There are a few things to celebrate.

The least of which is not the well-deserved success of Festen at Steep Theatre.  “Festen” means celebration…but this party gets a little…um…uncomfortable?…when certain things are revealed about the man being celebrated.  Steep Theatre pursued this script for a long time before they landed it, and it was delightful to work with their talented ensemble, as well as to team up with director Jonathan Berry and set designer Dan Stratton again after the much-lauded Suicide, Inc. last year.

And for something completely different, I am looking forward to teaming up again with Lookingglass’s David Kersnar on two projects next season: first up is Goodnight Moon.  A musical based on the book we all know and love from childhood, it will come to life at Victory Gardens with a production by Chicago Children’s Theatre.

Then in early 2012 Lookingglass and David Kersnar are back at the Chicago Symphony with a special co-production. Into the Big Green Meadow was a blast last year, so I am excited to be invited to play again.

Also in 2012 I’ll be back at Lifeline with the same wonderful team from Wuthering Heights and Mariette in Ecstasy, adapter Christina Calvit and director Elise Kauzlaric for Pride and Prejudice. Can’t wait!

By David Eldridge, based on the film and play by Thomas Vinterberg, Mogens Rukov and Bo hr. Hansen
Steep Theatre
May/June 2011
Directed by Jonathan Berry
Set design by Dan Stratton
Costume design by Janice Pytel
Sound design by Christopher Kriz

Research and renderings

Production photos

Festen began its life as a story captured on film by artists using the “Dogme 95″ outline for film-making, which emphasizes naturalism and eschews any special effects of lighting or elaborate camera set-up. When playwright David Eldridge adapted the story for the London stage, he channeled that school of thought into an emphasis on gaining a gritty, uncensored look at the relationships of these twisted family characters.
In Jonathan Berry’s Steep Theatre production, the goal of the design was to ground the family in a world that feels rich, but dark; and allows scenes to move fluidly from one cold hotel room to another, before settling around the large celebration table where the secrets, lies, and accusations that mar the patriarch’s birthday take place. In lighting, that meant supporting the deliberate, spare set with a cool-to-cold color palette, sharp lines of light for figures to pass into and out of rooms, and careful use of high contrasts between highlight and shadow.  Christian’s struggle with the truth is underscored by visions of his dead sister, supported with light by a mysteriously warm and shadowy look that obscures the face of his young niece and drives him deeper into confusion. Once all is laid bare, and all of his siblings are forced into a confrontation with their father, an awkward breakfast under a soft, less shadowy light suggests that from the ugly truth might arise new life.