Bailiwick Repertory's Directors Festival '96 | Festival | Chicago Reader

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Bailiwick Repertory's Directors Festival '96

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This annual showcase features work by generally unknown pro, semipro, and student directors, who offer their interpretation of scripts ranging from established classical and contemporary selections to untested material. Each night presents a different program consisting of two or three one-acts, as shown in the listings below. Bailiwick Repertory, Bailiwick Arts Center, 1229 W. Belmont, 883-1090. Through August 14: Mondays-Wednesdays, 7:30 PM. $8 per program.

The Reader runs festival listing on a week-by-week basis; following is the schedule for August 5 through August 7.

MONDAY, AUGUST 5

To Set the Captive Free and The Man of Destiny

To Set the Captain Free, written by Calvin Haines and directed by Michael Nowak, is about a man undergoing a crisis of faith and his life-changing encounter with a mysterious man who may be an angel--or a demon; The Man of Destiny is George Bernard Shaw's 1895 portrait of Napoleon, directed by Lisa Hodsoll.

TUESDAY, AUGUST 6

The Room of Ordeals, Invisible Lighting, and The Ringmaster

Lana Novakovic directs August Strindberg's dreamlike depection of evil The Room pf Ordeals (adapted by Timothy Randell); playwright-director John Weagley's Invisible Lighting concerns "one woman's search for normalcy in the face of a religious disfigurement"; and Wayne Camp stages Ryan Gaudet's The Ringmaster, a minimalist study of "the choices we all make in our lifetime" set in a mental institution.

WEDNESDAY, AUGUST 7

Mary, Me and The Importance of Being Ernst

Mary, Me, seen last month as part of the Free Associates' "Strut & Fret" festival, is an autobiographical musical written and performed by Mary Fahey and Mary Olivieri; ""this" saga of female bonding has a certain nostalgic warmth as long as their two clueless characters are young enough to have an excuse....Mary, Me probably started out to be a lighthearted look at the inevitable misery of a Catholic upbringing, but the martyrdom of these two is so exasperating that one can't imagine them eliciting sympathy from any but the similarly infantile," said Reader critic Mary Shen Barnidge when she reviewed the show's original run. The Importance of Being Ernst, written and performed by Ken Michaels under Nancy Sheeber's direction, is a one-man show about "growing up during the 50s through the present."

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