Our 2008 Season
This has been a tremendous season of growth and change for Theatre Seven. In May, we brought Chicago audiences Boys & Girls, an evening of two one-act plays which Time Out magazine dubbed the #1 Can't Miss Show in Chicago. Two months later, we unleashed Yes, This Really Happened To Me, a made-from-scratch original conceived by Margot Bordelon and Cassy Sanders. After seeing Yes…, the Chicago Reader exclaimed "if these young artists represent the future of Off-Loop theatre, we're in very good hands indeed!" Immediately on the heels of Yes, we rolled out our political farce, Election Day, which the Chicago Tribune called "enormous fun…from the continually impressive Theatre Seven."
Throughout these critical successes, our audiences made Theatre Seven a success at the box office as well by seeing our shows in record numbers. We welcomed over 1,800 friends to our shows in 2008, meaning over three thousand people have joined us in the theatre in just two short years.
Behind the scenes, we've been very busy as well. This fall, we added two new members, Cassy Sanders and Brenda Winstead. Cassy is a dynamic writer and director who helped create Yes, This Really Happened to Me and Brenda is the costume designer who gave Killing Women and Boys & Girls their classic looks. We are thrilled and honored to have both of these women on our quickly expanding team
February 1, 2008
We’ve got a season, and it’s a winner. Our 2008 season includes:Never Swim Alone, by Daniel MacIvor
The Shallow End, by Wendy MacLeod
Yes, This Really Happened To Me
Election Day, by Josh Tobiessen
The Sand Castle, by Lanford Wilson
This one’s a keeper, my friends.
Both Kerry Reid (Performink) and Nina Metz (New City) list our Diversey Harbor among their favorite 10 Chicago plays of the year. That’s top 10 plays. In all of Chicago. Oh yeah.
September 4, 2007 – January 15, 2008
The rubber meets the road as Theatre Seven fights, gnashes, slugs and hammers out its second season. Kids – do not try this at home.
September 3, 2007
Everyone is granted the day off.
August 17 – September 2, 2007
Killing Women, by our Ms. Wegrzyn, plays at Chicago Dramatists to sell out crowds and good notices (mostly :-) ). After all the sweat, we’re relieved to learn we still love making theatre.
July - August, 2007
Rehearsal, publicity, preproduction, design of our second big production. Things make a lot more sense the second time around. (But this part was still really hard.)
The company loses founding member Annie Erickson but picks up Robin Kacyn and Justin Wardell. Theatre Seven now has 8. How’s that for fuzzy math?
March 23 – April 22, 2007
Is Chicago plays at Rogue Theatre in Andersonville. We sell over 600 tickets, our first show ever earns a two week extension and the Chicago Tribune calls our very own Marisa Wegrzyn the next great Chicago playwright. Grrrrreat success!
Rehearsal, publicity, preproduction, design of our first big production. (This part was really hard.)
October – December, 2006
The calm before the storm. We muster up the energy for our first mainstage production, Is Chicago.
September 16, 2006
Our first play development series as an official company: a fantastically regal workshop and reading of Carolyn Kras’ play, Highness.
August – November, 2006
Looooooooooooooots mooooooooore paperwork.
June 28, 2006
A company is born! THEATRE SEVEN OF CHICAGO is officially recognized by the State of Illinois as a 501c3, not-for-profit institution!
May 16, 2006
In between the paper trial, we squeeze in our first play development series, a workshop of Artistic Director Brian Golden’s Burying Miss America.
Looooooooooooooots of paperwork.
November, 2005 – April 2006
Much discussion, deliberation, consternation and debate over the next step: who are we? What do we do? What’s the mission? Can we get company t-shirts?
Over beers at Konak’s on Clark, someone proposes:.
Several of us Washington University alums produce a late-night, guerrilla mounting of Sexual Perversity in Chicago for the Abbie Hoffman Festival. We rehearse for three weeks, actors learn lines overnight, the show goes up at 4:30 am, and everyone has a blast. We remember what we already knew: working with a trusted group of artists dramatically increases our ability to take artistic risks. We think: