Runamuck Productions, with its mission of adapting children’s literature for the stage, is naturally considered a theatre company for young audiences. But its sophisticated material and high production values really place Runamuck in the realm of theatre for people of all ages. In fact, at a recent sold-out afternoon performance of Scary Godmother, which just closed at the Athenaeum Theatre, I noticed a fair share of youngsters and teenagers in the crowd, along with adults who did not bring children.

"We think of ourselves as a theatre," says artistic director Heath Corson, "that happens to appeal to kids. But we’re really not restricted to a specific age group."

Corson co-adapted Scary Godmother with Jill Thompson, the Chicago-based author and visual artist upon whose popular books and graphic novels the one-hour play is based. Corson also directed this witty, engaging and ultimately fortifying production designed by Thompson in her quirky but elegant style.

A hilarious Halloween show whose theme of tolerance is subtly woven throughout the clever dialogue and songs, Scary Godmother centers on a little girl named Hannah whose older cousin Jimmy and his friends ditch her during trick-or-treating. They lock her in an alleged "haunted house," where she meets the title character, a hip young witch who invites her to a "monster" party. The ghoulish guests prove to be fun and compassionate. They include Skully Pettibone, the "skeleton in the closet," and Harry, a werewolf ("in sheep’s pajamas") with a wry sense of humor and ravenous appetite.

One of the best lines is delivered by teenage vampire Orson, who is so embarrassed by his father’s corny jokes, he huffs, "I could just live." Overall, the care and commitment of the creative team made Scary Godmother the sort of theatre experience audiences would come back to savor again.

The artists of Runamuck Productions work regularly as writers, directors, actors and designers for professional adult theatres in Chicago including European Repertory Company, Lifeline and Famous Door. So they seem to have a natural affinity for balancing the material and making it meaningful for various age groups. The company’s core members are Northwestern University theatre graduates. While at Northwestern, Corson directed plays for the school’s innovative children’s troupe, Griffin’s Tale.

"We got out of school and wanted to continue working together," says Corson. "We decided to start a theatre company that focused on storytelling. But we had to figure out how we would get the stories. We wanted to promote literacy but find a new tact."

According to Runamuck’s managing director Kathleen Collins, the organizers drew up a business plan one year before they presented their first production, Dealing with Dragons, in 1995. This allowed them to establish a board of directors and a successful method for securing rights to children’s literature. They also determined they would seek out books with positive messages delivered in a slightly unconventional way.

The not-for-profit theatre company adapts contemporary children’s books for the stage. The literature must be in print, and it must be author approved. Runamuck’s larger goal is to encourage audiences to go out and read the books that inspire their shows.

The artists typically spend entire Sunday nights at Barnes and Noble poring over works in the children’s literature section. They’ve also established relationships with the bookstore chain and have been able to pass out fliers and coordinate book signings in conjunction with their season.

What gets the creative juices flowing?

"Sometimes it’s a picture we start riffing on," says Collins, who has adapted a number of Runamuck’s productions together with her fiancé Corson, "and we begin to think about design, or we deconstruct a scene for the stage. It might be a really funny or intelligent line that strikes us. The whole process then becomes very collaborative. And we try to involve the authors as much as possible."

Corson adds that they are always faithful to the writer’s intent and, during the adapting process, concentrate on flow and transitions and making the characters dramatic. "Our idea is to make the show accessible for ages five and up."

By "up," he means as high as 100 and beyond. And, because the ensemble is well versed in comedy and improv, layered humor is key to every production. In fact, they ask auditioning actors to prepare a two-minute comedic monologue–not a traditional kid’s monologue. Actors need to be willing to "play" and improvise.

Runamuck finds that it needs to be conscious of incorporating material that’s appropriate for kids and adults.

Corson recalls receiving letters from parents complaining that a character in I Left My Sneakers in Dimension X–imagined as a 1960s "Star Trek" episode–used a laser gun.

"They were concerned that there was a gun in a children’s show," he says, "and thought we were not being responsible. But we felt that because the captain who had this laser gun was so incompetent, it showed how dangerous guns could be. We responded to the complaints and invited parents back to see a free preview of our next show and get their opinions on the material."

Runamuck also has attracted loyal audiences as board members, with a number of them being educators.

Chris Thornton, a board member and Runamuck’s development director, is impressed by the company’s meticulous standards. "They have high expectations for the audience," he says, "and they raise expectations for themselves. They give audiences something familiar but light. Take Scary Godmother, for example. It’s a show about facing your fears in a new way and almost becoming friends with your fears. And it’s done in a way that’s not didactic or an 'After School Special.’ It’s a fun journey to take."

Runamuck’s shows are influenced by film genres–sci-fi, noir or gothic melodrama. Corson played a "Penguin Detective" who spoke like Humphrey Bogart. A Christmas comedy, How Santa Got His Job, was devised as a combined A&E Biography episode and a 1930s Frank Capra movie. Some of their most popular productions are Math Curse, Too Many Time Machines and Bud & Lou.

Currently an itinerant company, Runamuck does not have plans for a permanent space because its design-specific productions require flexible options. It also does not tour its productions in schools because, as Corson stresses, "we’re against sub-par touring shows." They prefer teachers and their students to take the initiative to come to one of their shows in a proper theatre in order to appreciate the total, high-level experience.

Collins, however, envisions the creation of a program in which Runamuck educates students about all the elements of theatre–from writing to scenic design.

From an artistic standpoint, Runamuck has not strayed from its original premise. It continues to attract a loyal following based on the balanced premise of wanting "to make audiences think and laugh"–and promote literacy in the process.

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