H.P. Lovecraft’s Shadow Over Innsmouth Opens Friday the 13th
Poster Art by Charlie Athanas
Small towns have big secrets. In the dead of winter, an eager young student of anthropology is pulled toward the strange and isolated village of Innsmouth, Massachusetts, where the only thing more disquieting than the furtive townsfolk is the pervasive odor of death, decay, and rotting fish in the air. Some say a pagan cult drove all of the orthodox churches out. Some say there are endless tunnels beneath the town. And some say they’ve seen devils on the reef by the light of the moon. But all who hear its name, spoken in hushed whispers throughout New England, will agree on one thing: there is a dark and sinister shadow over Innsmouth.
WildClaw Theatre presents the world premiere stage adaptation of H.P. Lovecraft’s “The Shadow Over Innsmouth”. Previewing December 12th, then opening Friday, December 13th, 7:30pm at the Athenaeum Theatre, 2936 North Southport, Chicago, IL. Running through January 26th, 2014 with performance times Thursday thru Saturday at 7:30pm, and Sunday at 3pm.
Directed by Shade Murray, and featuring company members Steve Herson, Brian Amidei, and Ele Matelen, with Brittany Burch, Christy Arington, Mark Pracht, Jude Roche, Katey Kerman, Bob Kruse, Mary Jo Bolduc, Matt Farabee, Adam Shalzi, David Seeber, and Brady Johnson.
Deathscribe 2013: We Apologize for the Inconvenience WINS!
WildClaw Theatre is thrilled and chilled to announce that this Monday, 2013′s coveted Bloody Axe went to Chelsea Paice, for her grotesque story of the WORST. COMMUTE. EVER: We Apologize for the Inconvenience!
Those blonde locks conceal a dark and twisted mind.
Susan, Jim and Derrick do not have TIME for the CTA’s shenanigans this morning, but that doesn’t stop them from being stopped for a medical emergency. Missy can’t do anything but “apologize for the inconvenience,” as tempers flare, time wastes, and our rapid transit system produces the worst headaches since Ventra took over. Performed by Justine Turner, John Ferrick, Anita Deely, Chris Rickett and Darren Stephens, and directed by Kevin Theis, the director so nice that he’s now won TWICE, Chelsea’s terror train offered us the opportunity for thrilling performances, shockingly squeamish sound effects, and some, shall we say, stirring visuals.
The Devil helped us do it.
The daemons of WildClaw are hard at work bringing our previous Deathscribes to the website for your aural pleasure. As always, we are immeasurably thrilled for the contributions of ALL of our playwrights, directors, actors, musical guests, sponsors and patrons for making Deathscribe 2013 a roaring, thundering, flarping success. Deathscribe is a celebration of scary stories, more importantly, Deathscribe is a celebration of YOUR scary stories. We cannot make this unique event happen without our audience, our brilliant, bold, beautifully twisted audience, and every year, we learn, grow, sprout, mutate, explode…well, we get even better, is where I was going with that, and that is thanks to you, our wonderful fans.
Mark your calendars for December 1st, 2014!
Submissions for Deathscribe 2014 will open in the spring, and while we’ve put away all of our things that go bump in the night for another year, WildClaw’s Dismember December is far from over. TONIGHT, we move into The Athenaeum Theatre to begin teching for our next production, “The Shadow Over Innsmouth,” adapted by Scott T. Barsotti, directed by Shade Murray. Join us as we explore this classic by American horror visionary H.P. Lovecraft, as Regina Olmstead learns the hard way that something fishy is going on in Innsmouth.
“The Shadow Over Innsmouth” previews on Thursday, December 12th and OPENS Friday, December 13th. Hope to see you there!
Next up for WildClaw, The Shadow Over Innsmouth: Running 12/13-1/26
^_ _^
.>T<
Get Your Cthulhu On!
Just in time for your holiday shopping! Get your slimy tentacles on some hand-crafted goodies from Meatspider Studios where AJ Wagar brings you plenty of artwork, jewelry and functional items at extremely reasonable prices!
Check out the goods on his Etsy site! For images and details of his larger pieces, check out the Meatspider Studio site.
Meet Our 2013 Deathscribes (Part 5 of 5): Travis Williams
I walk the line…between realities…
Today we’re sharing a brew with Deathscribe Travis Williams, author of “Strange Weather.” After being a finalist last year with his play “The Wall,” Travis is very excited to once again be part of Wildclaw Theatre’s Deathscribe! Hailing from Ohio, Travis has been active in the Chicago arts community for several years. His latest play “Circle Be Unbroken” was recently performed in Theatre Seven’s Production “Unwilling and Hostile Instruments…” Travis’ play “Chicago Collage”, will be featured in New York this May with MTWorks. He is also working on developing a graphic novel as well as a short horror film. He is currently performing as the understudy of Johnny Cash and Sam Phillips in the production of “Million Dollar Quartet.” He wishes to thank his wife Elizabeth, for her love and support, and Wildclaw, for creating this one of a kind horrific event! We’ll be talking to Travis about making his own rules, building environments for his stories, and What Scares Him.
How did you get into horror?
My mother made me and my sister sit down with her and my Dad to watch the movie, “The Exorcist“. I was 10 years old, my sister was 7 years old. It was a moment I’ll never forget.
Also when I was in grade school, I wrote a twisted poem about a vampire, after being inspired by the movie “Interview with a Vampire“. My mother’s reaction to the poem showed me the true power of what it meant to write something so creepy… She hated it and thought something was wrong with me… I told her Edgar Allen Poe wrote it, and I’ve been interested in the genre ever since.
Edgar wasn’t invited over to the Williams house anymore after that, which did nothing for his self-esteem.
What excites you most about writing horror, compared to other genres?
I like to think that everyone is afraid of something, and it’s really fascinating to explore what really creeps people out, including myself. You get to create your own rules for the unknown, like understanding how monsters survive, how people become ghosts when they die, or if zombies can ever become who they once were! In horror everything that exists in a story is meant to be taken as an extension of some truth based around reality, and that’s exciting to write about and discover.
What was the hook for you in this story?
The environment. When I was looking for a story to write, I kept thinking, what would be the first sound that would pull people right into the world of the play?
When I was a kid, I grew up in a small town and every other week a tornado siren would go off just about a quarter mile away from where we lived. The test would last for about a good minute or two and it was pretty jarring hearing that, but I always knew I wanted to put that sound in a story someday. So once I had that sound the environment created itself.
What do you consider the biggest challenge in writing for “radio,” compared to traditional theatre?
Every sound creates your characters environment. Being able to picture everything that is within your characters’ reach, that makes noise, and provides imagery for the listener, that’s the biggest challenge. Radio forces you to be very very detailed with your choice in dialogue and really coloring the world you create with sound.
What discoveries have you made about storytelling during this process that you are excited to use in future projects?
Continuing to be fully immersed in the world that the characters exist in. It’s a good practice that I use in all of my writing, but with radio in particular you have to change the practice just a little because your listeners are using their imaginations to see the play. And that’s a unique technique to use in story telling.
What sound would you most like to see/hear performed in a Deathscribe piece?
A tentacle wrapping around its prey and squeezing it till we hear the snapping of bones… too much?
Do you have any advice for aspiring Deathscribes?
Have as much fun as possible! Take your time with your script and trust yourself. Even if you don’t know how a certain sound will work on stage, you’re in the hands of amazing people who do!
Have you ever had an encounter with a ghost?
What scares you?
Spiders. Snakes. And old basements...
Travis will show us how to have as much fun as possible when we produce his “Strange Weather,” directed by Jan Blixt, at Deathscribe 2013 THIS MONDAY, December 2nd at the Mayne Stage Theatre! Tickets are going fast!
^_ _^
.>T<
Meet the Deathscribe 2013 Directors (Part 5 of 5): Jan Blixt
A director should always serve as bellwether AND belle weather.
Today we’re setting for a spell with Jan (Janice L) Blixt, director of Travis Williams‘s Strange Weather. Jan is entering her fifth season as the Artistic Director of the Michigan Shakespeare Festival. She is a Wilde Award (Michigan Jeffs) winning director and will be directing both Hamlet and The Importance of Being Earnest for the MSF’s 20th Anniversary Season this summer. She lives in Chicago (where she “works” with A Crew of Patches Theatre Company) with her author-actor-fight-director-husband and her home-made minions Dashiell (7) and Evie (5). Today, we’ll be talking to Jan about the menace and comforts of home, the risk of listening, and What Scares Her.
How did you get into horror?
I have always loved horror novels and movies, but I tend to avoid them as I am really easy to scare and can no longer handle living sleepless for weeks at a time.
Yet, horror is a genre I keep going back to, I keep checking in on (maybe to see if I’m grown-up yet and not so susceptible): and reading a book, watching a play, seeing a movie, I get lost in the story and I don’t react much. And I always think: “that was no big deal.”
But later, in my head, at 3 am… I can be sleepless over an image for weeks.
I think it started when I was about 5 and saw “The Amityville Horror” on Sunday Night at the Movies– remember that? It’s a pretty awful movie (having seen it as an adult) but when I was 5… the idea that my house hated me and wanted me dead? Every closet a trap, every stair a menace, every creak a threat… I actually slept in our dog’s bed many nights after that for the company.
What excites you most about directing horror, compared to other genres?
How visceral it is. ”Scared” is immediate and tends to be complete. An audience can be moved in so many different ways and to so many different degrees (amused, aroused, angered, deflated) but to be scared is, I think, all encompassing– the other stuff doesn’t apply when we’re afraid. I think that’s pretty awesome.
What in this script resonated most with you?
My favorite aspect of almost all of the Deathscribe scripts this year was how the horror comes out of the everyday: commuting, decorating for holidays, being at a lame party– but I really loved the connection “Strange Weather” had to the comforting aspects of our lives: home, mother, sister, the Midwest (I’m a local here in Chicago), the weather. The fear comes from those basic and normal things being turned against you. That’s my favorite kind of horror.
What do you consider the biggest challenge in directing for “radio,” compared to traditional theatre?
That we’re no longer used to listening– that audiences have been trained over the past 50 years or so to “see” theatre through mostly visual imagery. As theatres have been able to incorporate more and more technology into shows, our theatre has become more cinematic than ever. In Chicago, where our audiences still enjoy the magic of great scripts (and so many of our best shows are being produced in small spaces) we have become masters of making gorgeous visual imagery a large component of our storytelling. In directing for “radio” we’re removing that component– so it feels a bit like working without a net.
What discoveries have you made about storytelling during this process that you are excited to use in future projects?
I’m fortunate to be working with a couple of terrific actors– actors who know their instruments very well and are using their voices beautifully. I’m excited to train myself to listen more to the sound of the voice and what it conveys even more than the words that are used.
What sound would you most like to see/hear performed in a Deathscribe piece?
I’m excited about wind. Seriously. It’s almost like another character in my piece and I really look forward to it all being together.
Are you enjoying working with WildClaw and on this project? ^_~
YES! I have a terrific script, terrific actors, and terrific support from all the creepy-people at WildClaw.
Admiral Ackbar was mysteriously unavailable for comment.
What scares you?
I can’t handle stuff about kids in danger, kids being lost or hurt. It’s probably just because I have two little ones of my own, but I’d much rather deal with zombies and werewolves and haunted houses than with a little kid being killed.
Jan will give us more than we can handle when she directs “Strange Weather,” at Deathscribe on Monday, December 2nd!
^_ _^
.>T<
Meet Our 2013 Deathscribes (Part 4 of 5): Jake Carr
The scariest Carr since Christine.
Today we’re getting The Big Reveal from Jake Carr, writer of “Cheap Plastic Mask.” As a lifelong disciple of the horror genre, Jake Carr is thrilled to be part of Deathscribe. In Chicago, he is an Artistic Associate with Genesis Ensemble where he co-writes and devises original works, including The Rest Unknown and In Love’s Bright Coils. He writes sketch comedy with GayCo Productions, a company where “gay” is the given instead of the punch line. Several of his pieces are now in the company’s touring repertoire and have recently been produced at Second City’s UP Comedy Club and Metropolis Performing Arts Centre. He is nearing his 100th horror movie review on his blog lovehatehorror.blogspot.com. Jake is also an actor and is proud to be an instructor with Black Box Acting. Coming up, he is acting Step Up Productions’ HoliDaze, (also featuring direction by Black Box & Deathscribe 2013′s Laura Hooper!) running from December 3rd-December 22. We’ll be getting the skinny today from Jake on specificity, Horror as reward, and What Scares Him.
How did you get into horror?
I’ve had a fascination with horror from a very young age. One of the earliest memories I have of seeing a movie in theatres is Aliens 3. When I was in elementary school, my parents rewarded me for doing my chores by treating me to video rentals. I meticulously worked my way through my local Blockbuster’s horror VHS section. My parents trusted my ability to differentiate between fiction and reality and encouraged my passion for art of all forms (and yes, horror movies count as art).
What excites you most about writing horror, compared to other genres?
I love being scared. Consciously avoiding your natural instinct to run from fear is powerful; you can feel it in your bones. The thought of being able to control an audience member’s heart rate with my words is beyond satisfying. It’s a privilege, really.
What was the hook for you in this story? What came first, the story or the sound?
The creation of Cheap Plastic Mask actually started with the desire to explore the conventions of horror films in a new medium, particularly those relating to my favorite subgenre: visceral slasher movies. Slasher narratives (played straight) rarely exist in performance outside of film which I think is a missed opportunity. Audiences flock to slasher movies. They should be given the opportunity to enjoy slasher theatre and radio entertainment as well.
What do you consider the biggest challenge in writing for “radio,” compared to traditional theatre?
Knowing that every audience member will imagine a different world for my script inside their head is both exciting and challenging. I wanted to be specific with the soundscape I created while still allowing room for personal interpretation, especially in regards to the stark depictions of violence.
What discoveries have you made about storytelling during this process that you are excited to use in future projects?
It was refreshing to consciously utilize silence in the radio play format to create tension and set up scares. Stillness is such a powerful tool. It fights against the constant pressure of making something interesting happen.
What sound would you most like to see/hear performed in a Deathscribe piece?
A slow, wheezing, gurgle of blood…which is super uncomfortable to admit.
Creole Lady Meowmalade is uncomfortable, too.
Do you have any advice for aspiring Deathscribes?
Write the story that would make you jump with excitement if you saw/heard it performed.
What scares you?
The thought of being trapped in a doomed situation scares the crap out of me. Doing the “right” things, making smart and compassionate choices, but still finding yourself on the losing end of a life threatening situation. Also, I’m scared by the prospect of horrific elements invading honest, every day circumstances. The more that I can realistically imagine myself in the shoes of the protagonists, the more readily available I am to be truly startled.
Come let Jake truly startle you with “Cheap Plastic Mask,” directed by Noah Simon, at Deathscribe, Monday, December 2nd. ONE WEEK FROM TODAY!
^_ _^
.>T<
Sharks. … Riding Sharks?!
Being that this is a horror company and horror blog, I feel the need to share something personally horrific to me with you.
(Deep breath) I have a very real and profound respect (and fear) of the ocean.
Please don’t get me wrong! I Love the ocean. If I hadn’t grown up near the Atlantic, I would be a different person. It’s amazing and beautiful, and the rich sparkle of salt water on one’s skin is incomparable. However… It is without question, another world in which human-kind does Not belong. We can visit and it’s grand, and the little fishes nibble at our toes while jelly fish stake their claim where they drift but…
Then there are the sharks.
Look at that f@&#ing thing…
Oh, come on, Michaela! Don’t be inflammatory! That is clearly a picture of a Great White (the most aggressive of the species, followed closely by the Tiger & Bull sharks) and everyone knows those are scary because of Jaws.
Touche. However, it’s still a predator. A being that, it Naturally preys on other animals. It is in its nature to kill. Period.
That said, there is a new trend budding in the world of idiots on vacation. Specifically those fond of diving and cavorting in salt water with the locals. The locals being the wildlife. The wildlife being sharks.
What the what?! Apparently, some of us do not comprehend our insignificance in a world where we are unable to survive without the aid of masks and snorkels. Yet, there we are! Grabbing onto dorsal fins and mucking around with monsters.
People… It’s your life. Don’t you forget it. But, I (like Dawn Williams of Shark Attack News) would like to encourage you Not to become a winner of a Darwin Award. Leave shark riding to the conservationists who have spent years learning about these creatures.
Now, I’m going to spend my Saturday walking about on land, where a gal like me belongs.
Meet the Deathscribe 2013 Directors (Part 4 of 5): Laura Hooper
Masterly observation of human behavior. Like the Predator.
Today we’ll be playing squash with Laura Hooper, director of Joseph Zettelmaier’s The Monroe County Pumpkin Queen. Laura has been an actor and director for over 15 years, and has worked with theatres including Steppenwolf, American Theater Company and The Alley Theatre, but we know and love her as Molly from Scott T. Barsotti’s The Revenants. She is a graduate of The University of Texas at Austin, with a B.A. in Theatre and Dance, as well as The Steppenwolf School, where she first discovered Meisner and Viewpoints. Laura eventually returned to The Steppenwolf School as a Meisner instructor, has also taught at University of Chicago, Columbia College and The High School for the Performing and Visual Arts. She opened the doors at Black Box Acting in January of 2009, and will be opening the school’s new permanent home to students in January of 2014. Laura recently co-directed House of Yes at University of Chicago with fellow Black Boxer, Audrey Francis, is directing for Step Up Productions’ HoliDAZE, which begins previews on November 30th. Today, Laura will talk to us about her love of Horror, the power of the human spirit, and What Scares Her.
How did you get into horror?
I have loved horror my whole life – when I was 9 I watched all the classic scary movies with my parents. I wasn’t allowed to watch MTV… but horror movies? No problem!
What excites you most about directing horror, compared to other genres?
I LOVE the supernatural. I LOVE high stakes circumstances. And I have a crazy imagination. I believe actors (and all humans) can truly believe in any circumstance, even supernatural… So to direct a horror script, with awesome actors, believing in supernatural circumstances, is a good step for me.
What in this script resonated most with you?
The idea that jealousy can be as destructive and powerful to the human spirit as a hurricane can be to a huge city. Oh… and I loved the humor. I was laughing out loud and rolling around.
What do you consider the biggest challenge in directing for “radio,” compared to traditional theatre?
Focusing on telling the story primarily through sound has awoken a sense I don’t focus on a lot. I tend to be more visual.
What discoveries have you made about storytelling during this process that you are excited to use in future projects?
Sound is crucial and there are more possibilities than I realized before.
What sound would you most like to see/hear performed in a Deathscribe piece?
What was your favorite moment when you played the Zombie in The Revenants by Scott Barsotti?
The moment when the chain around my waist “gently” dropped to the floor. I was a zombie! So I had to make a move. I was a zombie on the loose, in the audience. The audience was scrambling out of their seats and freaking out. Brian Amidei (my fellow zombie) helped “capture” me and get me put back into the “safe space” within my chains. Good save, Amidei.
I’ve never wanted saving less in my life.
What scares you?
Bad acting…. and being buried alive.
Laura Hooper will be protecting us from bad acting (no promises about the other thing) when we present The Monroe County Pumpkin Queen in Deathscribe 2013 at The Mayne Stage Theatre on Monday, December 2nd!
^_ _^
.>T<
Meet Our 2013 Deathscribes (Part 3 of 5): Mark Harrison
A mixologist AND wordsmith–how can a mad scientist make me so happy?
Today we’re hearing playback from Deathscribe 2013 finalist Mark Harrison, author of “Record/Record.” Occupying the nebulous space somewhere between charlatan and professional, Mark Harrison spends much of his time marveling at his fortune to have the best girlfriend, a fantastic roommate, and a wonderful dog in his life. “Record/Record” is the first of Mark’s writings to be produced for an audience, and he would like to dedicate it to his friend Dan Harris – Dan, who is entirely responsible for Mark’s love of horror and rambling into a tape recorder. When not working with the fantastic Omnimax team at the Museum of Science and Industry, Mark enjoys learning more about obscure liqueurs than is strictly necessary, extolling the virtues of bitters, being critical of ice, and thinking about gin. We’ll be talking to Mark about how Horror builds community while making you one of The Cool Kids, as well as What Scares Him.
How did you get into horror?
The biggest, coolest looking books in my grade school library were the cellophane-protected Stephen King hardcovers. I distinctly remember reading “IT” at far too young an age. After experiencing the sensation of walking home from a friend’s house and getting deliriously frightened of a storm drain, I became hooked on the thrill that horror offered.
…and love every minute of it.
What excites you most about writing horror, compared to other genres?
The opportunity to share disquieting observations and personal terrors, and to find that there are other people in the audience that feel the same way? There’s a sense of perverse community when we relate over something unsettling.
What sound would you most like to see/hear performed in a Deathscribe piece?
Oh man. That’s a hard question because I’m such a starry-eyed goob when it comes to Foley sound effects. Everything from simple footsteps to crunching skulls gives me a thrill.
What scares you?
I started thinking “disease, creeping contagions, plagues of undead” and then I started thinking, “axe murderers, giant monsters, the deep ocean” and then also “uncaring visitors from space, horrible disaster” and then I concluded “shit, I don’t want to die.” Life is awesome. Anything that interrupts that is pretty scary.
Mark wrote us a play that’s awesome AND pretty scary, so you’d best check it out at Deathscribe 2013 on Monday, December 2nd at the Mayne Stage!
^_ _^
.>T<
Meet the Deathscribe 2013 Directors (Part 3 of 5): Kevin Theis
It’s a trick. Got an axe.
Our conductor today is Kevin Theis, who directed last year’s Bloody Axe winning entry, “Fish Story,” and is directing this year’s “We Apologize for the Inconvenience,” by Chelsea Paice. Kevin is a Jeff-nominated actor and director, and, among SO many other things, a company member with Seanachai Theatre, where he’ll next be seen in their upcoming “The Seafarer” by Conor McPherson, beginning November 29th, running run through January 5, 2014, as…well, I’m not going to spoil it, I’ll just say it’s perfect. After that, he’s directing “Monstrous Regiment” at Lifeline and “The Importance of Being Earnest” at the Oak Park Festival Theatre in the summer. We’ll be talking to Kevin about how Horror forces him to be brave, the beauty of a strong reaction, and What Scares Him.
How did you get into horror?
Actually, last year’s DEATHSCRIBE event was my first dip into horror for the stage, though I’ve been a fan of horror movies since I was a kid. The closest thing to a horror play that I’ve ever staged was, I believe, Lifeline’s “The Picture of Dorian Gray” which had many lovely aspects of the genre (blood, violence, a bit of the supernatural). But I’m certainly thrilled to be back.
What excites you most about directing horror, compared to other genres?
Plays can do a lot of things- provoke, stimulate, excite, educate- but they don’t often get you to leap out of your seat in terror or cause you to shriek like a girl. Horror can do that and who doesn’t want their audience to have a nice, strong reaction? Heh, heh.
What in this script resonated most with you?
The way it very gradually turns from a mundane, run-of-the-mill day on the CTA to a terrifying cataclysm. And in only eleven pages! It is quite a feat and our author, Chelsea Paice, has richly deserved her acceptance into this year’s contest.
Worst episode of Soul Train, EVER.
What do you consider the biggest challenge in directing for “radio,” compared to traditional theatre?
Clarity. American actors can be mumbly and sloppy with their diction and when you’re doing radio, you need to be clear and concise with everything in order to allow the listener to see the scene in their minds’ eye. If you’re sloppy, things get confusing.
What discoveries have you made about storytelling during this process that you are excited to use in future projects?
Hire the right actors. That’s number one. Get the right ensemble and half of your work is already done. Also: Don’t be afraid to ask someone you think might be too busy to work with you. Chances are, they’re not.
What sound would you most like to see/hear performed in a Deathscribe piece?
Something about werewolves. I like werewolves.
If you could direct any horror piece for the stage, what would you choose?
A multi-million dollar full-scale stage version of “Army of Darkness.” It would be….groovy.
What scares you?
Frogs. But keep it to yourself.
Come watch Kevin bring the groovy to Deathscribe 2013 on Monday, December 2nd!
^_ _^
.>T<