#Henry Wishcamper

[lorenzoandhismom]

A Christmas Carol

by Charles Dickens

Adapted by Tom Creamer

Directed by Henry Wishcamper

Goodman Theatre

There’s a moment in A Christmas Carol, now in its 41st year at the Goodman Theatre, when the Ghost of Christmas Present (played this year with magnificent gravity by Jasmine Bracey) reminds Scrooge that the acts done in the name of Ignorance are not done in her name. The moment was one of chilling resonance, on a day when the news came in with dreary regularity, including that of migrant children teargassed as they tried to pass into the border. How much ignorance is required to believe that a person can be illegal?

Scrooge doesn’t bother himself much with politics, though there are hints of the society in which he thrives, at least financially: when asked to contribute money for the poor and needy, he retorts, “Are there no prisons? Are there no workhouses?” The question comes to haunt him, as he gains empathy, and unlocks his heart.

Scrooge’s cruelty comes out of heartbreak, we soon learn. Early on, his niece hints at this, noting, “His offenses carry their own punishment. I am sorry for him.” When Jacob Marley haunts him with the warning, “I wear the chains I forged in life,” Scrooge doesn’t yet realize that Marley, like him, shut himself off to true happiness - something only possible within our relationships.

The story of Scrooge’s awakening, which takes place over the course of a night marked by three ghostly visitations, is well-known, but Goodman’s current version of the story is radically improved from what I saw as a child, or even what I saw ten or five years ago. There are a range of casting choices that make the show feel like a true reflection of our diverse city, as well as a number of  production elements - from a constellation of stars, to robotic door knockers. 

Directed by Harry Wishcamper, the production is carefully paced and layered. It’s hard to say enough about Larry Yando, in his eleventh year as Scrooge, who carries the show. His ability to reveal so much in a mere facial expression, or a gesture, or a shift in vocal tone, is impressive. Yando’s Scrooge is lovable even at his worst, which I suppose is how it should be. He’s campy and playful, and we are all very pleased to learn that he is human, too. Perhaps that is why Dickens’ story endures, beyond the message of redemption and hope; Scrooge’s transformation reminds us all that we, too, might change, that change is possible, that to be human is to evolve. We have to give others the chance to change, too, remembering that the strategies we use to keep others away, to protect ourselves, cause us more pain. Break free of your chains, Marley warns Scrooge. Tear down that wall. No more teargas, and no more cages. Yes, there are prisons, but there is also, always, hope. We can change, all of us, so god bless us, and save us, everyone.

[thejeepgirls]

A Review of Goodman Theatre's A Christmas Carol

A Review of Goodman Theatre’s A Christmas Carol

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A Christmas Carol by Charles Dickens, adapted by Tom Creamer and directed by Artistic Associate Henry Wishcamper makes its 41st annual production in the Albert, November 17th-December 30th.

The classic Dicken’s tale is that of a greedy Scrooge, a wealthy businessman who hates the holidays. On Christmas Eve, four ghosts, who remind him value love and friendship, visit…

[theatredirectors]

Jo Cattell

Hometown?

Canterbury, which is in the South East of England.

Where are you now?

Chicago, IL.

What's your current project?

I'm about to start working with Isaac Gomez on his play, The Displaced for Stage Left's LeapFest. I'm also working with Henry Wishcamper and Gabe Ruiz on an Epic Tale of Scale for Chicago Children's Theatre, which will open in February/March 2018. And with Dandypunk and Darin Basile on Heartcorps: Riders of the Storyboard, which recently featured as part of 2017 Sundance Film Festival (although it is a theatrical piece).

Why and how did you get into theatre?

My parents took me to a panto when I was 6 years old and I remember telling my mother that I was "going to do this, I was going to be onstage." Then a combination of things happened - an older friend at school created a play and performed it at assembly, which made me question why I wasn't do this. And also, I was getting into a lot of fights during breaks. And so i decided to approach the head master of my school and strike a deal (I was 7 at this point). I told him that I would create a new play and perform it every Friday assembly, and that he needed to give me a space to rehearse in during break times. The Head Master was a great guy and so he actually listened to the pretentious little brat and gave me a space to rehearse, which got me away from the fighting and into my own first creative space. I would come up with stories as I walked to school in the morning, then I would cast the play once I got to school and tell the people in the cast to come and rehearse during break times. The plays were a combination of improv and me telling the kids what to say and do. I'm sure the plays were all terrible, but the school was exceptionally encouraging and I became hooked.

What is your directing dream project?

I don't really have one project that is a dream project. I get excited about many different things that I am working on or want to work on. There is so much possibility. And usually, the projects that excite me most are the ones that also scare me most.  

What kind of theatre excites you?

Really good theatre where the story, performance and design all work together. I am also currently interested in technology and how that can change the way we tell stories in the theatre.

What do you want to change about theatre today?

The things that I am working towards changing are the ideas of where a performance needs to take place and how theatre needs to be structured in order to reach an audience.  

What is your opinion on getting a directing MFA?

In the US, it seems to be a big thing. I dunno. I have very mixed feelings about the entire education system in this country (and the UK seems to be following suit now). I know of some MFA directors who are exceptional and some who are really not. I believe that as a director, you need to have vision and no MFA is really going to teach you how to have vision. You have it or you don't. So I believe that exceptional directors are probably exceptional, with or without an MFA. But MFA directors could probably talk to how the MFA helped them with their craft. MFAs definitely open up different doors to directors and that is something that any potential candidate should take seriously. When I graduated in the UK, getting an MFA was not a big thing and you were expected to learn the craft in the room. I was lucky enough to be in the room with directors such as Vicky Featherstone, Adrian Noble, Trevor Nunn, Michael Attenborough and Matthew Warchus, and to observe how they work.

Who are your theatrical heroes?

Emma Rice and Vicky Featherstone.  

Any advice for directors just starting out?

It's hard and there is no single path, so stick with the work that speaks to you.

Plugs!

Check out my website for updates and information!

[shortiesreview]

The Night Alive at Steppenwolf

When you are Irish and poor and nice, the lights are out a lot. 

[showbizchicago]

STEPPENWOLF THEATRE ANNOUNCES CASTING FOR THE NIGHT ALIVE BY CONOR McPHERSON HENRY WISHCAMPER DIRECTS THE CHICAGO PREMIERE FEATURING ENSEMBLE MEMBERS FRANCIS GUINAN AND TIM HOPPER IN THE DOWNSTAIRS THEATRE SEPTEMBER 18 – NOVEMBER 16, 2014

STEPPENWOLF THEATRE ANNOUNCES CASTING FOR THE NIGHT ALIVE BY CONOR McPHERSON HENRY WISHCAMPER DIRECTS THE CHICAGO PREMIERE FEATURING ENSEMBLE MEMBERS FRANCIS GUINAN AND TIM HOPPER IN THE DOWNSTAIRS THEATRE SEPTEMBER 18 – NOVEMBER 16, 2014

Casting is complete for Steppenwolf Theatre Company’s Chicago-premiere production of The Night Alive by Conor McPherson. Henry Wishcamper directs a cast featuring ensemble members Francis Guinan and Tim Hopper with Helen Sadler, Dan Waller and M. Emmet Walsh. (more…)