BY LUCIA MAURO
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Ask most artists affiliated with WBEZ’s Stories on Stage since its inception 10 years ago, and they typically laugh endearingly when recalling a performance of their live dramatic readings on the set for Gilligan’s Island at the old Organic Theatre. "At the time," shares founder/producer Kathe Telingator, "We were always subject to changes–especially sets–at the Organic."
She then points out how Stories on Stage–which began as an independent, not-for-profit organization featuring live dramatic readings of literature that were recorded and later broadcast on WBEZ 91.5 FM Chicago Public Radio–performed outside. So instead of getting relegated to fake outdoor terrain, like Gilligan’s windswept jungle, the artists were subject to the real whims of weather.
Later the program became an enterprise of WBEZ, and the shows were recorded in a small studio at the radio station’s headquarters on Navy Pier. But, throughout these readings, Telingator found that audiences appreciated the live theatrical experience in addition to hearing the programs on the air. Together, WBEZ and Stories on Stage had developed a following in both literary and theatrical circles.
So, in 1997, Telingator contacted Peter Taub, director of performance programs at the Museum of Contemporary, shortly after it opened its new facility on East Chicago Ave. She believed it would be a fruitful collaboration and Taub agreed. Stories on Stage has been based at the MCA’s intimate and acoustically-sound theatre for almost five years–and its performances typically sell out. Subscriptions, reasonably priced at $60, more than doubled this year, up to 118 from 50 the previous year.
Plans are in the works, at some point, to expand their dramatic readings beyond their current one-night-only schedule. They have established greater consistency by holding the first three programs on the second Sunday of the month; and the last three on the second Tuesday of every month.
"We appeal to a literate audience and an audience, diverse in age and gender, that’s interested in the arts," says Telingator. "We have a lot of WBEZ listeners. The MCA, which is centrally located and supportive of our work, has been a very good match."
Now in the middle of its 10th anniversary season, Stories on Stage’s "Celebration"-themed series kicked off in January with literature–including F. Scott Fitzgerald’s "The Baby Party"–addressing the disasters that stalk every planned event. It was directed by founding member Judy O’Malley. Next up in February was director Cheryl Lynn Bruce, a Goodman Theatre artistic associate, exploring writings related to the political implications of the word "party."
The 2002 season continues with the following performances: Carpe Diem: Tales of Life’s Little Victories, about living life to its fullest, directed by Abigail Deser of Steppenwolf and Roadworks, Mar. 10; In Our Last Episode, stories that tell the rest of the not-so-obvious story, directed by founding member Michael E. Myers, Apr. 9; Funny Funerals and Other Solemn Occasions, centered on sad and absurd family gatherings, directed by Edward Sobel of Rivendell Theater, May 14; and Another Year Older, which challenges the maxim of "another year older, another year wiser, directed by Goodman associate producer Steve Scott, Jun. 11.
Stories on Stage has added a special program, Best of Ten, Jul. 12 and 14, featuring audience’s and WBEZ listener’s favorite stories of all time. They vote on the best of more than 90 shows the group has presented over the past 10 years.
Telingator founded and developed Stories on Stage, and served for five years as its executive director when it was an independent non-profit organization. As its producer since its inception, she has overseen close to 100 different Stories on Stage programs, featuring more than 200 actors reading the work of more than 200 authors, as well as many special events–including those spotlighting David Sedaris and Frank McCourt. In New York, Telingator operated her own independent literary/theatrical agency, where she represented fiction and non-fiction authors, playwrights, and screenwriters.
Stories on Stage grew out of her dual interests in theatre and writing. Telingator holds an MFA in performing arts management from Brooklyn College and a BA in journalism from the University of Michigan. Since the beginning, she has collaborated with creative and visionary directors.
Michael E. Myers–a playwright, director and teacher–is elated to see the audiences for Stories on Stage continue to grow.
"The experience reminds me a lot of how I grew up," says Myers. "I still remember radio dramas–right before TV took over. Audiences get to use their imaginations. With Stories on Stage, it’s just the actors, the audience and the text–no bells and whistles.
"As a director, I try to find literature that’s somewhat theatrical or lends itself to a visceral style even through the actor is at a podium. The stories also have to have a good audible tone because they are being recorded live. So the actors must use their voice as a visual instrument."
Telingator stresses that a live dramatic reading is its own specialized art form, which should not be underestimated. This season, they held their first-ever auditions and received hundreds of applications. But Telingator found that fine dramatic actors in stage plays may not be ideally suited to a live dramatic reading situation.
"It’s about bringing the words alive," she explained. "There were times when an actor rehearsed a story and performed it like a scene. But the director would say, 'I want you to tell me the story.’
"What we do is not storytelling, because storytelling is extemporaneous. Live dramatic readings are like being read to at bedtime — but for grown-ups."
Abigail Deser, affiliated with Stories on Stage since 2000, calls it "such an opportunity as a director because you get to curate an afternoon or evening of literature–and you’re exploring writers from other genres, like short-stories and novels."
She has devised a very clear approach to coaching actors in the live dramatic reading format. Deser encourages actors to develop the point of view of the character and embrace that point of view.
"It’s not an objective reading," she explains, "it’s an invested telling. And the live dramatic reading is a very lively art form. Actors are not just doing a voice; they’re embodying a character. They must be clear what’s at stake. The actor’s job is to share dialogue with the audience. With Stories on Stage, actors are in immediate contact with the audience."
This past fall, Stories on Stage held its first writing contest, called Now Hear This, which Telingator plans to make an annual event. There was no age limit; and writers sent in no more than 15 pages of an unpublished story. Stories on Stage received close to 700 stories over two months. Winning entries were read at a special program in October.
For its fundraiser on Mar. 25 at the Vittum Theater, Stories on Stage is commissioning three to four well-known authors–like Dan Shaon and Elizabeth Berg–to write a story based on the same opening line.
For more information on Stories on Stage, call 312/832-3404 or visit www.wbez.org.