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germanreich · 1 year ago

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Title: Humiliation and Determination

Disclaimer: This is a fan-made translation from Chinese translations! Please go easy and enlighten us on any mistakes or deviations from the original light novel. All credit goes to the original author and illustrators. - Hyaka and Kuro Shion

Warning: This chapter contains some potentially distressful scenes. Also, please prepare some tissue packs beside just in case.—————————————————————————————

2 October.

Guren Ichinose was being brought to the penitentiary.

The same one his father was being held in. Seeing his son enter the prison, father seemed rather lethargic.

“…..Why are you, coming here?”

Guren looked at his father– Sakae Ichinose’s face.

He did not resemble his father that much.

Gentle eyes, milky skin. A stoic personality.

Father had always been gentle with Guren as he showered him with praises.

He said Guren was like his late mother; very strong-willed.

Therefore, you will definitely become a better Head of the Ichinose House compared to me.

He longed for the father who wasn’t competitive and was carefree and calm no matter what happened.

However, the present father was sapped of energy. His hair was dishevelled and he looked unsightly. His white hair was also very obvious. Dark circles adorned his eyes making him look quite a bit older than usual.

Even though Guren could not remember his father’s exact age at this point in time, he was sure that father was not this old when they last met at Nagoya.

Guren asked.

“…..You were interrogated?”

Father gave a gentle smile.

“No, I lack sleep. That’s all.”

“….” “Rather than this, Guren, the things about you. Why are you here?”

“……”

“Is it because of me? Because I dragged you down.”

“This is not father’s mistake.”

“But Guren.”

“It’s alright. I was not interrogated. Still alright.”

“Really?” “Really.”

“Then, why are you here?” Hearing this, he frowned.

Why come here?

He was here to look at father.

He was here to meet father.

Kureto allowed.

“…..”

Before the execution, they could meet once. Hiragi-sama graciously granted that.

To have a chance to come here and meet father was hard to come by.

His hands were shaking. It seemed as if he was even a little careless, he might be swallowed by flames of fury. Because the Oni in his body was already prepared to exploit this. Therefore, he tried hard not to let his emotions swell. However, depiste this,

“…….Father, I’m sorry.”

His voice was shaking despite all.

Father replied him calmly, as usual.

“What.” “I could not…..save father.”

“Then I’ll be executed?”

“Yeah.” “So it’s like this.” “This is all my fault.” But father smiled.

“This is not your fault.” “But.” Father interrupted his words and placed his hand on Guren’s head. Just like when he was a child, caressing his head. As he was already taller than father, he did not look up like he used to when he was a child.

He lowered his head.

“I’m sorry, father.”

He said. Father smiled again.

“Don’t cry, idiot.”

“But.” “You have done well. I’m lucky to have a son like you, I feel happy.” [note: OMG IM CRYING]

“…….” Tears streamed down incessantly; they could not be stopped no matter what. He fell silent as he thought about his shameful weakness.

Father said.

“Well then, if I died, will the other subordinates will be rescued?” Guren nodded.

“Yeah. I negotiated.”

To top it off, Mahiru gave him an unknown <Kiju> with Asuramaru residing in it. This should be a major reaping from the war. Asuramaru had this possibility of being able to substantially increase the natural capacity of <Kiju> weapons with a slight bit of investigation.

Kureto rewarded him for this. Initially it was for the execution date of his father and subordinates to be adjourned.

However, it was overturned.

During the meeting of the higher-ups of <Mikado no Oni>, the execution of Sakae Ichinose was decided.

The members of the meeting of the higher-ups included the Head of the Hiragi House, Tenri Hiragi and his nine cadres.

These nine cadres consisted the remaining nine Heads excluding the Ichinose House.

Nii House, Sangu House, Shijin House,

Goshi House, Rikudo House, Shichikai House,

Hakke House, Kuki House, Jujo House.

[note: I cannot be sure if this is the right translation for the various houses.]

Mito’s father and Goshi’s father should be among them.

The decision to execute Sakae Ichinose was unanimous.

The reason was heinous.

They all agreed that by bringing back the vampire and Asuramaru, this reaping by Guren Ichinose, who swore his loyalty to Kureto Hiragi, might increase the number of followers of <Mikado no Tsuki>.

Therefore, for balance, the execution of the Head of the Ichinose House, Sakae Ichinose was decided to reinforce their position. They arrived at this conclusion.

The minutes of this meeting was heard from Goshi and Mito, so it probably was pretty accurate.

In other words, killing Sakae was an act to guard against Guren who flaunted his skills so arrogantly.

As such, Guren Ichinose, who could not even prevent the death of his father, would live up to his reputation as a loyal slave to the Hiragi House.

“Hey, father.”

Guren asked.

Father answered as he caressed his head.

“Why?” “We, what are we living for?”

“…..”

“If this continues, we’ll remain slaves. No matter how hard we try, things will never move the way we want to them to.”

Father replied.

“Everyone wants to overturn their current situation. But it is due to the difference in skill level, things ended up this way.”

“But, thanks to the selfishness of those bastards, father is going to be killed.”

“Yeah, that’s right. If I am unhappy because of that, then, perhaps, there will be no point in living. However, do I look like I am unhappy?” Guren looked up. Father was smiling calmly. As usual.

Looking at such a father, he frowned and said.

“Father is always smiling. I don’t understand.”

“Because I am happy. I have always felt happiness.” “Liar.”

“Really.”

“Where’s the happiness? To have all these rotten things being thrown at us, only to be killed alas.”

Despite so, father smiled gently and patted his head.

“But you can live on. After my death, you will be the Head of the Ichinose House. If it is you, no one will protest. I feel satisfied as this.”

Father seemed to be really happy at this as he looked at Guren with no hesitation present in his eyes.

Hearing that.

“…..”

Guren felt bitter pain well up in his heart. His tears were threatening to spill over again,

“…..I, was unable to be like father.”

“You can do it.”

“But I”

Father interrupted.

“If it is you, then anything can be achieved. Therefore, continue doing what you feel is right.”

Just then, a voice rang out from the outside.

“Oi, you guys, get out. It is time to execute Sakae Ichinose.”

This sentence did not even sound like it was the reality. However, these words would morph into reality instantly. Father was going to be executed.

The prison doors were opened. A few unknown men rushed in.

Father couldn’t care less about these men as he gave Guren a tight hug.

“It’s time to say our goodbyes, Guren.”

Guren replied with a soft, shaking voice.

“No.”

“This is the end. Let us smile as we part.”

“I don’t want.”

“Thank you Guren. For being my son after coming into this world.”

“I don’t want, this.”

However, father was being grabbed by the men and was shackled.

He could not stop all these from happening. If he tried to intervene, the execution of hundreds of his subordinates would follow next. Therefore, he had no power to stop this.

This was, farewell. They would not be able to see each other again.

“Damn, why, what exactly, should I do….”

Guren muttered as his father spoke.

“Smile, Guren. From today onwards, you will be leading <Mikado no Tsuki>!”

Father shouted.

Guren looked up.

Father was going to be taken out of the prison.

Looking at father who was being taken away, he let out something which he had never said before. Something which he should have said countless times, countless time before–

“FATHER!” “…….” “I, I also feel proud entering this world as father’s child!!”

Hearing this, father smiled from the bottom of his heart.

Then, he was being led out of the prison. The execution ground was outside. Father would be killed there.

Guren could not watch his father’s execution. His body was devoid of energy; he was temporarily unable to move.

He sat on the prison bed his father used to lie on, unmovingly tolerating the flow of time.

Tolerating his father’s execution.

Tolerating the various hurdles life tossed at him.

Just then, not knowing how much time had passed, someone called out to him again.

“Oi Guren.” Looking up, Kureto Hiragi was standing outside of the prison.

Kureto looked at him and said.

“It’s already, over.”

He meant that father had already been executed. This bastard delivered this message emotionlessly.

Guren gave a thin smile and replied.

“Are you satisfied now?” “Yeah, satisfied.”

“Then go away.”

“Yeah.”

Kureto nodded and prepared to leave. But he stopped midway and said.

“One last thing, I was pleased with what you brought back. Therefore, I opposed the execution. My father was the one who made the final decision.”

Guren looked at Kureto and said.

“Eh, so it’s like this.”

“I repaid what you brought back.” “So you want me to thank you?” “Yeah, that’s right.” “…..What are you joking about?” Hearing Guren softly complaining, Kureto looked at him with a little bit of pity.

“Well, I understand your feelings.”

He no longer wanted to reply. This bastard– being born to the Hiragi House, couldn’t possibly understand any of this.

However, Kureto continued.

“Your friends are gathering here. I’ll let them console you.”

“Ha? What was that. Are you being gentle with me? What kind of wind is blowing today?” Kureto replied.

“From today onwards, you will be the Head of the Ichinose House. You will be called by my father. I want you to understand your position before that happens.”

“The slave of the Hiragi House?” However, Kureto shook his head.

“No. You are my subordinate.” Hearing that, Guren looked at Kureto.

Kureto said something about understanding his position before meeting the Head of the Hiragi House, Tenri Hiragi.

It sounded like he must prioritize Kureto’s commands first before that of Tenri Hiragi’s.

Guren continued to look at Kureto and said.

“What is this about?” “It is what it sounds like literally.”

“You might be suspected of rebellion.”

“No. Or is it that you will discuss this in detail with someone?” “So what if I did?” “You will be executed too.”

Kureto said.

But this was a leak of his own weakness. His objectives were unclear. This could be a trap too.

A trap to determine if Guren, who would become the Head of the Ichinose House, had any intention of rebelling.

Therefore, Guren stared at Kureto and said.

“Kureto.”

“Hmm?” “Just now, you said you opposed father’s execution.” “Yeah.”

“I will thank you for this only.”

Guren said.

“Your gratitude is only natural.”

Kureto nodded and left.

Guren sat in the prison for sometime. Walking out from this prison meant facing a different world.

He would be leading <Mikado no Tsuki> and all the followers, becoming the Head of the Ichinose House.

The stress was abnormally oppressive. He could not believe that he would be able to immediately emulate his father.

Yet,

“No choice but to do it….”

As he said this, he stood up.

Because his father placed his hope on him. Because he still wanted to be praised by father. Because he wanted father to feel proud the next time they meet again. [note: OH MY TEARSS T___T]

He stood up, walked out of the prison. After that, he looked buildings and took a step forward.

It had became somewhat of a congregation point outside. As if intending to surround something, people of <Mikado no Oni> were looking at the centre of the open space.

The cameras around were placed strategically, as if transmitting the whole scene to those outside.

A body laid in the centre of the open space.

Father’s– Sakae Ichinose’s body.

His severed head laid on the ground beside.

It looked like no one bothered to clean the corpse up. Perhaps, this was Guren’s business. This would be filmed by the cameras too- the absolute power of the Hiragi House and the weakness and servility of the Ichinose House. It would be delivered to the followers.

“…..”

Suddenly, a voice rang out beside his ear.

No, perhaps it was a voice from his heart.

The Oni’s voice.

The Oni in Guren’s demonic weapon, <Noya>.

“….”

Guren did not respond. However, it seemed like Noya was very noisy.

Noya said as he gave Guren power.

Enormous power.

Enough power to allow his fury to diffuse immediately.

If this power went berserk, he could at least kill those bastards who came to watch this cruel joke unfold.

If massacre could relieve this anger, handing his body over to wrath seemed like a rather good choice.

“…..”

But Guren did not move. Not listening to Noya’s bait.

Just then, the phone in his pocket started to vibrate. Fishing out his phone, an unknown number was shown on the screen.

He answered the call.

His friends’ voices rang out from the other end.

It was Shinya Hiragi’s voice.

[GUREN! You don’t have to do such a thing. We’ll clean it up. You don’t move.]

Mito’s voice could be heard a little further back. She sounded like she was on the verge of tears.

[Guren, are you alright?!]

Goshi’s voice was present too.

[We’ll get there as soon as possible. You wait for a while!]

From the camera, those guys were watching too.

That meant that Shigure and Sayuri were watching as well.

The followers of <Mikado no Tsuki> watched the whole scene unfold.

In front of them, he could not do something unbecoming.

Therefore, Guren said.

“Shinya.”

[Just five minutes. We’ll get there immediately.]

“I’m alright. There’s no need to come.”

[Impossible. Guren, we are now….]

But Guren interrupted and said.

“You guys can give me a proper consolation later. Let’s have a game.”

[OII!]

Guren ended the call.

And switched his phone off.

After that, he stood ramrod straight.

And looked at the centre of the open space.

Subsequently, he walked forward with mettle showing that he, from that day onwards, would be the one shouldering the Ichinose House.

His expression did not distort.

He hid his weakness.

No matter what kind of situation he had been put in, he swore to respond with calmness and stoicism just like father.

Guren approached his father’s body.

Once he approached, hatred, once again, surfaced from despair, fear and melancholy. The flames of indignation reignited. The weakness and intention to run away welled up.

Despite all, he suppressed everything.

“…..It’s alright, father.”

He said.

“It’s alright. I’ll do it. I’ll become the good boy father had expected me to. Therefore, please look on.”

He muttered as he picked up father’s severed head and cradled it near his chest. [note: OH MY TEARSS AGAINNN]

After that, he carried the headless body.

At that moment, he lent a bit of the Oni’s power.

Noya enhanced his body’s abilities.

If not for Noya, he would probably be discouraged and would not be able to move father’s body.

The onlookers who were looking at Guren were totally silent. They only swallowed at the sight. They quietly watched the Ichinose dreg who was moving his father’s body.

After this, there were some things to be done right? He had no choice but to live a structured life right? Guren always felt that he saw the answer that day.

The position he was standing at and what he must protect.

And on that day, amidst this humiliation,

Guren Ichinose became the Head of the Ichinose House.

Translator’s Comments:

K.Shion: As I typed, the words started to become blurred. Thank god I have a keyboard cover or the my tears’ gonna seep into the keyboards. The amount of tears is no joke. WTF they killed Sakae out of jealousy D:< Kureto being able to understand someone’s feelings is like the Joke of the Year 2016.

On a side note: Listening to Akiko Shikata while translating this made this 10X sadder than it already is. T____T

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showbizchicago · 5 years ago

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Griffin Helmed INTO THE WOODS Extends Run At Writers Theatre

Writers Theatre, under the leadership of Artistic Director Michael Halberstam and Executive Director Kathryn M. Lipuma, adds five performances to the run of Stephen Sondheim and James Lapine’s musical masterpiece Into the Woods, directed by Gary Griffin. Into the Woods now runs through September 29, 2019 in the Alexandra C. and John D. Nichols Theatre at 325 Tudor Court, Glencoe. Newly added performances for Into the Woods are Thursday, September 26 at 7:30pm; Friday, September 27 at 7:30pm; Saturday, September 28 at 3pm and 7:30pm; and Sunday, September 29 at 2pm. When a childless baker and his wife set out to lift their family curse by journeying into the woods, they encounter Jack (with his beanstalk), Cinderella (and her prince) and Little Red Riding Hood (and her wolf)! These familiar characters find themselves in decidedly unfamiliar circumstances and must brave the darkness of the woods in an effort to break the curse, conquer their fears and find out if what they’ve always wished for is what they truly want. This epic fairy tale adventure is reimagined in a newly-configured Nichols Theatre staged “in the round,” drawing audiences into a theatrical experience unlike anything previously seen at WT! With its celebrated score, stirring script and an extraordinary team of artists bringing it all to life, Into the Woods launched WT's 2019/20 Season as the musical theatre event of the season. Chicago and Broadway Director Gary Griffin (Parade) returned to stage this Tony Award-winning musical about fairy tales, family and what happens after “happily ever after.” The cast of Into the Woods includes: Nicole Armold (Lucinda), Ben Barker (Jack), Alex Benoit (Rapunzel’s Prince), Brianna Borger (Baker’s Wife), William Brown (Mysterious Man/Cinderella’s Father), McKinley Carter (Jack’s Mother), Matt Edmonds (Steward/Wolf), Lucy Godínez (Little Red Riding Hood), Michael Halberstam (Narrator), Kelli Harrington (Cinderella’s Stepmother), Molly Hernández (Florinda), Cecilia Iole (Rapunzel), Michael Mahler (The Baker), Ryan McBride (Cinderella’s Prince), Harriet Nzinga Plumpp (Cinderella’s Mother/Granny), Mary Poole (Milky White), Ximone Rose (Cinderella), Bethany Thomas (Witch) and Jonathan Weir (Mysterious Man/Cinderella’s Father beginning 9/17). The band consists of Charlotte Rivard-Hoster (Piano-Conductor), Jeff Handley and Brandon Podjasek (Percussion) and Mike Matlock (Woodwinds.) The creative team for Into the Woods includes: Scott Davis (Scenic Designer), Mara Blumenfeld (Costume Designer), Lee Fiskness (Lighting Designer), Christopher M. LaPorte (Sound Designer), Seph Mozes (Dramaturg), Nick Moran (CFM Contractor), Sophiyaa Nayaar (Assistant Director), Sasha Smith (Intimacy & Fight Director), Geoff Button (Casting Director), Binder Casting (Casting Consultant), and Katie Klemme (Production Stage Manager). Single tickets for Into the Woods are priced $50 - $80 and are available at www.writerstheatre.org, by phone at 847-242-6000, or in person at the box office at 325 Tudor Court in Glencoe. ABOUT THE ARTISTS Gary Griffin (Director) previously directed Parade, The Detective’s Wife and Loot at Writers Theatre. Victory Gardens Theater: Fun Home, Hand to God, Never the Sinner, Appropriate. London: Pacific Overtures (Donmar Warehouse, Olivier Award, Best Musical Production and Olivier Nominee, Best Director). Broadway: Honeymoon in Vegas, The Color Purple. Off-Broadway: Saved (Playwrights Horizons); The Apple Tree, A Tree Grows in Brooklyn, Pardon My English, The New Moon (Encores). Regional: Antony and Cleopatra, Camelot, West Side Story (Stratford Festival); work at McCarter, Alliance, Hartford Stage, Signature, Kansas City Rep., The Muny. Chicago: Road Show, Gypsy, Sunday in the Park With George, Follies, Amadeus, A Little Night Music, Pacific Overtures (Chicago Shakespeare Theatre); The Merry Widow, The Mikado, Oklahoma (Lyric Opera of Chicago); 10 Joseph Jefferson Awards for Directing. Matt Deitchman (Music Director & Orchestrations) returns to Writers Theatre where he previously music directed TREVOR the musical. He previously understudied The Hunter and the Bear. Matt Deitchman is a New York based music director, orchestrator, actor, composer and multi-instrumentalist. Most recently in Chicagoland he was seen on stage at the Paramount Theatre in the world premiere of August Rush, directed by John Doyle. Other Chicago music credits include: She Loves Me, Shrek, Spring Awakening, October Sky, The King And I, HERO (Marriott Theatre), Tug of War, Road Show, Peter Pan, Madagascar, Seussical, Shrek (Chicago Shakespeare Theater), Indecent (Victory Gardens Theatre), The Wizard Of Oz (Paramount Theatre), The Man Who Murdered Sherlock Holmes (Mercury Theater Chicago), Adding Machine, Into The Woods (The Hypocrites), Wonderland…Alice’s Rock ‘n Roll Adventure (Chicago Children’s Theater), La Révolution Française (FWD Theater Project), Ragtime, 25th Annual…Spelling Bee (Griffin Theatre), Ghost Bike, She Kills Monsters (Buzz22 Chicago), The Pajama Game, Do I Hear A Waltz? (Music Theatre Company). Regional credits include: Shakespeare Theatre Co., Adirondack Theatre Festival, Asolo Repertory Theatre, Door Shakespeare. He served as a contributing orchestrator to the LETTERS TO THE PRESIDENT concert at Cooper Union in NYC. Deitchman has previously worked as a vocal coach for the Northwestern University Musical Theater department, where he received his degree in Theatre and Musical Theatre and studied acting under Mary Poole. He is a proud member of the American Federation of Musicians, American Guild of Musical Artists, and Actors’ Equity Association and is represented by Stewart Talent. Aubrey Adams (Choreographer) returns to Writers Theatre where she previously choreographed TREVOR the musical. She is a Chicago performer as well as a Jeff Award winning choreographer. Choreography credits include: Company (Mercury Theatre), Bonnie & Clyde (Kokandy Theatre Company), Guys and Dolls (Northwestern University), 110 in the Shade, Urinetown (BoHo Theatre, Jeff Award 2017), Associate Choreographer: Gentleman’s Guide to Love and Murder (Porchlight Music Theatre). Assistant Choreographer: Music Man (Goodman Theatre), Shrek (Marriott Theatre), Mamma Mia and A Christmas Story (Paramount Theatre). Nicole Armold (Lucinda) Some recent Chicago credits include: Mary Poppins, Pippin, Company, Christmas Schooner (Mercury Theater), Ride the Cyclone, Sense and Sensibility (Chicago Shakespeare Theater), How to Succeed..., The Merry Widow (Music Theater Works) and Into the Woods (Metropolis). She received her BFA in Musical Theatre from the Chicago College of Performing Arts. Ben Barker (Jack) Chicago credits include Willard in Footloose, Moritz in Spring Awakening, O’Dell in October Sky (Marriott Lincolnshire Theatre), Frederic in The Pirates of Penzance, the title role in Candide (Music Theater Works), Les Misérables (Paramount Theatre) and Sweeney Todd (Porchlight Music Theatre). Regional credits include Montana Shakespeare in the Parks’ A Little Night Music, Twelfth Night, The Comedy of Errors and Richard IIIand the Palace Theater in the Dells’ A Christmas Carol. Northwestern alum. Alex Benoit (Rapunzel’s Prince) Alex spent the last four years competing overseas for Team USA as a National and World Ranked Ice Dancer. Upon retiring from Ice Dance, Alex transitioned into the world of professional acting, in the Michigan premier of Daddy Long Legs (Dio Theatre) before returning home to Chicago. Chicago Regional Credits include: Rudolpho in Matilda, Mamma Mia! (Drury Lane) and Something in the Game (American Music Theatre Project). Brianna Borger (Baker’s Wife) Chicago: Southern Gothic (World Premiere, Windy City Playhouse), The King & I (Joseph Jefferson Award Nomination - Best Actress), Into the Woods (Porchlight Music Theatre), The Christmas Schooner, The Bardy Bunch (Mercury Theatre), Billy Elliot, Bye Bye Birdie (Drury Lane) and The Three Musketeers (World Premiere, Chicago Shakespeare Theater). Regional: The Full Monty (Peninsula Players), Always... Patsy Cline, Nunsense (The Armory), Beauty & the Beast (Northern Stage), Assassins and Love's Labours Lost (Alaska Shakespeare Festival). Touring: The King & I (Broadway Asia). So very proud to be part of the Chicago theatre community, and always honored to come home to Writers Theatre. Brianna also teaches musical theatre voice and audition technique for students and professionals. William Brown (Mysterious Man/Cinderella’s Father) Bill has directed 20 productions at American Players Theatre in Spring Green, Wisconsin, including The Recruiting Officer, Three Sisters, King Lear, Travesties, The Importance of Being Earnest, All My Sons, Troilus and Cressida, The Critic, Hay Fever, The Comedy of Errors, Night of the Iguana, Antony and Cleopatra, All’s Well That Ends Well, You Never Can Tell and The Matchmaker. He directed and wrote (with Doug Frew) To Master the Art for TimeLine Theatre Company where he is an Associate Artist and most recently directed the world premiere of Susan Felder’s Wasteland. He has directed four plays at Northlight, including his own adaptation with music of She Stoops to Conquers. He directed Skylight at Court Theatre and at Indiana Rep, Around the World in Eighty Days and Fallen Angels. He is the Associate Artistic Director of Montana Shakespeare in the Parks, where he has directed and acted since 1980. He regularly teaches and directs at universities across the country, most recently Loyola University Chicago, University of Houston, University of Illinois Urbana-Champaign and Northwestern. As an actor Brown has appeared in over a hundred productions. He appeared as Ebenezer Scrooge in A Christmas Carol at Goodman Theatre where he also appeared in Light up the Sky, Sunday in the Park with George, The Misanthrope and Wings. At Court Theatre, he appeared as Falstaff in Henry IV, Jack in The Importance of Being Earnest and Almady in The Play's The Thing. He created the role of Jody in Steven Dietz’s Lonely Planet (Northlight Theatre). Brown received a Joseph Jefferson Award for Best Director for The Liar (Writers Theatre) and a Best Actor award for his portrayal of Henry Kissinger in Nixon’s Nixon (Writers Theatre). He received a 2010 Spirit of Diversity Award from Actors’ Equity Association and was named Chicagoan of the Year for Theatre by the Chicago Tribune in 2003. McKinley Carter (Jack’s Mother) Chicago credits include Mamma Mia, Ragtime (Drury Lane Oakbrook), Macbeth (Chicago Shakespeare Theater), Blind Date, Turn of the Century, The Visit, Floyd Collins (Goodman Theatre) The Book of Will(Northlight Theatre), Fun Home (Victory Gardens Theater) The Man Who Murdered Sherlock Holmes (Mercury Theater Chicago), The Merry Widow, Carousel (Lyric Opera of Chicago), Road Show, Julius Caesar, Sunday in the Park with George (Chicago Shakespeare Theater), My Way (Theatre At the Center), Putting It Together (Porchlight Music Theatre), The Sound of Music, John and Jen (Apple Tree Theatre), James Joyce’s The Dead, Cymbeline and Pericles (Court Theatre). Matt Edmonds (Steward/Wolf) A Chicago native, Matt Edmonds has been performing in the area for about ten years. Recent work includes: Murder For Two (Marriott Lincolnshire, Milwaukee Repertory Theatre), Forever Plaid, Pump Boys & Dinettes, Big River (Theatre at the Center), Ragtime (Griffin Theatre, Jeff Award for Best Musical), Death of a Salesman, All-American (Redtwist Theatre, Jeff Nominations for Best Supporting - Play), Rent (Theo Ubique, Jeff Award for Best Musical), James and the Giant Peach (Drury Lane Oakbrook) and The Last Five Years(Metropolis Performing Arts Center). Regionally, Matt’s performed in Next to Normal (TheatreSquared) and Twelfth Night (Notre Dame Shakespeare Festival). Lucy Godínez (Little Red Riding Hood) Regional Chicago credits include Footloose (Ariel, Marriott Theater), In The Heights (Nina, Porchlight Music Theater), Legally Blonde (Serena, Paramount Theater), Hair (Jeannie, Mercury Theater Chicago), as well as the upcoming Oliver! (Nancy, Marriott Theater) this Fall. She is recent graduate of Northwestern University. Michael Halberstam (Narrator) has appeared in numerous Writers Theatre productions, including Two By Shaw, Oscar Remembered, Richard II (title role), Loot, Misalliance and for a number of years his annual one man performance of A Christmas Carol. Michael is also the Artistic Director of Writers Theatre and returns to the stage for the first time in 17 years. Previously, he spent two years at The Stratford Festival in Ontario where he performed in Timon of Athens, The Knight of the Burning Pestle (title role), Much Ado About Nothing and As You Like It. Halberstam’s other Chicago acting credentials include productions with The Bailiwick, Lifeline, Oak Park Shakespeare, Live Bait, Wisdom Bridge, Court and Chicago Shakespeare Theater. Kelli Harrington (Cinderella’s Stepmother) Kelli Harrington's Chicago credits include Jeff Award-winning performances of The Light in the Piazza and Aspects of Love (Best Actress in a Musical) and Jeff nominations for The Bridges of Madison County, A Little Night Music (Best Lead Performance in a Musical), Masterclass (Best Actress in a Play) and Perfect Arrangement (Best Supporting Performance in a Play). She has performed locally with Theo Ubique Cabaret Theatre, Chicago Shakespeare Theater, Marriott Lincolnshire, The Hypocrites, Porchlight Music Theatre, TimeLine, BoHo Theatre Company and Pride Films and Plays. She holds a Bachelor’s and Master’s degree in voice from Northwestern University and has taught voice in the Musical Theatre department at the Chicago Academy for the Arts since 2000. Molly Hernández (Florinda) Favorite credits: María Elena in The Buddy Holly Story (American Blues Theater, Jeff Award), June Bennett in Into the Breeches (Northlight Theatre), Sophie DePalma in Masterclass (TimeLine Theatre), Rosabella in The Most Happy Fella (Theo Ubique, Jeff Nomination) and Julie Jordan in Carousel (Timber Lake Playhouse). In 2017 she received the Award of Excellence in Professional Theatre from the Illinois Theatre Association. Molly can be seen on Chicago P.D.(NBC) ep. 512 and APB (Fox) ep. 105. Molly is currently represented by Gray Talent Group and is a recent graduate of the Actors Gymnasium Circus School Professional Training Program. Cecilia Iole (Rapunzel) Chicago credits include Johanna in Sweeney Todd (Paramount Theatre, Theo Ubique), Master Class (TimeLine Theatre), Pirates of Penzance, Candide (Music Theatre Works) and Porchlight’s New Faces Sing Broadway Now. She has worked regionally at Clarence Brown Theatre and Rocky Mountain Repertory Theatre. She holds a BFA in Musical Theatre from the University of Arizona. Michael Mahler (The Baker) Recent credits include: Holiday Inn, Honeymoon in Vegas, City of Angels (Marriott Theatre), Buddy: The Buddy Holly Story, Little Shop of Horrors, Side Man, Hank Williams: Lost Highway, It’s a Wonderful Life: Live in Chicago (American Blues), The March (Steppenwolf Theatre), Working (Broadway in Chicago), The Fox on the Fairway, Dirty Rotten Scoundrels, The Producers (Theatre at the Center) and The Illusion (Court). Michael is the Jeff award-winning composer/lyricist of Miracle the Musical, Diary of a Wimpy Kid, The Man Who Murdered Sherlock Holmes, October Sky, Hero, the upcoming Secret of My Success and others. He also contributed additional lyrics to Cameron Mackintosh’s most recent Broadway revival of Miss Saigon. Michael is currently collaborating with playwright Randall Colburn on an original musical for Writers Theatre about Jim Jones. He also served as music director of Gary Griffin’s production of Road Show at Chicago Shakespeare Theater. Michael is a proud ensemble member of American Blues Theater and Actors Equity. Ryan McBride (Cinderella’s Prince) Credits include: Noises Off (Windy City Playhouse), Continuity (Goodman Theatre), Shakespeare in Love, Julius Caesar (Chicago Shakespeare Theater), West Side Story, Mamma Mia! (Paramount Theatre), Footloose (Marriott Theatre), Romeo and Juliet, A Midsummer Night’s Dream (Chicago Symphony Orchestra with CST), Linda, Brilliant Adventures, Fallow (Steep Theatre), Sita Ram (Lookingglass Theatre Company and Chicago Children’s Choir), Letter’s Home and Ghosts of War (Griffin Theatre Company). National Tour: Evil Dead The Musical! Regional: Hand to God (Studio Theatre, Helen Hayes Nominee). TV: Empire, Proven Innocent (FOX), Chicago Med, Chicago Justice (NBC) and The CHI (Showtime). Mary Poole (Milky White) is a Chicago teacher who acts, past performances include London Wall, Flare Path, Stage Door (Griffin Theatre), Three Sisters (Hypocrites), The Size of the World (Red Twist), Love and Information (Remy Bumppo) and multiple old ladies at Victory Gardens, Apple Tree, Wagon Wheel, and Northwestern University, where she serves as Head of Acting and Associate Chair. Harriet Nzinga Plumpp (Cinderella’s Mother/Granny) makes her Writers Theatre debut. Harriet Nzinga Plumpp has been performing on stages professionally since she was 7 1/2 years old, starting with singing in the Chicago Children's Choir. Harriet has collaborated with Harold Prince, Frank Galati, Gary Griffin, Stephen Sondheim, Stephen Flaherty, Barbara Gaines, Tom Murray, Charles Newell, George Hern, Bob Mason, Roberta Duchak, Doug Peck, Diana Basmajian and Amber Mak at The Goodman Theater, Chicago Shakespeare Theater, Court Theater, The Lyric Opera, Ravinia Festival and Paramount Theatre. You might have seen her recently soaring in the air as Glinda in Paramount Theatre's Wizard of Oz and listening intently to Matilda as Mrs. Phelps at Drury Lane Oakbrook Theater in Matilda the Musical. Ximone Rose (Cinderella), Performer & singer-songwriter. New Orleans native. University of Michigan Musical Theatre Program. Broadway: Once On This Island (Storyteller). 1st National: Beautiful (Lucille). Regional: MTW, Fulton Theatre, Old Globe. CGF Talent. Bethany Thomas (Witch) Bethany is a Chicago-based actor and singer, most recently in the US Premiere of the one woman show Songs For Nobodies at Milwaukee Rep. Chicago credits include The Tempest (Chicago Shakespeare Theater), Porgy and Bess (Serena) at Court Theatre, Marry Me A Little, Into The Woods, Nine, In Trousers (Porchlight Music Theater) Hair (Paramount Theatre), Fiorello! (TimeLine Theatre) also work with Second City, AboutFace Theatre, The Inconvenience, Theo Ubique, Congo Square, Drury Lane Oakbrook, Theatre at the Center, Marriott Lincolnshire, Hell In A Handbag and American Theater Company. Regional credits include Iphigenia In Aulis (Getty Villa), The Color Purple (Sofia), Ain’t Misbehavin’ (Armelia), Ragtime, Man Of La Mancha, A Christmas Carol at Milwaukee Repertory Theater, Hairspray (Motormouth Maybelle) at Skylight Music Theater and Little Shop of Horrors (Audrey II) at Geva Theatre. Bethany appeared in the second seasons of Empire (FOX) and You're So Talented (OpenTV) and is a proud recipient of a Joseph Jefferson Award, an After Dark Award and a Black Theatre Alliance Award. As a singer/songwriter, Bethany is a regular performer at The Paper Machete, The Hideout and in Steppenwolf's LookOut series. She's done concerts for WBEZ, WFMT, WTTW and the Chicago Humanities Festival, and was a featured local artist in Renee Fleming’s Chicago Voices Project at the Lyric Opera. She is one quarter of the alt-country project Jon Langford's Four Lost Souls, (self-titled album out on Bloodshot Records) and released an EP of her own music called First. Look out next year for her debut album. Jonathan Weir (Mysterious Man/Cinderella’s Father, beginning 9/17) Chicago: King Charles, Twelfth Night, The Emperors New Clothes (Chicago Shakespeare Theater), 2666, Candide, A Christmas Carol, The Visit (Goodman Theatre), Stepping Out (Steppenwolf Theatre Company), The Merry Widow starring the luminescent Renee Fleming (Lyric Opera Chicago) Billy Elliot, City of Angels, The Most Happy Fella, Gypsy, Ragtime (Drury Lane Oakbrook), Funny Girl, The First, Bye Bye Birdie and History Loves Company (Marriott Lincolnshire Theatre). Regional: Montana Shakespeare, Skylight Opera Theatre, The Shakespeare Theatre Company, Next Act Theatre and Notre Dame Shakespeare Festival. Broadway: The Lion King. Currently on leave from the North American Tour of Disney’s Aladdin, where he performs the role of Jafar since originating the role in Chicago in April 2017. Other National Tours: Jersey Boys, The Lion King and Scrooge the Musical. AUDIENCE ENGAGEMENT Post-Show Conversation: The Word Join us after every Tuesday evening performance (excluding First Week and any extension weeks) for a 15-minute discussion of the play, facilitated by a member of the WT Artistic Team. Post-Show Conversation: The Artist Join us after every Wednesday evening performance (excluding First Week and any extension weeks) for a 15-minute talk-back featuring actors from the production, facilitated by a member of the WT Artistic Team. Pre-show Conversation: Up Close Join us at 7pm in the Patron’s Lounge before every Thursday evening performance (excluding First Week and any extension weeks) for a 15-minute primer on the context and content of the play facilitated by a member of the WT Artistic Team. RIDE METRA TO WRITERS THEATRE In an effort to promote taking public transit to the Theatre, any audience member who purchases a ticket to a Writers Theatre production and rides Metra’s Union Pacific North Line to the Theatre may snap a photo of themselves on the train and post it to their social media account with a tag of @WritersTheatre (@Writers_Theatre on Instagram) and #IntotheWoodsWT, and upon showing the post at the Writers Theatre Box Office, receive $5 in cash to put toward the cost of your fare as a thank you for going green. This promotion is available for a limited time only and may end without warning. Ticket must have been paid for in advance. Not valid on comp tickets. More information available at writerstheatre.org/metra WRITERS THEATRE PARTNERS Writers Theatre is pleased to recognize BMO Harris Bank as the Season Sponsor and ComEd as the Official Lighting Sponsor of the 2019/20 Season. The Major Corporate Sponsor is Northern Trust. The Lead Sponsor is Mary Pat Studdert and the Artists Council Sponsors are Susan and Don Belgrad and John and Francesca Edwardson. For more information about Writers Theatre’s 2019/20 partners, visit writerstheatre.org/our-supporters. ABOUT WRITERS THEATRE For more than 25 years, Writers Theatre has captivated Chicagoland audiences with inventive interpretations of classic work, a bold approach to contemporary theatre and a dedication to creating the most intimate theatrical experience possible. Under the artistic leadership of Michael Halberstam and the executive leadership of Kathryn M. Lipuma, Writers Theatre has grown to become a major Chicagoland cultural destination with a national reputation for excellence, being called the top regional theatre in the nation by The Wall Street Journal. The company, which plays to a sold-out and discerning audience of more than 60,000 patrons each season, has garnered critical praise for the consistent high quality and intimacy of its artistry—providing the finest interpretations of both classic and contemporary theatre in its two intensely intimate venues. In February 2016, Writers Theatre opened a new, state-of-the-art facility. This established the company's first permanent home—a new theatre center in downtown Glencoe, designed by the award-winning, internationally renowned Studio Gang Architects, led by Founder and Design Principal Jeanne Gang, FAIA, in collaboration with Theatre Consultant Auerbach Pollock Friedlander. The new facility has allowed the Theatre to continue to grow to accommodate its audience, while maintaining its trademark intimacy. The new facility resonates with and complements the Theatre’s neighboring Glencoe community, adding tremendous value to Chicagoland and helping to establish the North Shore as a premier cultural destination. Find Writers Theatre on Facebook at Facebook.com/WritersTheatre, follow @WritersTheatre on Twitter or @Writers_Theatre on Instagram. For more information, visit www.writerstheatre.org. Read the full article

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