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LITTLE WOMEN THE MUSICAL
Music: Jason Howland Lyrics: Mindi Dickstein Book: Allan Knee Choreographer: Jeff Award winner Jenna Schoppe Music Director: T.J. Anderson Co-Directors: Stephanie Rohr & M. William Panek Celebrating its 150th year since publication, this timeless story is brought to life in this Broadway chamber musical filled with personal discovery, heartache, hope and love. Based on Louisa May Alcott’s life, Little Women the Musical follows the adventures of sisters Jo, Meg, Beth, and Amy March. Jo is trying to sell her stories for publication, but the publishers are not interested. Her friend, Professor Bhaer, tells her that she has to do better and write more from herself. Begrudgingly taking this advice, Jo weaves the story of herself and her sisters and their experience growing up in Civil War America. Under the co-direction of company members Stephanie Rohr & M. William Panek and music direction of artistic associate T.J. Anderson, Brown Paper Box Co.’s production will focus on their season's mantra of "back to the basics." This "theatre, plain and simple" approach will re-orchestrate the Broadway score for single piano, performed by artistic associate Justin Harner, to transport Jo's memories and the events of the musical into her childhood attic. AUDITION DATES Tuesday, September 18: 6:30pm-10pm Sunday, September 23: 10:30am-2pm CALLBACKS Tuesday, September 25: 6:30pm-10pm LOCATION Voice Power Chicago 1579 N Milwaukee Ave Unit 340, Chicago, IL 60622 PAY $150 stipend Type Restrictions None. Little Women the Musical will be comprised of a company of performers of varying generations, gender- and ethnic -identities. Must be a strong singing actor. ROLES Jo March (female identified) Our story's protagonist. Passionate, adventurous, and brave. To play 15-22 years old Vocal range top: A5 Vocal range bottom: E3 Professor Bhaer (male identified) German-born professor, now living in America, who exemplifies proper manners. Jo’s kind and intellectual writing mentor, and her future husband. To play 35 years old Vocal range top: F#4 Vocal range bottom: G2 Meg March (female identified) The world-weary, yet hopeful, oldest sister who yearns for a great life. Doubles as Clarissa. To play: 16-23 years old Vocal range top: Gb5 Vocal range bottom: A#3 Beth March (female identified) The second youngest sister who tragically dies of Scarlet Fever. Peace-maker, lover, and an optimist who is always encouraging her sisters to dream. Doubles as Rodrigo II. To play 13-20 years old Vocal range top: G5 Vocal range bottom: A3 Amy March (female identified) The youngest, most energetic sister with a rather pompous air about her. Doubles as Troll. To play 12 to 19 years old Vocal range top: Gb5 Vocal range bottom: F3 Marmee March (female identified) The girls' mother. She is the strong backbone of the family, who is courageous in spite of the difficult odds she faces. Doubles as Hag. To play 35-45 years old Vocal range top: Eb5 Vocal range bottom: Eb3 Aunt March (female identified) A formidable, over-bearing matron and great-aunt to the March sisters. The wealthy socialite in town. Doubles as Mrs. Kirk. To play 45 to 60 years old Vocal range top: F5 Vocal range bottom: E3 Theodore Laurence III (Laurie) (male identified) The bright-eyed boy-next-door with considerable charm. Eventually marries Amy. Doubles as Rodrigo To play 15-22 years old Vocal range top: Bb4 Vocal range bottom: Bb2 Mr. John Brooke (male identified) Laurie's tutor and a rather reserved and quiet, though hard-working man, marries Meg. Doubles as Braxton. To play 25 to 35 years old Vocal range top: F#4 Vocal range bottom: C#3 Mr. Laurence (male identified) Laurie’s Grandfather. Appears stern to most but develops a friendship with Beth. Doubles as Knight. To play 45 to 60 years old Vocal range top: D4 Vocal range bottom: C#3 TIME COMMITMENT Rehearsals: shooting to begin Nov 4. Sun-Thurs evenings. Skipping all major holidays and travel days. Tech: Sun, Jan 6 - Thur, Jan 10 @ Strawdog’s space (1802 W Berenice Ave, Chicago, IL 60613) Run: Friday, Jan 11 - Saturday, February 9 with some matinees MATERIAL TO PREPARE Please prepare 32 bars in the style of the show (modern Broadway) which demonstrates your range & vocal versatility. HOW TO REQUEST AN AUDITION SLOT Please email your head shot, resume, and availability across our 2 audition days to casting@brownpaperbox.org.
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 Hi. How’s it going? I’m Kristi Szczepanek. Artistic Director of Brown Paper Box Co. and resident Mama to all our company members. Before you settle in for this performance of EVERYBODY, have you gotten yourself a drink? Gone to the bathroom? (And washed your hands?) Great job!
If this is the first show you’re seeing with us, welcome to our corner of the theatre world! And if you’ve been here before, welcome back. It’s great to see you. From the minute we started reading this play, we knew wanted to produce it. Not only does it deal with huge, universal themes like death and what it means to live a full life (and honestly, who isn’t thinking about those right now?), five of the actors have no idea what character they’ll be playing from night to night. The mystery! The intrigue! I’m told honesty is important in leadership so if I’m being honest, those aren’t the only reasons we picked this show. We picked it for all of the above reasons of course, but also because times are tough for a non-profit theatre company and we knew it would be relatively inexpensive to produce. Part of our mission at Brown Paper Box includes smart, simple design because we believe that the story is the thing that should stand out. But even smart, simple design costs money. If you enjoy the show today, I hope you’ll consider tossing a few bucks in the donation bin on the way out. No donation is too small (and none is too large…) We appreciate each and every penny given to us. If you’re interested in becoming a season donor, please talk to the Box Office staff or visit our website at www.BrownPaperBox.org. We have some super secret perks that are only available to season donors and I promise they won’t disappoint! Above all, I hope this performance will spark great conversation for you in the coming days. Whether it’s with the person you came with or the friends you’ll tell to see the show (please tell your friends!) We could all use a little more conversation with each other and I think this show has some pretty big ideas to unpack. Thank you for coming. We appreciate you. Enjoy the show! - Kristi Szczepanek  Q) What is your role in EVERYBODY? A) Usher/God/Understanding Q) EVERYBODY can be performed a variety of 120 different ways based on its nightly casting concept. How has this rehearsal process been for you so far? A) It has been really eye-opening to the kind of artists we have in Chicago: brave, intelligent, malleable artists who aren't afraid of doing the work. It has been all inspiring to watch my fellow cast mates find their play. It has only served to motivate me in my work. Q) What have you learned the most while working with Erin and your cast mates? A) Patience. Patience. Patience. Trust the work and who you share the stage with. Be open to criticism because it is most likely being posed to enhance what you are already doing, not take away. We all bring a unique voice to the table that should be accounted for. Q) EVERYBODY features the ideas of Love, God, Kinship, Friendship, Death, Understanding, etc. and personifies them as everyday people. Which idea is speaking to you the strongest recently? A) Two things: that God (or whatever you ascribe to) is a great scientist with a curious mind and a genuine love for their creations, and that where someone roots their Understanding varies greatly from person to person. Q) What about this production is special or why should audiences come see it? A) To question our own perspectives and challenge our own understandings only helps to broaden our world view and more deeply connect with those around us. The bravery that I hope to witness, both with the cast in putting on this play and the audience for seeing it, is what makes this whole project worthwhile to me. I am learning and will learn more and more during each performance, and that constant state of learning is what is so exciting to me. Branden Jacobs-Jenkins' EVERYBODY runs July 13-August 12 at The Buena at Pride Arts Center. Tickets can be purchased HERE - and make sure to pick up a See EVERYBODY Again punch card at the Box Office for repeat-viewing discounts!
 Q) What is your role in EVERYBODY? A) My role is Time. Q) EVERYBODY can be performed a variety of 120 different ways based on its nightly casting concept. How has this rehearsal process been for you so far? A) My role is not determined by lottery, but it has been very fun to see how different people perform the roles and make them their own. Q) What have you learned the most while working with Erin and your cast mates? A) I’ve learned that a role does not have to be performed the same way twice, and people have different performance styles. Q) EVERYBODY features the ideas of Love, God, Kinship, Friendship, Death, Understating, etc. and personifies them as everyday people. Which idea is speaking to you the strongest recently? A) I think Cousin speaks to me the most because I have very close relationships with my cousins. I love spending time with my cousins and I go to them if I have a problem. Q) What about this production is special or why should audiences come see it? A) This production makes you think about how you’re spending your life and if you want to change anything your doing. You want to enjoy every second of it. Branden Jacobs-Jenkins' EVERYBODY runs July 13-August 12 at The Buena at Pride Arts Center. Tickets can be purchased HERE - and make sure to pick up a See EVERYBODY Again punch card at the Box Office for repeat-viewing discounts!
 Q) What is your role in EVERYBODY? A) I play Death. Q) EVERYBODY can be performed a variety of 120 different ways based on its nightly casting concept. How has this rehearsal process been for you so far? A) Slightly less cumbersome than my fellow ensemble members. While Death presents it's own set of challenges, my five castmates who rotate the roles deserve all the praise and credit I can muster for what they've accomplished during this process. I'm amazed every night I get to watch them. They memorized the entire script and don't know who they're playing until they draw the roles during the lottery. They're the real MVPs and to see their dedication to getting the lines down is inspiring and they are beautiful to watch each night. Q) What have you learned the most while working with Erin and your cast mates? A) It really kind of depends on what your definition of the word 'most' is. I've learned so much from Erin and my castmates, that quantifying it would be near impossible. I believe the value of love and acceptance have been two of the greatest lessons I've seen come into play time and time again. To see the kindness that exudes from our cast and crew, feels my heart with joy every night. Erin leads by example and I'm grateful to get to work with someone who truly has a heart for such deep, meaningful work. It's exciting walk in to rehearsal every night and get to explore. Q) EVERYBODY features the ideas of Love, God, Kinship, Friendship, Death, Understating, etc. and personifies them as everyday people. Which idea is speaking to you the strongest recently? A) Love. Unequivocally, love. As we deal with the process of dying each night, you start to see the fragility of life and relationships. We're surrounded by chaos and maelstrom at this moment in time and people seem to hate each other for no other reason than they just want to hate someone. We'll get through it, but if there's one thing we can do to help speed up the process, it's to give of ourselves and give freely. Be the light, be the change. Work towards a better world. Because, at the end of the day, we're all dying, but we don't have to die alone. Q) What about this production is special or why should audiences come see it? A) There are 120 different variations to this show. You'll have to come AT LEAST 5 times for the chance to see everybody play Everybody. And even then, nothing's guaranteed. Just like life. Branden Jacobs-Jenkins' EVERYBODY runs July 13-August 12 at The Buena at Pride Arts Center. Tickets can be purchased HERE - and make sure to pick up a See EVERYBODY Again punch card at the Box Office for repeat-viewing discounts!
 Q) EVERYBODY can be performed a variety of 120 different ways based on its nightly casting concept. How has this rehearsal process been for you so far? A) This process has been completely different than any process I've ever done. There is no sitting back and waiting for your scene - the scene you are watching may be a scene you will be performing, and the scene you are rehearsing may not be the scene you perform because if you do get to perform it, it may be with someone other than you rehearsed it with, so we all have to track each others choices, even though we all present a different Everybody. I have loved every minutes of the process because the only thing you can do is just give over to the process - and trust every single person you are working with, and that I do. This cast has just been awesome! Q) What have you learned the most while working with Erin and your cast mates? A) I have learned so much from everyone. First, Erin is one of the most patient and articulate directors that has ever been my pleasure to work with, she fully understands the challenge of this process and has been so supportive in terms of our own discovery and helping us give shape to those ideas. As to the rest of the cast - it's as if we are all in this very small boat together without any oars, but together we can figure out how to get to land...and we are doing it, man, we are doing it! Q) EVERYBODY features the ideas of Love, God, Kinship, Friendship, Death, Understating, etc. and personifies them as everyday people. Which idea is speaking to you the strongest recently? A) All of the concepts have had some serious rethinking and attention in rehearsal, but personally I am really struck by LOVE - how its impatient, but so not, but most important how LOVE is always there, but Everybody doesn't recognize it. As a human being looking at LOVE, I wonder, why is it so hard for us to Love each other? Why are we so afraid of love, or think that it isn't there, when we should be embracing it because it is always there! One of my favorite lines in the play is: "I loved them better [my friends], than my Love alone" because it points to a human dilemma - we don't recognize this incredible gift that we have been given, the enormous capacity to love. In light of everything that is going in the world right now - we need to lean in, and lean in hard on LOVE. It's right there. And favorite role? I hate to play favorites, but I do love the sass and presence of STUFF. But. I also love the genius amalgam of Everyone's friends in FRIENDSHIP. Q) What about this production is special or why should audiences come see it? A) Aside from stellar cast? Compelling script? You could see this show multiple times and you will literally get a different production, a different take-away each time. Branden Jacobs-Jenkins' EVERYBODY runs July 13-August 12 at The Buena at Pride Arts Center. Tickets can be purchased HERE - and make sure to pick up a See EVERYBODY Again punch card at the Box Office for repeat-viewing discounts!
 Q) What is your role in EVERYBODY? A) I play one of the Somebodies, which means by the end of the production, I'll *hopefully* have played Everybody, Friendship, Kinship, Cousin, Stuff, Mind, Senses, Beauty, and Strength, along with A, B, C, and D. If you don't understand what any of this means, you should come see our show! Q) EVERYBODY can be performed a variety of 120 different ways based on its nightly casting concept. How has this rehearsal process been for you so far? A) Haha it has truly been one of the more challenging role(s) I've ever taken on. There is always some point at every rehearsal where someone makes a comment about line memorization anxiety, and everyone replies with some sort of "Thank god! Me too!" response. But aside from that, jumping from role to role has made me both excited and scared (thanks, Sondheim), always keeping us all on our toes. The themes of the show itself are quite heavy, and so we try to surround those darker moments with energy and connection. Understanding each of these characters individually definitely feels like a sort of "Alice in Wonderland" journey. Many of these characters, besides Everybody, don't come with much back stories. So we get to make them up ourselves, which is half the fun of this show for me! Q) What have you learned the most while working with Erin and your cast mates? A) This is my second show with Erin, but my first with this cast of people. What I love so much about this cast is how truly different and unique we all are. No two of the same character are really alike for anyone, which is so great for all of us. There's no sense of competition or feelings of "copy-cating" someone's version of a role. I love observing and going through everyone's individual discovery process because they're all so different. I'm also the self-proclaimed cast-clown, so that's what I bring the to table. Hopefully no one disagrees with me. They better not... Q) EVERYBODY features the ideas of Love, God, Kinship, Friendship, Death, Understating, etc. and personifies them as everyday people. Which idea is speaking to you the strongest recently? A) Definitely Understanding. I've been experiencing a lot of change in my life this year, both good and bad. So if there were overwhelming moments where it seemed too much, I just had to remind myself that everything happens for a reason, and things work out the way they're supposed to. Q) What about this production is special or why should audiences come see it? A) Well, I can 99% guarantee you that if you come once, you will not see the same casting any other night. If you come for a second show and it's the exact same cast, I'll buy you a beer. So that's a good reason come. But in all seriousness, everyone has had such a large job to take on that we're just so excited to celebrate that achievement with audiences with a different cast every night and explore the myriad of colors that this show takes on. Branden Jacobs-Jenkins' EVERYBODY runs July 13-August 12 at The Buena at Pride Arts Center. Tickets can be purchased HERE - and make sure to pick up a See EVERYBODY Again punch card at the Box Office for repeat viewing discounts!
Following their Jeff Recommended run of They’re Playing Our Song and the Chicago Reader Recommended Speech & Debate, Brown Paper Box Co. is proud to announce its 2018/2019 season. With an exciting regional premiere fresh out of New York - cast by lottery each night live on stage, a Chicago storefront chamber musical premiere, a new cabaret at Mary’s Attic in Andersonville, and a Spring 2019 Special Event to be announced soon, BPBCo.’s upcoming season has a little bit of something for everyone & everybody. "Our staff got about 6 pages into reading Branden Jacobs-Jenkins’ EVERYBODY and immediately knew it was the perfect play for our new season,” says Artistic Director Kristi Szczepanek. “And when William & Stephanie brought us their bare-bones concept for Little Women the Musical, it seemed like a great compliment. Thematically, the shows are very different, but we hope to tie them together aesthetically, as we focus this year on our ‘theatre, plain and simple’ roots." Brown Paper Box Co.’s 2018/2019 season poster designs by Artistic Associate Charlie Sheets. Additional information regarding tickets, casting, outreach, becoming a season donor, and auditions for Brown Paper Box Co.’s 2018/2019 season can be found by visiting www.BrownPaperBox.org. Brown Paper Box Co. presents An Existential Cabaret
Host: Kristi Szczepanek, Accompanist: Emilie Modaff May 4 and 5, 2018 Mary’s Attic above Hamburger Mary’s Inspired by life’s great mysteries presented in our first play in our 2018/2019 season, EVERYBODY, An Existential Cabaret will be a little different from our previous cabarets! As we begin to explore life, love, and morality through Branden Jacobs-Jenkins’ modern morality play, guests at Mary’s Attic can expect to hear the musical stylings of Love, Death, Stuff, Friendship, Understanding, and even God — just to name a few. Join us on May 4th and 5th at Mary’s Attic to celebrate our season with the Brown Paper Box Co. family - and a few special guests! EVERYBODY Regional Premiere Playwright: Branden Jacobs-Jenkins Director: Erin Shea Brady July 13 - August 12, 2018 Pride Films & Plays’ The Buena This modern riff on the 15th-century morality play Everyman follows Everybody (chosen from the cast by lottery at each performance) as they travel down a road toward life’s greatest mystery. Making its regional premiere in Chicago following its 2017 world premiere off-Broadway, playwright Branden Jacobs-Jenkins (Gloria, An Octoroon) bases his new play on a medieval morality play that instructs sinners on how to repent and seek redemption. “EVERYBODY harnesses theatricality to drop these conversations into our laps in a way that is hopeful, engaging, and unique,” says director Erin Shea Brady. “The actors literally get to try on different roles. They literally get to step into different points of view, giving us a new opportunity to explore bias and conditioning. There will be some permutations of this piece that have never happened before, that an audience is seeing for the very first time. It’s a huge, exciting experiment and it is electric. EVERYBODY is in on the rarity, taking ‘different every night’ to a whole new level.” Erin Shea Brady (Director) joined the BPBCo. team this year as Production Director. She is the founder of No Stakes Theater Project, an organization dedicated to supporting the creative risks of emerging artists, where she has produced several productions, staged readings, and initiatives since 2014. Directing credits include: Kander & Ebb's Cabaret, Sharr White’s Annapurna (staged reading) and Jim Cartwright’s The Rise and Fall of Little Voice (No Stakes Theater Project); Stands (Spartan Theater, staged reading) and Anna Schutz's Prodigy: A Modern Family Portrait (staged reading). In assistant direction and dramaturgy roles, Erin has worked on productions at the Goodman, TimeLine, A Red Orchid, Jackalope, Northlight, and Remy Bumppo. A graduate from the directing program at Columbia College Chicago, her training also includes internships at Steppenwolf (Casting Department), American Blues (Performance Intern, Waiting for Lefty), Northlight and A Red Orchid. Erin is also a contributing critic at Newcity Stage and Perform.Ink and is hard at work on her new play, Revival. LITTLE WOMEN The Musical Music: Jason Howland, Lyrics: Mindi Dickstein Book: Allan Knee Musical Direction: T.J. Anderson Co-Directors: M. William Panek and Stephanie Rohr Opening January 2019 This timeless, captivating story is brought to life in this Broadway chamber musical filled with personal discovery, heartache, hope and everlasting love. Based on Louisa May Alcott’s life, Little Women follows the adventures of sisters Jo, Meg, Beth, and Amy March. Jo is trying to sell her stories for publication, but the publishers are not interested. Her friend, Professor Bhaer, tells her that she has to do better and write more from herself. Begrudgingly taking this advice, Jo weaves the story of herself and her sisters and their experience growing up in Civil War America. Under the co-direction of company members M. William Panek and Stephanie Rohr and musical direction of artistic associate T.J. Anderson, Brown Paper Box Co.’s production will focus on the season's mantra of "theatre, plain and simple." The "back to the basics" approach will re-orchestrate the Broadway score for single piano to transport Jo's memories and the events of the musical into her childhood attic. The bare-bones reimagining will elevate the March sisters’ relationships as important focal points rather than simple plot points. M. William Panek (Co-Director) is a proud graduate of the University of Illinois' Theatre Department. Most recent he collaborated with Zach Zimmerman on Luke Babylon: Christian Magician and Spell: An Interactive Solo Performance at iO Chicago, iO New York, The Duplex New York, and the Annoyance Theatre. Previously directing: Now. Here. This., [title of show] (Jeff Award Nominated), A New Brain, Aloha, Say the Pretty Girls, Godspell, To Tree (world premiere), Reefer Madness! The Musical in 2010, 2011, and 2012. Casting Associate: EVERYBODY, The Baltimore Waltz, Julius Caesar, Spike Heels. Cabaret: "Positively Present," "Mary'z With a Z," "Proud at Mary's" at Mary's Attic, "Spring Forward Fail Back" at Uncommon Ground, and "BPB Yearbook" "Character Breakdown" at Davenport's. William served as an artistic associate with The Orchard Project in Hunter, NY, production assistant for the 24-Hour Musicals at Joe's Pub, and the business management assistant at the Williamstown Theatre Festival. Stephanie Rohr (Co-Director) has worked with BPBCo. as director of Spike Heels, assistant director of A New Brain, and coordinator for Spring Forward Fail Back cabaret. She has performed with BPBCo. in Godspell, Aloha Say the Pretty Girls, and [title of show]. Stephanie holds a BFA in Musical Theatre from Drake University and an MA in Classical Acting from Drama Centre London. She made her West End debut in Opera Up Close's Olivier Award winning production of La Boheme, and also performed at the Roundhouse Theatre and the Barbican Centre in London. Chicago credits include: High Fidelity (Refuge Theatre), Macbeth, Reservoir Dogs, and Predator: The Musical (Roundhouse Productions), Two Gentlemen of Verona (Spectralia Theatre), Jesus Camp (Cornservatory), Perfect Wedding and Secrets of a Soccer Mom (Towle Theater), and No Sex Please, We're British (JPAC). Stephanie also works as a private vocal coach, sings with The Moxie Sisters and The Bangers, and is a fiber artist and cross-stitch designer. (StephXstitch.com)  There are only 4 more chances to see our Reader Recommended production of SPEECH & DEBATE. Want to see it at a discount this final weekend? Use promo code MATTRESS for buy-one-get-one tickets to this weekend's performances.
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