Nick Wren - John
Nick Wren grew up in London and NYC. He is a recent recipient of the Bella Itkin award for acting at DePaul. Before studying at DePaul, Nick spent four years studying at the Stella Adler Studio in NYC. Selected theater credits include: StoreFront Project (Museum of Contemporary Art/Prop Thtr) and Krapp’s Last Tape (13th Street Rep). He recently appeared in the award winning short film better. Apart from acting, Nick also produces and writes. He recently helped found the Little Time Theatre Co. in Chicago. Nick is represented by Gray Talent Group.
Lauren Zinzer - Louise
Lauren is an actress, dancer, and singer, originally from Lake Wylie, South Carolina. She studied acting at the University of North Carolina School of the Arts for her senior year of high school. Theatre School credits include One Flea Spare (Morse), Jane of the Jungle (Pat), and The Rover (Lucetta).
Stephanie LeBolt - Director
Stephanie LeBolt is a Directing Candidate at the Theatre School at DePaul. She is a director, choreographer, and producer originally from Virginia. DePaul TTS credits: Come Back, Little Sheba; Polaroid Stories; Mud. Upcoming at TTS: Dance Nation. Boston credits: Franklin (Boston Playwrights' Theatre), Martha's (b)Rainstorm; La Llorona; That Time the House Burned Down (Fresh Ink), Melancholy Play: A Chamber Musical (Umbrella Center), Sfanta (Wellesley College), The Ordinary Epic. Love and gratitude to the cast and creative team!
connor Bradshaw - playwright
Connor Bradshaw is a Chicago-based, Midwestern-raised playwright and poet. He has worked with Victory Gardens Theatre, TimeLine Theatre, Adventure Stage Chicago, iO Theatre, Citadel Theatre, and Poetry East. In 2018, Connor was commissioned by Victory Gardens to write a 10-minute play, FLIGHTLESS, where it premiered for their College Night. He is beyond excited to share the adaptation of his play, BOXED IN, as a multimedia podcast with the TTS and Chicago communities. His plays, SUPER-RON and BROKEN CROWN were developed through the Wrights of Spring New Play Festival and he is the recipient of the
Zach Helm Endowed Playwriting Scholarship. For more on Connor, visit www.connorermir.com!
BFA: The Theatre School at DePaul University, BA: English (Literary Studies)
emma durbin - Dramaturg
Emma Durbin is an early-career playwright-dramaturg and amateur sport climber. Her plays landscape, Of Our Own, Inside the Palace Royale, and A Study received staged readings at The Theatre School (TTS) at DePaul University’s Wrights of Spring new play festival. At TTS she has dramaturged 10 productions, seven of which were new plays. She has interned at the Goodman Theatre, Oregon Shakespeare Festival, and Ashland New Plays Festival. Emma attended the New Play Dramaturgy Intensive at the Kennedy Center with Mark Bly. Playwriting BFA: The Theatre School at DePaul University (anticipated 2020). To learn more about Emma's work, please check out her website emmadurbin.com!
Saskia Bakker - asst Director
Saskia Bakker is a BFA 2 Theatre Arts major. Recent past credits include puppetry assistant for The Silence of Harrow House at Rough House Theatre, and props artisan for Polaroid Stories at The Theatre School. Her new short play, A Love Play, will premiere at this year’s Wrights of Spring festival, and this summer she will be a production intern at Double Edge Theatre for their Six Feet Apart, All Together Spectacle.
agata pacia - sound designer
Originally from Wrocław, Poland, Agata is soon graduating with a BFA in Sound Design from The Theatre School at DePaul University. Her past Theatre School design credits include Underbelly: a Radio Play, Polaroid Stories, Jane of the Jungle, The Wong Kids in the Secret of the Space Chupacabra Go!, Satyagraha: Gandhi/King, Into by the Woods, Still, Next Fall, and Desdemona: a Play about a Handkerchief. Associate Sound Design credits include The Leopard Play or Sad Song for Lost Boys (Steep Theatre Company), Pineapple (Irish Theatre of Chicago), A Dybbuk or Between Two Worlds (DePaul University), American Jornalero (Teatro Vista), and Native Son (DePaul University). Agata has also been the Sound Engineer/A1 for For the Record, (Northwestern University), Women of Soul (Black Ensemble Theatre), 2018 Cherubs Program (NHSI), 9 to 5 (Firebrand Theatre), Marie Christine (BoHo Theatre), Seussical (BAM Theatre), West Side Story (BAM Theatre), Rent (IHSTF), and Pippin (IHSTF). Agata previously interned with the Broadway musical The Cher Show and last summer she worked as a Production Audio intern with The Public Theatre in New York City. More information can be found at https://agatapacia.wixsite.com/mysite
claire stevens - stage manager
Claire Stevens is a BFA 1 Theater management major hoping to concentrate in production. She is very excited to help share this project with all of you. Special thank you to all the cast and creative team for the wonderful work.
One year and nine months ago Connor Bradshaw brought in his first pages of Boxed In to our playwriting class. In the time since I had the honor to see it grow from a family drama to a tight two hander ready for first rehearsal. And within the last few weeks Bradshaw and the production team worked tirelessly to transform his play to the online multimedia story you explored today.
We got two full weeks of workshopping before the world came to a halt. In the time that we got, we learned that Bradshaw’s script was deeply physical. The play, for context, starts when Ted is executed. To work through their grief and eventually escape Tacoma, Washington, John and Louise sort through boxes of Ted’s things to decide what to keep. To accommodate for the new format, Bradshaw wrote a whole new script this April. The following is an interview with the playwright and his experience with this process.
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After only two weeks of rehearsals for Boxed In, The Theatre School shut its doors. I’ve been impressed in your ability to assess the situation and persevere. Within weeks you wrote a whole new script to respond to the need to move online. What was this journey like for you?
It was wild. We discovered in the studio so much of what happened in the play was imagistic and based on bodies in the room. When we realized we couldn't do the production anymore, it felt wrong to continue with the same play because it's a completely different medium now. So I said, okay: how can I make sure the story holds its integrity while switching to a different format? I felt like the only way to do that was by completely revamping and rewriting.
What do you miss most from Boxed In that didn’t make it to the online platform? What is in the live performance that we should know about?
The teeth, for sure.
The play’s timeline is very different from the website's timeline. In the play, we focus on one unit of time and we watch John and Louise spiral together after Ted’s execution. There's a breaking point in the play where Ted seems to have made himself present within the home. Louise is going through the boxes of his things after he has died and she stumbles upon this container of teeth and she's like Oh they’re baby teeth, but actually there are almost 400 teeth in there. Louise does this while John is in another room, and as John starts to come in, she puts all of the teeth that she can fit in her mouth. John sees her and does not notice at all.
It was a really cool moment where we see the motif of Louise continuously hiding her son's transgressions. She’s attempting to cope the best way she can, which is through a sort of active eating of the truth So that's one thing I miss.
Why John and Louise? What was it about these two parents going through this grief process that made you want to tell their story?
I think it's super universal. When I was writing this play, the Brett Kavanaugh hearings had started and my parents said, I don't know how I could be his mother and love him. That really forces perspective. There are only thirty or so confirmed murders by Ted Bundy, but people have speculated that he's killed more than that. He could have killed, raped, and eaten hundreds of people. And I don't want you to sympathize with him. But I was thinking, God, what a test of a parent's love and dedication to their child. How can you love somebody who the world (and your child) has constructed as abjectly evil?
It is very poignant especially because you can extend it to a lot of other narratives; how far does a parent's love go and to what lengths will a parent defend their child?
And is there something too in the question of who's responsible for all this?
Yes, oh my gosh, yes. The dramaturgy team, you and Liv Garcia, put together a wonderful dramaturgy presentation. Liv had a section where she used the myth Echidna, the mother of monsters, to explore this idea that the mother always gets blamed for her monstrous sons. That is something that might be more subliminal in the website with this idea of placing blame, but was absolutely there in the play. Who is getting the brunt of the blame is also a conversation that goes hand in hand with the child. Who feels guilt for the child?
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Izzy Terrell - Winter Quarter Stage Manager
JP Heili - Winter Quarter Script Supervisor
Liv Garcia - Assistant Dramaturg
mikael burke - web designer
(mfa directing '18)
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