Filament’s Holiday Special

Christmas-Card-Image-for-Email copy 2014

Come join Filament Theatre Ensemble for Filament Theatre’s 3rd Annual Holiday Special.

Help us celebrate our first full season in our new home with treats, drinks, live music, and Chicago’s newest and happiest holiday tradition, a screening of Charlie Brown’s Christmas and How The Grinch Stole Christmas, brought to life by some of our favorite actors and musicians.

You won’t want to miss this wonderful night of friends, music, and revelry! Doors open at 7pm, performances begin at 8pm. Bring the whole family!

Tickets will be available soon!!

Filament Celebrates Six Corners’ Heritage

The Filament Theatre Ensemble will revisit the heritage of the Six Corners Shopping District with Crossing Six Corners: Sears Stories on October 12 at 5:00pm. Filament will join in the celebration of the Six Corners Sears’ 75th anniversary with this original piece crafted from resident interviews and research.

Presented in a series of scenes, monologues, and original songs, Crossing Six Corners: Sears Stories creates a performance mosaic of the iconic Six Corners commercial center. From its opening in October 1938, Sears has been an anchor business for the Six Corners Shopping District. “We interviewed one man who is 95 years old. He was 20 and coming back from working downtown during the opening celebration. He remembered the streets being so packed the streetcar couldn’t get through,” says Julie Ritchey, Filament’s artistic director. “To Six Corners, Sears is more than just a department store. It’s a symbol of a bygone way of life, and of the changing economic landscape of the last several decades.”

Crossing Six Corners: Sears Stories is the second in Filament’s series of Crossing Six Corners heritage projects. The first premiered in February, 2013, and was presented to sold-out audiences over the course of a weekend. Filament will continue to work closely with the neighborhoods surrounding Six Corners to collect oral history, personal stories, and research for performance for the neighborhood. In addition to Crossing Six Corners: Sears Stories, the Six Corners District is commemorating the 75th anniversary with a sculpture unveiling, Forgotten Chicago tours of Sears, and more.

Crossing Six Corners: Sears Stories is adapted and directed by Filament Artistic Director, Julie Ritchey, and features Ensemble Members Christian Libonati and Lindsey Dorcus and Guest Artists Lina Chambers, Bryce Gangel, Ian Jerome, Ryan Westwood, and more.

The performance is free, and will take place on October 12 at 5:00p, at Filament’s new space: 4041 North Milwaukee Ave. Tickets will only be available at the theater starting 30 minutes prior to showtime. Donations are welcome and will contribute to the upcoming build-out of Filament’s performing arts venue. For more information visit: or call (773) 270-1660.


NAME: Crossing Six Corners: Sears Stories

DATE: October 12 @ 5:00pm

LOCATION: 4041 North Milwaukee Ave. Chicago, IL 60641

PRICE: Free. Donations welcome. No reservations. Doors open 30 minutes prior to showtime.

CONTACT:; (773) 270-1660

Filament to Speak at Green Drinks Chicago

Filament is excited to be part of this month’s Chicago Green Drinks as the featured Non-Profit. We are proud of our ongoing relationship with Foresight Design Initiative as their Artist is Residence.

What role do the arts play in dealing with environmental challenges and fostering social action? Please join us at Green Drinks next Tuesday, Sept 13, where the topic of discussion will be “Behind the Curtain – Making Art Sustainable,”  focusing on the efforts of Filament Theatre Ensemble as they pioneer zero waste theatre for their upcoming production, From the Circle: Remembering the Earth Through Folktales. The potential in Filament’s vision can only be realized if Chicago’s artistic community is committed to collaboration. Bring your colleagues to enrich the evening’s discussion and join the effort to reimagine the evolving relationship between art and the environment.

More Information | Register

About Foresight Green Drinks:

Foresight Green Drinks is Chicago’s oldest and best-known monthly sustainability gathering. Designed to catalyze the connections and awareness necessary to create a more sustainable city, each event features power networking and informal mingling with a diverse cross section of professionals, and an enriching panel discussion.

Location & Directions:

Jefferson Tap & Grill
325 N. Jefferson (view map)
(in the West Loop just three blocks east of the Loop at the corner of Jefferson and Fulton).
(312) 648-0100

  • BUS: Buses that have stops in the vicinity: #56, 8, 65, 20, 14, and 127
  • SUBWAY: Take the Green Line to the Clinton stop (Clinton & Lake), walk 1 block west to Jefferson, and then 1.5 blocks north
  • METRA: The Metra Ogilvie Transportation Center (aka Northwestern Station) is about 1 block east and 3 1/2 blocks south
  • BIKES: Are welcome!
  • AUTO: Street parking is available
orpheus, filament theatre ensemble, jack novak, bouffons, dj puzzle

Sympathy for the Bouffon

So… those creepy clown things in ORPHEUS: Featuring DJ Puzzle as Fate…  Who are they? What are they thinking?  Where do they come from?  Well, here to answer all your questions is Filament’s literary manager and Bouffon Extraordinare, Jack Novak.  And now that you have all the inside scoop, come see Jack for yourself in ORPHEUS on Fridays and Saturdays through May 29. Click HERE for more information.

orpheus, filament theatre ensemble, jack novak, bouffons, dj puzzle

Jack Novak (left) and his fellow Bouffons

In ORPHEUS: Featuring DJ Puzzle as Fate, we have stripped away many of the myth’s traditional elements. As substitute for the destructive forces of the story – the serpent which kills Eurydice, Hades, and the Maenads who ultimately tear Orpheus apart – we have put in place three bouffons. In our production, these disfigured and slightly mysterious beings are denizens of the underworld, who come to the club to wreak havoc on Orpheus, his bride, and the world of light.

For those less familiar with the intricate pedagogies of physical theatre, the bouffon, in its most contemporary sense, is a term devised by French actor and teacher Jacques Lecoq. I’m not qualified, nor do I have the time or patience, to write out a background on Lecoq here, but I would recommend a quick trip to Wikipedia if you’ve never heard of him. However, to give you a basic idea, bouffon is one of Lecoq’s dramatic territories – a sort of archetype, like clown or Commedia. Some precursors to Lecoq’s concept of the bouffon include the court jesters of the European monarchs – who were given the privilege of freely criticizing or mocking the people of the court, to provide entertainment or insight, like the fools of Shakespeare’s plays – as well as the satyrs of Greek mythology and the grotesquely parodic satyr plays of ancient Greek and Roman theatre (and coincidentally, one version of the Orpheus myth tells of Eurydice getting bitten by the venomous serpent while fleeing a satyr). Similarly to the satyrs and royal fools, the bouffon’s central characteristic is its instinct to mock everything around it. Lecoq writes in The Moving Body, (his book on his methods of instruction) “Their function was not to make fun of a particular individual, but more generally of everyone, of society as a whole. Bouffons enjoy themselves, for their whole life is spent having fun imitating aspects of human life. Their great delight is to make war, fight, tear out each other’s guts.” Yes, the bouffon relishes in destruction as well as basic mockery, and in our production, the bouffons do a lot of damage – we mangle a beautiful flower, we tear apart a star-crossed love, and we dismember the greatest musician of all time. It is this destructive quality of the bouffon that often puts the word “evil” in the audience member’s mind, and with good reason, but I question – are the bouffons really evil?

My Orpheus cast-mates and I had generally sparse experience with the concept of bouffon, and even our fantastic director & Filament Associate Artistic Director, Omen Sade, who commands a deep understanding of physical theatre (the phrase “master comic” has been bandied about here and there), admitted to us from the beginning that his knowledge of bouffon, specifically, only went so far as he had read about it. So we embarked on a journey of experimentation, and what we ended up with is really a unique fusion of Commedia-style mask work, clown, grotesque, and Mime, all overlaid with the philosophy of the bouffon as we understood it. I did come into this process with a little bit of physical theatre training – a lot of Mime, some red nose clown, neutral mask, a smidge of Commedia – but my only knowledge of bouffon was

Bouffons in Rehearsal

a brief mention on the last day of a clown workshop with Giovanni Fusetti (a Lecoq-trained pedagogue himself). He had a group of us do a very basic exercise, in which we clustered onstage and went from audience member to audience member, singling each out by pointing and laughing cruelly. On our first day of Orpheus workshops, Omen had us play out part of the story in extreme grotesque parody. So I started to construct an understanding of the bouffon psychology, and one of the most immediately distinct things about playing this way was how much fun it could be. Lecoq writes, “No one is more of a child than the bouffon and no one is more of a bouffon than a child.” The parody that the bouffon creates is not highly intellectual – there’s no elegantly constructed satire here – it is more like the playground antics of a group of children, and opening myself up to that experience invoked a kind of pre-adolescent delight. What makes the bouffon really hard to watch, though, is that they bring this type of play to the realm of tragedy. So, in contrast to the fun one has inhabiting the bouffon, is the experience of looking up to the audience, expecting to see them laughing along with you, and seeing instead looks of disgust.

A funny thing about working on a devised physical theatre piece like this one is that the traditional rehearsal process gets flipped. Instead of starting with text work and extended thought about motive, objective, subtext, etc., we constructed this story from the outside in – beginning with isolated physical bits, slowly fitting them together into an arc, and finally examining the internal specifics of the characters. As such, it wasn’t really until a couple weeks ago that someone actually asked, “why do the bouffons want to destroy Orpheus?” We had taken the goal of destroying Orpheus for given, and hadn’t completely examined how the bouffons fit precisely into our telling of the story. We did have design concepts from our costume designer, Mieka van der Ploeg, which characterized the bouffons in this club world as a gang of neo-punk nihilists (and a particularly astute parallel pointed out by one of my cast mates is the group of nihilists in The Big Lebowski). That wasn’t something we really excavated until this late point in the process, but it is immanently clear that bouffons, when placed in the same space with non-bouffons, become societal outcasts, which fits beautifully with the nihilist archetype. Meanwhile, Orpheus is the very epicenter of society, of light, of love, of music. Omen noted a parallel between our bouffon and Dante’s vision of Satan – in the Inferno, Hell is the crater formed by Satan’s epic fall from grace, and Satan sits at its center, which is the very point of greatest distance from God’s love. To draw another parallel, for Dante, God’s love was embodied by the sun, and Orpheus is the son of Apollo – the Greek god of the sun. The bouffon, particularly our lead bouffon, (essentially Hades) played by Lindsey Dorcus, are people who are devoid of love, like Dante’s Satan. When they look in on club Dionysus, and see the Nymphs in their joyous revelry, and see Orpheus wrapping up the crowd in ecstatic worship, they do not understand it. In fact, it is so far from their understanding that, to them, it is completely stupid, and they are compelled to show the crowd how idiotic it all is. In particular, they want to show everyone that Orpheus is a fool, which ultimately means reducing him to ruin. Here’s another Lecoq quote: “In their rituals, bouffons do not invoke heavenly powers, they spit on them! They invoke earthy forces; they are on the side of the devil and the underworld.” One of the objectives our bouffons enter this story with, aside from destroying Orpheus, is to turn club Dionysus into club Underworld. You’ll have to see for yourself if they succeed.

Jack in Rehearsal

Will the bouffons disgust you? Probably a little bit, but they might also fascinate you, and as we’ve been getting new audiences into the club, the bouffon have, I believe, managed to bring some guests to their side, if only for a moment. There’s even a laugh here and there. Are the bouffons evil? If evil means malevolence, destruction for the sake of destruction, ill will born of irrational hatred, then I would say no. They simply have no way of interacting with society other than to mock it. Lecoq, again, probably never intended this kind of realist speculation, but as an actor I ultimately decided (and again, this came at the very end of the process – during previews, in fact) that I needed to understand a little more about my bouffon’s origin. I won’t divulge too much, as it’s mostly irrelevant, but I asked myself how a person in the real world might come to have such an aversion to society, and I thought of someone who has been confronted by extreme loss – the death of a loved one – and who is thenceforth unable to understand joy in the world. When Orpheus sings his song of loss to the denizens of the underworld, my bouffon experiences empathy for one brief moment, as he realizes he, too, has felt the pain of such a loss. So, hate the bouffons all you want – spit on them, be disgusted by them, heckle them (and expect us to heckle you back) – but please, don’t call them evil. Have some sympathy for the bouffon.

Allie’s Gift 2011 Announcement

Kevin Barry Crowley

The Filament Theatre Ensemble is thrilled to announce that the 2011 recipient of Allie’s Gift is Kevin Barry Crowley.

Allie’s Gift is an annual financial gift given to a Chicago artist in honor of Allison Powell, Filament’s business manager from February 2010 to her untimely passing on January 2, 2011. Allie had a business mind with an artistic heart. Like so many of us, Allie aspired to ultimately earn a living in the arts, but held day jobs in the meantime to support herself and save money for graduate school. As she wrote in her first correspondence with Filament when discussing her day job, “I love art, but I also love food.” She worked with us to begin setting a path for Filament to create a financially sustainable model where we may one day support an administrative staff as well as the artists who work with us. The Filament Theatre Ensemble will award Allie’s Gift annually on her birthday to one Chicago artist who demonstrates passion, dedication, and a love for their art in addition to a financial need.

We are so honored to be celebrating Allie’s memory through the giving of this award. Her parents, Dayle and Will Spencer, gave a generous donation to the Allie’s Gift fund, ensuring that we could extend this gift in her honor. We are grateful to their contributions,  just as we are grateful for the contributions of their wonderful daughter, who helped us grow our company so much.

Kevin Barry Crowley is a consummate artist, collaborator, and all-around wonderful person – qualities Allie demonstrated and valued in her own life. Below is a statement from Kevin, giving a bit of his personal background and his intended use of the gift.

I hail from Springfield, MA. I have been acting and playing music since I was 17. I attended Salem State College in Salem, MA where I was greatly encouraged to pursue both things professionally. And so I have. I got my Master’s in Acting from Roosevelt in 2009 and have been working steadily since. I am getting married in the fall to a true Chicagoan and fellow thespian, Leslie Frame, who I met working on Wilson Wants It All with The House Theatre. I am currently in the process of creating a one-man show which will incorporate original music in many styles and a wide array of characters. I enjoy transforming and I enjoy the experience of things changing in front of my eyes and ears. I think it’s representative of the nature of life and aesthetically pleasing as well when a piece of theatre brings with it a wide range of emotional life.

I have been wanting to get a keyboard for some time. While I was in school at Roosevelt University from 2006 to 2009 I taught myself how to play piano and since I haven’t had access to the schools computers I’m not able to play as much. I find myself going downtown to the Harold Washington Library a couple times a month for no other reason then to just play. As an actor and a musician it is, of course, difficult to make ends meet, and having both talents could mean being able to find work in the theater as an actor and a musician. Some of the most fulfilling projects I’ve had so far, including Orpheus: Featuring DJ Puzzle as Fate, have allowed me to showcase both talents. It’s a very important task to increase the role of music in my career. It keeps bringing about great things.

I am so honored! It fills my heart with joy to accept this gift from Filament on behalf of Allie.

-Kevin Barry Crowley

Coming Home

Ensemble member Carolyn Faye Kramer recently returned to Chicago after five months studying in Israel.  Here she shares her experiences abroad – and jumping right back into life with Filament.  See Carolyn as the title role in Sarah Ruhl’s Eurydice, coming to the Lacuna Artist Lofts April 20-May 29.

Remember when you were little and you would try and sit at the bottom of a pool? Cross legged, blowing bubbles through your nose, pushing your arms up against the forces of not-gravity in order to keep yourself planted. In this space, if you open your eyes, the whole world is blue. And if you listen to the words of your best friend as she passes you a cup of imaginary tea, it sounds like a strange, muffled, far away, almost-but-not-quite song.  Your hair lifts off your neck, the stinging of the chlorine subsides, and you can see things as they must be seen from the eyes of a fish (a fish who happens to live its life in a swimming pool). Coming up from your tea party, your eyes burn from the shock of the chlorine, and your shoulders are cold from the wind, and you are so relieved to be taking in this familiar atmosphere: air!

Coming home to Filament was an experience similar to that of coming up for air.

In October of 2010, I made my way to Pardes Hanna, Israel, jumped in, and swam at the bottom of that pool for five months. Everything in this new place was stirring and strange to me: the sounds, the tastes, the rich red color of the dirt and the shape of the trees (the best of which looked like Jurassic Period heads of broccolini). At night, bats would furiously wing their way through the cover of the branches. My favorite houses were the ones without roofs that solitarily stood in abandoned fields or orange groves – peeling cement blocks that nature had decided to take back, so that trees and vines grew wild through their windows and up towards the sky. Strangers invite you into their homes for Friday night dinners and offer you cup after cup of nana tea, a kind of mint that grows wild in virtually everyone’s backyard. For the first two months, whenever I opened my mouth to speak a word of Hebrew, I would immediately begin to speak in Spanish (a language that I had not explored since high school).

Before I arrived in Israel, I decided to study dance, movement, and performance at a school called Artness, and so spent most of my time in a

Movement at Artness

sun filled studio, finding strength I did not know that I had, and experiencing the biggest moments of frustration in my life so far; “Don’t explain to me what you are doing with your face. Use your body.” So, each day I would enter the studio and try, try, try, to steer away from the form of expression to which I was most accustomed. Soon afterwards, I came to realize that my words were not something I could rely on either: when I chose to use them, so much of their significance was lost in the translation of things. What I did have was my body. So I learned to swim – metaphorically, that is.

To say that landing in Logan airport in late February was a bit disorienting would be a great understatement. As soon as I returned to the States, I experienced reverse culture shock in a major way. Starbucks and shopping malls, and business men reading English newspapers – English newspapers! For the first time in months, I could read the news – I suddenly went from sounding out street signs, to communicating with the world around me in a way that I had taken for granted my whole life. Furthermore, the in-flight movie on my way home was Wall Street: Money Never Sleeps. This is not to say that these things do not exist in Israel – shopping malls, coffee chains, and consumerism of all kinds – but, I had been living in such a way that I did not interact with them nearly as much as I do here. I was in class for most of my time and living very simply the rest– with few belongings, attachments, and little spare cash to spend on anything other than bus and train fare – in what could be described as a green, bohemian, “Artness” sort of atmosphere.

Making new friends.

What’s more, I had not “acted” since the summer. Fears and doubts peeked their way between my ribs and up under my collar bones, but I swallowed them as best I could. I was scared. Towards the end of my time abroad, I would speak with my family over the phone and find myself feeling like English was my second language. What if I had forgotten? By this, I mean everything: how to interact with English speakers; how to be in a rehearsal process; how to approach a script; how to return to everything I had loved and worked towards before I left. My shape had changed. I knew this. If I were a cookie (surely snicker-doodle), I would not fit into the same shaped cookie-cutter as I did before. So, how would things be different? How would I be different in this new, but familiar space?

What I did not anticipate, was just how much returning to Filament would be like returning home to a family. It is simply the truth, as cheesy as it may sound. And I do not say things that I do not mean. It was as relieving, joyful, and necessary as coming up for that first gulp of air. Filament is a group of the most open hearted, positive, kind, capable, energetic, spirited, passionately and limitlessly creative individuals that I have ever met. Again, this is just the truth. The first meeting of the Eurydice and Orpheus design teams, production teams and casts, was a pancake-breakfast-potluck party, held at the “Crow’s Nest” – artistic director, Julie Ritchey’s, second story apartment that has a Neverland-esque whimsicality to it, rocking between ancient Pirate Ship and the Lost Boys’ Home Under the Ground, with as much over arching greenery as would be imagined if J. M. Barrie had decided on a house above the  ground instead. Twenty-five people tucked their way into the living room, on couches, floor cushions, chairs and laps.

That afternoon went on to be the warmest welcome back to Filament and the Chicago theatre scene that I could have imagined. After everyone had their plates piled with pancakes, syrup, fruit, chocolate chips and the like, introductions were made and designers passed around sketches and shared lap-top slide shows of their plans. A few hours later, Julie, Peter, managing director, Christian Libonati, and I braved the wind and

Photo for "Eurydice"

the chill at North Shore Beach, in order to capture the beaming sun and the storybook-like, cloud-filled sky for Eurydice’s promotional photos. The day concluded with all of us going out for sushi and seeing a show down town (the first play that I had seen since being in Israel!). In the morning was our first rehearsal/read through, followed by more promotional photos (this time in a comparably toasty elevator) and cozy soup and sandwiches at the Birchwood Kitchen, before we all fell asleep at the Crow’s Nest. We woke up from our power-two-hour-nap (unfortunately for Christian, in whose lap I feel asleep on the couch, I woke up in a small puddle of drool), rested and ready for the Ensemble meeting that was called for that evening. Kettle corn, oranges, and tea kept us going into the wee hours of the evening after our meeting “ended”, and we split off into separate teams in order to work on press packets, website content, grants and the like. I arrived home at 3am exhausted, satisfied, and grinning like a ninny. Those two days were epically fun, and I was finally in the right place. I was home.

If it is not quite obvious how much Filament welcomed me under its wing as part of a family, I will break it down:  in those two days we spent virtually all of our waking hours together, shared all our meals, had family nap time, quality bonding time, played (not board games, but theatre games!), helped support each other, and challenged each other to do better work.

Filament’s mission statement emphasizes their commitment to sustainability, asserting, “we strive to make choices that have a long-lasting

Carolyn Faye Kramer as Eurydice

positive impact across a broad spectrum, and not just ‘pieces in isolation.’” This theme of  seeing the whole picture, especially from an environmentally aware perspective, is quite different from the bleak, first impression I had of the United States upon my return, one which highlighted the wasteful, utilitarian, self-serving qualities that are indeed present here. However, I am pleased to report that my culture shock has mostly subsided. With the help of some family, I can see that strip malls, fast food, and unconscious consumption do not occupy the landscape of the States as much as I felt when I first arrived. I also realized that my fears about remembering how to interact with the world as I had known it prior to living abroad were unfounded – Yay! I discovered my voice again, and not only as a theatre artist (my ability to socialize and communicate was not as stunted as I had anticipated it would be – Yay times two!). Filament welcomed me home with support for where I had been and encouragement for where I am now, asking me to share my experience in Israel and honoring the newly shaped cookie (okay, last reference to the metaphor, I promise) that I have become.

Fundraiser, Love, Cabaret, Filament, Underground Lounge, Performance

Thank You!

Fundraiser, Love, Cabaret, Filament, Underground Lounge, PerformanceFilament is thrilled to announce that our current fundraising goals were successfully met!

Both our annual appeal and our cabaret event Love: It’s All Greek To Me! exceeded our projections.

We would like to thank you so much for your support and for you contributions. Because of you, we are off to a great start in 2011, and are now heading into our upcoming productions of Sarah Ruhl’s Eurydice and ORPHEUS: Featuring DJ Puzzle as Fate with confidence and excitement!

Annual Appeal

Goal: $2000
Actual: $3155

Fundraising Party

Goal: $1000
Actual: $1402

Filament is also honored to be one of twenty Chicago theatre companies to receive a grant from the Alphawood Foundation’s Theatre Support Initiative. We would like to extend a huge thank you to the Alphawood Foundation, both for supporting Filament and for contributing so much to the Chicago theatre community!

We are deeply grateful for all of your support and encouragement over the years. We are off to a fantastic start, and we look forward to seeing what else 2011 has in store!

A Marvelous Adventure Indeed

This snowy day is giving me the perfect excuse to stay inside, sip tea, and be sentimental. It’s hard to believe that, after beginning work on this project seven months ago, Choose Thine Own Adventure has actually closed…

What a joy to live in the topsy-turvy, unpredictable, and generous world of this show for so long! Our amazing cast – Marco Minichiello, Ped Naseri, and Filament ensemble members Omen Sade and Mary Spearen – not only memorized hours worth of material from 24 different plays, but also had the chutzpah to walk on stage every night and literally have NO idea what they were going to do. Our hats are off to you, my friends. You are much braver souls than I. Behind the scenes we were surrounded by an unbelievable design team and support staff – Katie Wenzlick, Amy Gilman, Kristen Ahern, Will Dean, and Agnotti Cowie, who kept that ship of ours steering right on course. And, of course, huge thanks to the Underground Lounge, our home since October, and especially to our new friend Dave, the bartender.

The biggest hugs of all go out to you guys. Yes, you! You reading this right now. For following along on our adventures, supporting us, seeing our show and those of you keeping involved in the goings-on of Filament from afar and out-of-town. As a company, we learn a million and a half new things every day about how to best operate as a business, so your involvement, feedback, attendance, ideas, and support are instrumental in shaping us into the company that we are growing to be. So, from the bottom of our hearts, we express our gratitude for walking down those creaky stairs to the Underground Lounge and spinning that Wheel of Chance. We very much look forward to sharing more evenings of theatre with you.

The bears and the little mice have started their winter hibernation long ago, but do not expect those of us at Filament to tuck ourselves away for these cold months! Believe it or not, we have our first production meeting for Sarah Ruhl’s Eurydice and ORPHEUS (Featuring DJ Puzzle as Fate) coming up this Wednesday. This blog (as well as our Facebook, Twitter, and My Theatre Club pages) will be alive and kicking all winter long, keeping you up to date on the development of Orpheus & Eurydice, as well as general fun thoughts and pleasantries from the Filament crew.

Choose Thine Own Adventure was a marvelous adventure indeed. I can’t imagine a better way to kick off our new-and-improved, revamped company. Thank you again, all of you, and we will see you very soon!

Julie Ritchey
Artistic Director