Little Red Cyrano

Little Red Cyrano: an apocalyptic clown comedy for all audiences… featuring Deaf Talent

After their groundbreaking d/Deaf/hearing production R+J: The Vineyard, Red Theater Chicago’s production of Little Red Cyrano is an apocalyptic clown comedy for all audiences featuring d/Deaf talent who uniquely utilize the visual vernacular of American Sign Language in a clown-based performance. Combining the courtships in Cyrano de Bergerac with the violent ending of Little Red Riding Hood, Little Red Cyrano mixes whip smart spoken dialogue, swashbuckling, and romance

 Tickets now available!

Cyrano with a large red clown nose points upward while three enemies look on

Benjamin Ponce, Brendan Connelly, McKenna Liesman, and Les Rorick

 


Information

Performances: Previews begin November 28, 29, 30

December 1st, 2017 through January 7th, 2018

Location: Strawdog Theatre. 1802 W Berenice Ave, Chicago, IL 60613

Times: Thurs-Sat @ 8pm, Sundays @ 4pm & 8pm

[No performances 12/18-12/26]

Free Access Dates:  Click here to learn more 

Captions: 12/14 @ 8pm
Touch Tour: 12/17 @ 2PM,  Curtain 4PM 

Summary: 

Combining the courtships in Cyrano de Bergerac with the violent ending of Red Riding Hood, Little Red Cyrano mixes whip smart spoken dialogue, swashbuckling, and romance. With a cast comprised of trained clowns and d/Deaf actors, Little Red Cyrano uniquely utilizes the visual vernacular of American Sign Language in a clown-based performance.

2013 Deaf Illinois Award Winner, Juan Bernal

Excellence in Inclusion at the Storefront Level” Award in Time Out Chicago

“Louder than Words” documentary, Michael J. Stark

2016 Best Director, Time Out Chicago & Chicago Reader,  Aaron Sawyer (runner-up)

Best New Work/New Adaptation (Resident, Nominated), Broadwayworld.com


Dave Honigman as Christian ponders before the chorus

Christian and Little RedChristian and CyranoChristian and GrandmotherGrandmother, Cyrano, and WoodsmanChristian and CyranoCyrano and ChorusCyrano thinkingMarisa Lerman interacts with audience members in ASL

Christian and the chorusLittle Red Riding Hood

Photos by M. Freer Photography


THE CAST

Cyrano: Benjamin Ponce
Red: Dari Simone*
Christian: Dave Honigman
Chorus/Christian US: Brendan Connelly*
Chorus/Red US: ^McKenna Liesman
Chorus: Michele Stine
Chorus: Jenni Hadley
Chorus Captian: Les Rorick
Woodsman: ^Christopher Paul Mueller
Grandmother: Michael J. Stark*

Understudy Swing: Jean Carlos Claudio
Understudy Swing: Madeline McKelvey*
Understudy Swing: Scott Ray Merchant
Little Red Voice: Emily Turner
Little Red Voice: Kristin Schmitz
Christian Voice: David Rice

THE CREATIVE TEAM


Producer: ^Marisa Lerman
Producer: ^Juan Bernal*
Co-Directors: Michael J. Stark*, ^Aaron Sawyer
Assistant Director: Scott Ray Merchant
Stage Manager: Mary Kate Ashe
Scenic and Props Designer: Kevin Rolfs
Costume Designer: Stefanie Johnsen
Sound Designer: ^Sarah D Espinoza
Projections Designer: Michael Commendatore
Lighting Designer: Charles Blunt
Production Manager: ^Becky Warner
Technical Director: ^Becca Venable
Acadademic Researcher: Mary Lutze
Dramaturge: ^Cara Beth Heath
Casting Coordinator: ^Rachel Paige
ASL interpreter: Sheila Kettering
ASL interpreter: Veramarie Baldoza
ASL interpreter: Emily Turner
ASL interpreter: Rob Russo
ASL interpreter: Whitney Love
Student Interpreter: Frances Dravellas
Student Interpreter: Emma Smith
Student Interpreter: Alice Weidner

 

*Indicates a person who identifies as d/Deaf

^Indicates a Red Theater board or company member

 


Director’s Note

Little Red Cyrano

R+J: The Vineyard was the first Chicago production in 15+ years to feature non-Equity d/Deaf actors. The creation process was a pressure cooker with hearing and d/Deaf artists forcing Shakespeare-sized ideas through the hands of a single interpreter.  The play’s attempt to present “two households, both alike in dignity” angered d/Deaf and hearing audiences “equally” by excluding them alternately between scenes of English or ASL without the help of captions. The play’s warring sides were also reflected in the rehearsal process, which became a moderated six-month peace negotiation. While rewarding, it was also exhausting and demoralizing to all involved.

For the next project, I vowed to invert the dynamics. Instead of being separated by English and sign, the play would operate inside a universal, visual language. Our story would be about an ideal, rather than a divide. We needed a character with an extreme respect for both languages while worshiping creativity, courage, and love.

Cyrano became that character.

Then, there was the question of cultural appropriation. We would have hearing actors using American Sign Language. Was this to be celebrated or shamed? Was the language for all, or should it be contained? When it came to casting, important discussions were happening throughout the world regarding Deaf roles being cast with #DeafTalent. We attempted to ask one question further: could a play be constructed where all roles were open to all actors regardless of gender or whether they were d/Deaf? We cast and constructed the play to have no requirements beyond ability.

Beyond these external considerations, we must also address the issues inside the play!

Little Red Riding Hood’s French origins in 1617 as penned by Charles Perrault seem to echo a series of sixteenth century Werewolf Trials where men were accused of shape-shifting, killing and devouring young children in the woods. At the end of Perrault’s story, a moral is attached:
“Children, especially attractive, well bred young ladies, should never talk to strangers, for if they should do so, they may well provide dinner for a wolf. I say “wolf,” but there are various kinds of wolves. There are also those who are charming, quiet, polite, unassuming, complacent, and sweet, who pursue young women at home and in the streets. And unfortunately, it is these gentle wolves who are the most dangerous ones of all.”

In the 1897 French classic, Cyrano de Bergerac, the plot also centers on the deception of a woman, this time by two men: a gifted wordsmith with an unfortunate nose, and a beautiful body without a creative bone. Far from a villain, Cyrano is presented as an ideal poet/warrior cursed with an external ugliness (nose) preventing him the “dream of being loved by even an ugly woman.” Cyrano uses his dexterity and charm to evade, harass, or defeat nearly every character in the play. With different intentions, Cyrano and the Wolf both view women as things to be lured, pursued, fed, and consumed. Modern day wolves are appearing with regularity. A revolution is occurring and those of us who have fed those wolves will not be granted absolution.

-Aaron Sawyer, writer and director

 

Red Theater is supported by our Comrade Patron Program. For every $10 monthly donation we receive, Red Theater is able to provide three #FreeTheater seats to nontraditional audiences over the course of our season. RTC_ComradeCard

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