked with designing a fun but versatile set for Park Square Theatre’s upcoming area premiere of a playful comedy, The Liar, on the Proscenium Stage from September 9 to October 2.

Just three years out of college with a BFA in Theatre Design and Production from the University of Michigan, Schlatter is a freelance scenic designner and technician in the Twin Cities. His University of Michigan training closely mimicked real-life professional theatre work experiences, which allowed him to hit the ground running upon graduation. At one harrowing point in his career, he found himself juggling designs for three different shows with close opening dates.

With parents who’d met in a master’s theatre program, Schlatter described a lifetime “steeped in the theatre community.” As he put it, “I’ve been involved in theatre in different ways ‘forever.’ As a child, I saw more plays than movies.”

Schlatter acted on the Steppingstone Theatre stage in his tweens but got pulled into the technical side of theatre while at South High School. He had actually always been more intrigued with a set’s design–for instance, what would move or change on stage–and watched for, as he described, “how the world will tell the story.”

One of Schlatter’s first professional projects in the Twin Cities was as an intern for The Mystery of Irma Vep, assisting director and designer Joel Sass at the Jungle Theater (Sass will direct Park Square Theatre’s The Realistic Joneses on the Boss Stage from September 23 to October 16). To date, Schlatter has freelance designed for numerous local professional theatres, from Yellow Tree Theatre to Theater in the Round Players, and done technical work for such various venues as The Minnesota Fringe Festival and Circus Juventas. He also works on the run crew of The Children’s Theatre Company.

To be successful in his field, Schlatter must constantly put himself out there, actively and bravely searching for opportunities. He got the gig designing The Liar with what was essentially a designer’s version of auditioning: sending his resume and condensed portfolio to Artistic Director Richard Cook. Cook had obviously liked what he’d seen because Schlatter got a meeting and, two weeks later, the job.

In a future blog post, you can get an inside look at Schlatter’s scenic design process for The Liar. Don’t miss the chance for a glimpse into the making of theatre magic.

Scenic Designer Eli Schlatter (right) shows Director Doug Scholz-Carlson (left) his color set design model

Scenic Designer Eli Schlatter (right) shows Director Doug Scholz-Carlson (left) his set design model during rehearsal

(Notes: A scenic design portfolio website for Schlatter is at www.elischlatter.com; also look for the future blog “Flat Land: The World of The Liar”)

What Will You Do With It?

Joe Chvala

It is a sunny but cool morning when I visited Joe Chvala.  I pass through the wooden gate to enter a green world loosely guarded by two gargoyles. It’s something to do with how the light filters through his yard that makes me expect something magical to happen. The White Rabbit from Wonderland may scamper past in a rush, or the Cheshire Cat may show himself on a tree branch. Calmly seated outside by a table on the porch is Chvala himself, like his garden, kind of otherworldly and timeless.

I have come to interview Chvala about Passing Through Pig’s Eye, a roving performance through historic Saint Paul by his percussive dance company, Flying Foot Forum, and guest performers. The show runs from August 25 to September 11, with its start and end points at Park Square Theatre’s Boss Thrust Stage within the historic Hamm Building. Audiences will divide into smaller groups for an immersive experience of dance and music at key locations in downtown Saint Paul. The audience will be moving around a great deal and sometimes standing so consider wearing comfortable shoes and clothing and not carrying large bags. The show is wheelchair accessible and appropriate for all ages.

For someone who’s on deadline to launch a new production by August 25, Chvala looks like he has all the time in the world, relaxed and still, ironic for a man known for perpetual motion on stage. And can Chvala move! He has done it all: jazz, ballet, tango, tap, folk, . . . you name it! Ultimately, percussive dance won his heart; but unwilling to settle on any one form–no, not simply tap; not just clogging–he draws from them all then adds his own percussive twists, letting loose his creative inventions.

Chvala admits to having lived a charmed life, able to spend much of it creating his own internal and external worlds since childhood. He grew up in Madison, Wisconsin, enjoying languid summers at a cabin by the lake, immersed in nature and his own wild imagination. He first became involved in theatre as a teenager, thrilled to now make believe to live audiences. Getting hooked on musical theatre as a child started him down the path to dance, which he pursued more seriously after moving to New York.

Chvala’s journey has led him to travel widely and even sometimes stay for longer spells. He is a Midwesterner who became a New Yorker (seven years) who then lived and taught dance in Gothenburg, Sweden (two years). Living overseas expanded his worldview and further deepened his artistic development. What finally drew him back full circle to the Midwest are close family ties which ground him. Despite his need for solitude to create, Chvala is, at heart, a connector, which makes it unsurprising that he had created Flying Foot Forum in 1991, a means for artists to share and invent together.

Chvala also feels most grounded when dancing, literally connecting with the earth. While he may have tendrils into other worlds, each of them having their own appeal, this is the world that feels the most immediate. As Chvala continues to uncompromisingly create the life that he wants to live and to gift–and as he sits in the radiant sunlight in the morning–he brings to mind these final lines from poet Mark Doty’s “Long Point Light”:

Here is the world you asked for,
gorgeous and opportune,

here is nine o’clock, harbor-wide,
and a glinting code: promise and warning.
The morning’s the size of heaven.

What will you do with it?

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