Fury is pleased to have Peter Connor as director for Oleanna.
Peter is a regional freelance director whose work has been seen in St. Louis, Minneapolis, and Chicago. He like's bringing new works to life as well as bringing new life to established works such as Oleanna. Some of his recent directorial credits include "The Harlequin" by Mark Contorno, "No Stopping, No Warping, No Dying" by Ed Krystosek, and "Airline Miles: a Gay Love Story" by Hank Perritt.
"As a director I believe the writers words, thoughts, and ideas are the most important aspect of what the audiences experiences during a performance. Second, is the Actors performance and third is what the director brings.
Everyone knows that David Mamet is a great playwright. He has risen to a level of prestige that few writers have achieved and his works deserve it.
Oleanna is no exception and some of the themes in Oleanna have always interested me - political correctness, the concept of "tyranny by the weak", the role of a liberal education and feminism.
So with a love of directing, and interest in the themes of Oleanna I took a new look at this 20 plus year old play. While re-exploring Oleanna I have come to believe that it is one of Mr. Mamet's best works. And here is why.
Oleanna elegantly explores the intersections we all encounter everyday. The intersections between our internal world of desires (sometimes unknown to ourselves), our public world where we think and feel we are unique individuals meeting other unique individuals, and the larger cultural structures that hold us all.
I don't think Mr Mamet is making an overt judgment of right and wrong but does show us how quickly communication between people can go astray when one person is coming from one perspective and another person is coming from a different perspective.
To make matters more complex and true, Oleanna shows we can change our perspectives all the time and even if we are aware of the dynamics I point to above - we can still fail miserable at communicating with tragic consequences.
Yet, still not know what is right or wrong - or what perspective is most valuable.
I am really excited about putting this well know play together. I love the cast we have - they are perfect for the roles. The production team is awesome. And i really want you to see and experience what David Mamet wrote."
Peter would like to thank Fury Theater, this cast and crew for their hard work, vision and performance. To inquire about Peter's availability for your project, please contact him at firstname.lastname@example.org. He thanks Da+via for everything.
Alison Ennis - Stage manager
Alison is a recent graduate from Columbia College Chicago with a BA in Technical Theater with a concentration in Stage Management. Her most recent credits include 'Annie Get Your Gun' with Starlight Theater in Wilmette, as well as 'Hairspray' which was her final production with Columbia College Chicago. During her three years at Columbia, she stage managed six productions, working with a wide range of plays and musicals, such as 'Marisol' by Jose Rivera, and 'Victor/Victoria' by Blake Edwards. Her upcoming projects are 'The Marvelous Wonderettes' with Open Door Repertory Company, and 'Lady Windemere's Fan' with Dead Writers Theatre Collective.
Corinne Bass - Set Designer
Corrine is so happy to be creating with the fine folks at Fury for the first time. She's also currently designing props for Jackalope's Crumble: Lay Me Down Justin Timberlake. Other recent credits include set design for Les Parents Terribles and The Goddess (The Artistic Home), scenic painting for Watch On The Rhine (The Artistic Home), and props design for Mud Blue Sky (A Red Orchid Theatre). More of her work can be seen at corinnebassdesign.com.
Alyson Petroski – Lighting Designer
Alyson finishes her bachelors in Communications, Media and Theater with a minor in Women and Gender Studies at Northeastern Illinois University in August of 2015. Previous lighting design includes The Stor, Romeo and Juliet (Fury), The Tempest(Fury), Midsummer Night’s Dream(Fury). As a scholarship student for NEIU she has worked on productions at Stage Center since Spring 2012 doing construction and lights. Other technical work includes technician for Stage Center’s Jackel and Hyde and the stage manger for The Children’s Theater Workshop’s “Grimm Tales” in Fall 2013. She works as a freelance electrician and carpenter around Chicagoland area such as Marriot and Drury Lane.
Laura is thrilled to tackle another challenging role with Fury Theatre again after playing "Laura" in Tennesee William's The Glass Menagerie. Most recently she performed in 101 Ways to…Fall in Love with Bard & Fool Theater Group.
Other Chicago theatre work includes The Somewhat Gelatinous BLOB from beyond the Grave at The Cornservatory, Electra & Orestes with 20% Theatre, Bloodsport: the Musical and Escape from Chicago at the Public House Theatre,The People’s Four Seasons and Males Order Brides with Quest Theatre Ensemble, and Black & Blue and Toast of the Town with The Factory Theater, to name a few.
In 2011, she received a Non-Equity Jeff Nomination as part of the ensemble for the musical Boojum: Nonsense, Truth and Lewis Carroll with Caffeine Theatre & Chicago Opera Vanguard. She’s also played Lois Lane in a couple of Superman short films. She received her BA in theatre from Loyola University Chicago in 2009.
Mark Dodge (John) has written Fury Theatre's three original kids shows Hamlet & Eggs: A Scrambled Shakespeare Adventure, Professor Evil's Bedtime Stories for Zombies! And Creature Double Feature! and has directed Fury's inaugural show as an incorporated company, The Glass Menagerie. He recently directed Much Ado About Nothing, Fury's second Shakespeare in the Park production.
Recent acting roles include Lopakhin in The Cherry Orchard, Salvador Dali in How To Make A Rainbow, Uncle Peck in How I learned to Drive, Hyde in Jekyll & Hyde, Bullshot Crummond in Bullshot Crummond, Pistol in The Merry Wives of Windsor and Oberon in A Midsummer Nights Dream. Mark Recieved his B.A. in Theater with a concentration in Directing from Columbia College Chicago on 2001.