Category Archives: Wuthering Heights

Autumn update

Art in the lobby!

Lifeline is proud to feature the work of Rogers Park artist Jhenai Mootz on our lobby walls. Both the box office wall and concession stand area are now bedazzled with an exciting assortment of Jhenai’s ceramic tiles. Make sure to look for the tiles that are specially themed to Lifeline shows this season, like the current Wuthering Heights piece! Numerous pieces have already been sold through Lifeline’s box office. In addition to being a mixed-media artist, Jhenai is an actress and is understudying several roles in our upcoming production of The Moonstone.

Streetscape continues…pardon our dust. (But we’ve got ya covered!)

This is what our street looks like. Can you tell it’s going to be really pretty someday? Acorn streetlights. Wider sidewalks. Planters. It’s going to be awesome. The hard-working streetscape team has promised to keep the road open for us even during construction so you can still drop off your passengers in front of the theater. What’s tougher right now is the parking — because Glenwood is not the only street in our ‘hood that’s torn up. We recommend you come early and make use of our free parking lot at the NE corner of Ravenswood and Morse and the free shuttle that loops back and forth.

Our shuttle driver, Darren, will take good care of you. Darren’s an actor, too. (Perhaps you remember him playing the lead in Crossing California a few seasons ago!)

Our neighborhood in the news:
The YouTube video Glenwood and Morse 2010 (featuring the Glenwood Avenue Arts District, with numerous shots of Lifeline Theatre) was a winner in the Metropolitan Planning Commision’s Placemaking Chicago contest. The video aired on WGN TV on September 17th and was created by our neighbors Mary and Neil who own Duke’s Bar, right next door to us.

More murals have come to our neighborhood this past summer — and more will be arriving soon. (This one is just north of us on Glenwood between Morse and Lunt.) Rogers Park and its plan for a dozen more murals were the focus of a recent cover story in The Reader. We’ll soon be covered in art — even more than we are now!

One. Crazy. Summer.
Summer 2010 was action packed! Get a load of this schedule: Neverwhere extension ran into late July…

Which means it overlapped Lifeline’s Summer Drama Camp (which rocked)…

…which rolled right into the 14th Fillet of Solo Festival (our first year as host!) . . .

. . . which overlapped with the Glenwood Avenue Arts Fest. (Best. Fest. Ever.)

But now there’s a chill in the air . . .
and the box office phones are ringing. Because it’s that time. It’s time to buy tickets to Wuthering Heights. Or Click Clack Moo. Or subscribe! (And subscriptions are going like hotcakes, we’re happy to report.) It’s Fall and we’re back! Can’t wait to see ya!

Dorothy Milne
Artistic Director

My continuing fascination with Heathcliff

Heathcliff has vexed audiences since his creation, over 160 years ago. He’s found in Liverpool as a dark and dirty foundling and ends his days as a powerful landlord that owns both Wuthering Heights and Thrushcross Grange. The foundation of the novel starts with his appalling treatment at the hands of Hindley Earnshaw, and Heathcliff’s passionate bond with Cathy. When Cathy prefers to marry Edgar Linton for his position and eloquence, Heathcliff vows vengeance on Hindley, the Lintons, and their children. This engrossing story of the rise and fall of Heathcliff makes him one of the most fascinating characters in all of literature, and now that story is being brought to life on stage.

When we first meet Heathcliff in the novel, he is surrounded in mystery. He is first described as a ”solitary neighbor that I shall be troubled with” and we are left with the impression that, although he seems to be of the gentry, there is some hidden menace lurking underneath his cool exterior.

Throughout the novel, Heathcliff defies expectations and leaves us with haunting questions. Is his brutality simply a manifestation of his thwarted love for Cathy Earnshaw? Should we be searching beneath his ominous behavior? Does his wickedness conceal the heart of a romantic hero? As I have stated before in this blog, I longed for Heathcliff to show his hidden virtue like so many other romantic heroes of his time.

However, Heathcliff only reforms himself in his death. His malice throughout the novel is so severe it is hard for readers to see him as redeemable, despite his passion for Cathy Earnshaw. His violence towards Isabella is completely vicious. He entertains himself by how much abuse she endures. Joyce Carol Oates, a literature critic, had an interesting observation on the matter, saying, “Emily Bronte does the same thing to the reader that Heathcliff does to Isabella, testing to see how many times the reader can be shocked by Heathcliff’s gratuitous violence and still, masochistically, insist on seeing him as a romantic hero.”

Gregory Isaac, a humble actor who politely thanks everyone in the room after every rehearsal, transforms himself beyond recognition into the hard and foreboding Heathcliff. I have often sat in the audience and thought to myself “Um… where did friendly, amiable Greg go and who is this brutal malicious man who happens to share his face?” I was able to email him a couple of my questions, and was delighted by his responses. (It even got a little nerdy towards the end, which made my day—have you seen the shirt I’m wearing in my picture for this blog?) I hope you enjoy the conversation as much as I did.

TIFFANY: What was your first reaction when you found out you were cast as Heathcliff? Had you read or heard of the book before this production?

GREGORY: We spent a month or so reading and studying the book when I was a Junior in high school, and I remember clearly having a difficult time getting into it. It’s very easy to say that none of the characters are sympathetic, the story is so dark, and the actual novel is written with a framing device that is a story told within a story (and sometimes the point of view is removed to yet another story within that). It was all a bit too much for me to enjoy when I was 16. (Luckily, we aren’t toying with all those framing devices and points of view for this production.)

So, once I found out I had been cast, I really had to go back into the material to rediscover it. In addition to re-reading the novel, I started looking around for essays and criticism to offer me some perspectives on the material. Almost 20 years later, I was able to find value that I hadn’t appreciated before, but overall, I don’t know that my evaluation of the book was terribly different. My job, though, isn’t to evaluate Bronte’s writing, but Heathcliff himself. And the more I read, the more interested I became in him.

Of course, I also discovered the rather large, passionate and active fan base that the novel still has online, and otherwise. I found pages and pages of original artwork, essays, spin-off stories and tributes all created by rabid Wuthering Heights fans. I was surprised, when I mentioned to friends that I would be working on the show, how many of their eyes would widen a little, the tenor of their voices change and they would utter quietly, “Oh, I looove that book.”

It didn’t take long for the task to begin to feel rather intimidating. Could I live up to a fan’s expectations? Would I be able to do Heathcliff justice? At an early rehearsal, Nick Vidal, who is playing my son, Linton, told us all that whenever he told anyone what show he was working on, the first question every time was, “oh, who’s playing Heathcliff?”

So, you know, no pressure.

TIFFANY: What makes Heathcliff such a compelling character? Why do you think his character is still infamous after two centuries?

GREGORY: He is not necessarily compelling or infamous on his own. I think it’s really the combination of Heathcliff & Cathy (and, by the by, I think if Heathcliff himself knew you were trying to split the two of them up like that, he’d punch you in the face, commandeer your personal fortune and burn your house to the ground).

Honestly, because the novel as a whole doesn’t seem to have quite the same effect on me as it does on many others, I may not be entirely qualified to speculate about his place in literary history. I don’t believe he was the first character of his type ever written, but he is certainly from an era of writing when romantic literary conventions were being turned on their ear. That made it possible to write a character who is unbound by scruples and is free to pursue the woman he loves by absolutely any means necessary, and to revenge himself on anyone who may keep her from him, up to and including the woman herself.

That is a powerful kind of love, and the dark implications are only more compelling a couple of centuries later.

TIFFANY: What was it like building the character of Heathcliff? What were the challenges and breakthroughs you discovered in the rehearsal process about Heathcliff?

GREGORY: The first thing I had to accept is that Heathcliff is not the “hero;” not in the literary sense or otherwise. He is, rather, as much an “anti-hero” as any character ever written. In fact, given a slight change in the point of view of the story-telling, he would simply be the antagonist of the novel; the vengeful villain who attempts to tear apart the lives of just about everyone he knows. In the novel, Bronte spends no time dissecting the hows or whys that formed Heathcliff. He simply is. (Pre-Freudian storytelling, I guess.) So, I had a list of decisions to make for myself about those things. (Decisions I’m still refining even now.)

The first big Heathcliff door opened up for me, creatively, at an early rehearsal for movement with our director, Elise, and our Cathy, Lindsay Leopold. The production uses a vocabulary of movement at certain junctures to enhance the storytelling, and that physical relationship between Cathy and Heathcliff is a big part of that. We spent a couple of hours exploring that physical relationship in a dance-based way, which made it all a very tangible thing for me. The sense memory of that early rehearsal is still present for me and informs so much of what drives me as Heathcliff. I consider myself very fortunate that Lindsay jumped into that process so quickly and fearlessly right from the start. It helped, too, that she really is a dancer – whereas I’m just an actor who once took dance classes while in college. I was able to be inspired by her natural skill and experience. (If anything is happening within that movement that looks graceful or interesting, it is probably to Lindsay and Elise’s credit, not mine.)

TIFFANY: Heathcliff’s love for Cathy Earnshaw is legendary. What do you think of Heathcliff and Cathy’s bond?

GREGORY: It is their bond that drives everything about the plot. It dominates them so completely that it spills over beyond themselves and sweeps up every other person their lives touch. And I think it may be more correct to call it a “bond” than “love”. Not that it isn’t love, but it isn’t a “romantic” love, or a “sexual” love. It is, somehow, larger and more basic than that. I suppose it goes on a shelf with the Romeo and Juliet kind of love (or, you know, Han Solo and Princess Leia), because it is the kind of love that is larger and greater than even life or death (or the carbonite freezing process).

Everybody, at some point in their life, has fantasized about having a love like that, or believed that they already had it. (And maybe they do.) And that’s why the story persists. Hopefully we’re carrying the mantle of that legend successfully.

On-set rehearsals

Wow- last week was really exciting! Wuthering Heights is now able to rehearse on the set! Although the set is far from finished, you can see the framework of Alan Donahue’s lovely design. The actors are having a lot of fun playing in the space, and its great to see these two aspects of the world come together, even in the beginning stages.

Lifeline has the great opportunity to let actors in the space weeks before opening, so any changes that need to be done to the set or blocking can be implemented ahead of time. For example, some actors were concerned that a step was going to get in the way of some of the blocking, to which director Elise Kauzlaric replied, “Let’s have them make this portable so we can only have the step when we need it.” At the very next rehearsal, the step had been unbolted from the ground and the actors were able to move it aside when it wasn’t being used.

The ability to have a set built and changed so early in the process makes Lifeline unique from many Chicago theatres. Also, Lifeline has everything built onsite in the basement, so designers can see what a structure will look like in the space long before tech and have time to make changes as they see fit. It helps the transition from rehearsal to tech run much more smoothly, and by the time we move into tech, the actors are very familiar and comfortable with the scenic design. It’s the beauty of having a space of your own.

Speaking of tech, we are all preparing to tackle tech this weekend! Everyone’s hard work will be coming together, and I’ll be sure to keep everyone posted.

Tiffany Keane

Critics of the time

It’s fascinating to read how critics of Emily Brontë’s time felt about Wuthering Heights when it first came out. I thought it would be fun to share some of my personal favorites! Please keep in mind that Wuthering Heights was published under the pen name “Ellis Bell,” so many of the earliest reviewers of the book believed it was written by a man.

Tiffany Keane

Reviewer: Anonymous
Publication: New Monthly Magazine
Date: January 1848

Wuthering Heights, by Ellis Bell, is a terrific story, associated with an equally fearful and repulsive spot. It should have been called Withering Heights, for any thing from which the mind and body would more instinctively shrink, than the mansion and its tenants, cannot be imagined. …Our novel reading experience does not enable us to refer to anything to be compared with the personages we are introduced to at this desolate spot – a perfect misanthropist’s heaven.

Reviewer: Anonymous
Publication: Paterson’s Magazine
Date: March 1848

We rise from the perusal of Wuthering Heights as if we had come fresh from a pest-house. Read Jane Eyre is our advice, but burn Wuthering Heights

Reviewer: Anonymous
Publication: Graham’s Lady’s Magazine
Date: July 1848

How a human being could have attempted such a book as the present without committing suicide before he had finished a dozen chapters, is a mystery. It is a compound of vulgar depravity and unnatural horrors…

Reviewer: Anonymous
Publication: Examiner
Date: January 8, 1848

This is a strange book. It is not without evidences of considerable power: but, as a whole, it is wild, confused, disjointed, and improbable; and the people who make up the drama, which is tragic enough in its consequences, are savages ruder than those who lived before the days of Homer. With the exception of Heathcliff, the story is confined to the family of Earnshaw, who intermarry with the Lintons; and the scene of their exploits is a rude old-fashioned house, at the top of one of the high moors or fells in the north of England. Whoever has traversed the bleak heights of Hartside or Cross Fell, on his road from Westmoreland to the dales of Yorkshire, and has been welcomed there by the winds and rain on a ‘gusty day’, will know how to estimate the comforts of Wuthering Heights in wintry weather….

If this book be, as we apprehend it is, the first work of the author, we hope that he will produce a second,—giving himself more time in its composition than in the present case, developing his incidents more carefully, eschewing exaggeration and obscurity, and looking steadily at human life, under all its moods, for those pictures of the passions that he may desire to sketch for our public benefit. It may be well also to be sparing of certain oaths and phrases, which do not materially contribute to any character, and are by no means to be reckoned among the evidences of a writer’s genius. We detest the affectation and effeminate frippery which is but too frequent in the modern novel, and willingly trust ourselves with an author who goes at once fearlessly into the moors and desolate places, for his heroes; but we must at the same time stipulate with him that he shall not drag into light all that he discovers, of coarse and loathsome, in his wanderings, but simply so much good and ill as he may find necessary to elucidate his history—so much only as may be interwoven inextricably with the persons whom he professes to paint. It is the province of an artist to modify and in some cases refine what he beholds in the ordinary world. There never was a man whose daily life (that is to say, all his deeds and sayings, entire and without exception) constituted fit materials for a book of fiction.

Reviewer: Anonymous
Publication: Douglas Jerrold’s Weekly Newspaper
Date: January 15, 1848

Wuthering Heights is a strange sort of book,—baffling all regular criticism; yet, it is impossible to begin and not finish it; and quite as impossible to lay it aside afterwards and say nothing about it. In the midst of the reader’s perplexity the ideas predominant in his mind concerning this book are likely to be—brutal cruelty, and semi-savage love. What may be the moral which the author wishes the reader to deduce from his work, it is difficult to say; and we refrain from assigning any, because to speak honestly, we have discovered none but mere glimpses of hidden morals or secondary meanings. There seems to us great power in this book but a purposeless power, which we feel a great desire to see turned to better account. We are quite confident that the writer of Wuthering Heights wants but the practised skill to make a great artist; perhaps, a great dramatic artist. His qualities are, at present, excessive; a far more promising fault, let it be remembered, than if they were deficient. He may tone down, whereas the weak and inefficient writer, however carefully he may write by rule and line, will never work up his productions to the point of beauty in art. In Wuthering Heights the reader is shocked, disgusted, almost sickened by details of cruelty, inhumanity, and the most diabolical hate and vengeance, and anon come passages of powerful testimony to the supreme power of love—even over demons in the human form. The women in the book are of a strange fiendish-angelic nature, tantalising, and terrible, and the men are indescribable out of the book itself. Yet, towards the close of the story occurs the following pretty, soft picture, which comes like the rainbow after a storm….

We strongly recommend all our readers who love novelty to get this story, for we can promise them that they never have read anything like it before. It is very puzzling and very interesting, and if we had space we would willingly devote a little more time to the analysis of this remarkable story, but we must leave it to our readers to decide what sort of book it is.

Reviewer: Anonymous
Publication: Atlas
Date: 22 January 1848

Wuthering Heights is a strange, inartistic story. There are evidences in every chapter of a sort of rugged power—an unconscious strength—which the possessor seems never to think of turning to the best advantage. The general effect is inexpressibly painful. We know nothing in the whole range of our fictitious literature which presents such shocking pictures of the worst forms of humanity. Jane Eyre is a book which affects the reader to tears; it touches the most hidden sources of emotion. Wuthering Heights casts a gloom over the mind not easily to be dispelled. It does not soften; it harasses, it extenterates…. There are passages in it which remind us of the Nowlans of the late John Banim but of all pre-existent works the one which it most recalls to our memory is the History of Mathew Wald. It has not, however, the unity and concentration of that fiction; but is a sprawling story, carrying us, with no mitigation of anguish, through two generations of sufferers—though one presiding evil genius sheds a grim shadow over the whole, and imparts a singleness of malignity to the somewhat disjointed tale. A more natural story we do not remember to have read. Inconceivable as are the combinations of human degradation which are here to be found moving within the circle of a few miles, the raisemblance is so admirably preserved; there is so much truth in what we may call the costumery (not applying the word in its narrow acceptation)—the general mounting of the entire piece—that we readily identify the scenes and personages of the fiction; and when we lay aside the book it is some time before we can persuade ourselves that we have held nothing more than imaginary intercourse with the ideal creations of the brain. The reality of unreality has never been so aptly illustrated as in the scenes of almost savage life which Ellis Bell has brought so vividly before us.

The book sadly wants relief. A few glimpses of sunshine would have increased the reality of the picture and given strength rather than weakness to the whole. There is not in the entire dramatis persona, a single character which is not utterly hateful or thoroughly contemptible. If you do not detest the person, you despise him; and if you do not despise him, you detest him with your whole heart. Hindley, the brutal, degraded sot, strong in the desire to work all mischief, but impotent in his degradation; Linton Heathcliff, the miserable, drivelling coward, in whom we see selfishness in its most abject form; and Heathcliff himself, the presiding evil genius of the piece, the tyrant father of an imbecile son, a creature in whom every evil passion seems to have reached a gigantic excess—form a group of deformities such as we have rarely seen gathered together on the same canvas. The author seems to have designed to throw some redeeming touches into the character of the brutal Heathcliff, by portraying him as one faithful to the idol of his boyhood—loving to the very last—long, long after death had divided them, the unhappy girl who had cheered and brightened up the early days of his wretched life. Here is the touch of nature which makes the whole world kin—but it fails of the intended effect. There is a selfishness—a ferocity in the love of Heathcliff, which scarcely suffer it, in spite of its rugged constancy, to relieve the darker parts of his nature. Even the female characters excite something of loathing and much of contempt. Beautiful and loveable in their childhood, they all, to use a vulgar expression, ‘turn out badly’. Catherine the elder—wayward, impatient, impulsive—sacrifices herself and her lover to the pitiful ambition of becoming the wife of a gentleman of station. Hence her own misery—her early death—and something of the brutal wickedness of Heathcliff’s character and conduct; though we cannot persuade ourselves that even a happy love would have tamed down the natural ferocity of the tiger. Catherine the younger is more sinned against than sinning, and in spite of her grave moral defects, we have some hope of her at the last….

…We are not quite sure that the next new novel will not efface it, but Jane Eyre and Wuthering Heights are not things to be forgotten. The work of Currer Bell is a great performance; that of Ellis Bell is only a promise, but it is a colossal one.

Nonlinear storytelling

Hello, Everyone!!

Sorry for such a long delay. I unfortunately had a bad case of influenza that knocked me off my feet. However, I am so happy that I’m able to report again on all of the exciting events that are taking place within the production of Wuthering Heights, and its good to be back.

One unique difference between the book and our adaptation of Wuthering Heights is the timeline in which the story is presented. The book starts off with Mr. Lockwood in the winter of 1801. Mr. Lockwood reads a portion of Cathy Earnshaw’s diary, which leads to the housekeeper, Nelly, telling the story of Wuthering Heights that began nearly thirty years earlier.

Elise Kauzlaric, our director, and Christina Calvit, the adaptor, were both intrigued by how all the characters were stuck within a seemingly inescapable cycle of revenge. In collaboration, they came up with an exciting opportunity for nonlinear storytelling. In our production, the audience experiences the events of the first generation directly alongside the events of the second. Within the story of Wuthering Heights, this provides an opportunity to see the direct consequences of the characters’ actions in the play. For example, the abuse Hindley inflicts upon Heathcliff cycles into Heathcliff’s mistreatment of Hindley. Nelly, in our adaptation, lives in the future while being haunted by the ever-present memories of the past. She relives these memories to try to understand what went wrong- who can be redeemed and who cannot be forgiven?

It will be exciting to see how these circles we find within the narrative develop within the next few weeks.

Tiffany Keane

“It wasn’t quite what I expected it to be…”

Every time I ask people about Wuthering Heights, I always hear the response, “Well… it wasn’t quite what I expected it to be…”

It’s true. Wuthering Heights is extremely deceptive. It is set up like a romantic Byron tale that spirals into a story of loss, betrayal, and revenge. It’s a novel that I’ve read now at least five times, and I still don’t know who the hero is, or who I am supposed to empathize with. That’s what makes this story so compelling to me. It always draws me back. The story keeps me questioning my own beliefs and morality – what is redeemable and what isn’t?

When I started Wuthering Heights, I was perfectly set up to be deceived. I had just finished Pride and Prejudice and was anxious for another period love story. Wuthering Heights seemed like the ideal candidate. The romance between Cathy and Heathcliff is one of the most famous couplings throughout literature. I thought I was set.

Heathcliff and Cathy did not disappoint, but they were NOT the romantic figures that I expected them to be. At first, I was undaunted by Heathcliff’s harsh exterior. Mr. Darcy, at first, was arrogant and rude in Pride and Prejudice. I convinced myself that Heathcliff was written in the same fashion and that he would redeem himself later on. However, I was always on edge about Heathcliff. He was fierce in his passion for Cathy Earnshaw to the point of obsession, which was very unlike any of the romantic heroes I had read in the literature of this time period. Then, when he started committing numerous monstrosities in Book II, I kept waiting for Heathcliff to redeem himself, right till the every last page. After I was done reading I sat for a while and wasn’t sure if I hated Heathcliff for his cruelty or loved him for his unyielding devotion for Cathy and I haven’t quite figured it out since.

Ever since I was a little girl, I’ve dreamed about the romantic notion that there is one person in the world made for you. One of your jobs on this earth is to find that one person, fall in love, and get married. If you can do that, your life will be blissful and carefree. However, Emily Bronte makes me question that idea. As much as I might yearn for what Heathcliff and Cathy share for one another, the fact that they are soul-mates solidifies the destruction of themselves and the people around them. So, in the end, should such a love exist between two people? Is love like that worth it in the end? I’m still not sure myself.

I’m fascinated about how these questions will answer themselves in our rehearsal process. It’s one thing to read about two people loving each other, but another thing entirely to see and experience their love live and up close. There is something very precious about how the actors playing Heathcliff and Cathy communicate with each other, a constant non-verbal dialogue displaying the depth of there connection. I am very excited to see how that its going to transform within the rehearsal process, and perhaps the act of seeing these two lovers in the world of the play will help clear up the questions that Emily Bronte presented us with.

Tiffany Keane


Time for an introduction! I’m Tiffany Keane, one of the newest interns here at Lifeline, and the assistant director/dramaturg of Wuthering Heights. Over the next few weeks I’ll be sharing inside scoop on the rehearsal process and interesting historical research that I’ve come across about the world of the play. It’s been a very exciting time here at Lifeline with such a great upcoming season!

I go to school at Columbia College of Chicago where I major in Theatre (directing concentration) with a minor in literature. I had seen a few Lifeline shows like Treasure Island and The Mark of Zorro, so when I came across Lifeline Theatre at the internship fair, I had already been in love with Lifeline’s mission and wanted to be a part of the magic. I met briefly with Allison Cain, Lifeline’s managing director, and from there I was immediately embraced by the ensemble.

Since May I’ve been interning with Lifeline, and it has been an extraordinary experience. It’s been so inspiring working with people who give 110% of themselves to storytelling. Everyone is so open and collaborative here, and they’ve made sure to make my internship a fun learning experience. I’ve done numerous jobs around the theatre, all hands-on. I’ve worked in the box office, I’ve proposed benefit venues at board meetings, I’ve organized costumes, I’ve learned about grant writing, and my most recent venture is helping out at Lifeline’s Summer Drama Camp… so I’ve been keeping busy. It’s a running joke around Lifeline that I’ve got my hands in every pot (which is really funny now that I think about it because I do occasionally water the flowers outside as well). Nevertheless, has definitely been an all-round experience for me and I am eternally grateful.That being said, I am ecstatic to be working on dramaturgy and assistant directing for Wuthering Heights. This classic piece of literature is a very haunting story and I feel incredibly lucky to have the honor to be apart of this piece of art. To sum it all up- excitement!

There is so much more to come, so please keep checking this blog- there are many goodies in store!

Tiffany Keane


Welcome to new ensemble members, Hainsworth and Walsh!

We are joyful and proud to announce our newest ensemble members: Chris Hainsworth and Christopher Walsh. You’ve seen them both a number of times at Lifeline (most recently Treasure Island and Neverwhere!

Chris Hainsworth as Isreal Hands in Treasure Island

Christopher Walsh as Mr. Vandemar in Neverwhere

Fun fact: Chris Hainsworth is engaged to ensemble member Katie McLean and they will marry in August. Congrats to Katie and Chris! A Lifeline wedding!

Katie and Chris in Neverwhere

Neverwhere is dust and rubble

It always breaks our heart a little when we have to rip apart a show we loved. Ian and Barney took a day to destroy what it had taken them weeks to build. If you pass by Lifeline in the next couple days, you’ll see a dumpster in our driveway being filled with the unsalvageable scenic elements, chopped up into little bits.

The Neverwhere set, before strike.

Barney and Ian, mid-strike.

We are hurrying to clear the way for Fillet of Solo, next up at Lifeline. And, yow! Right on its heels is Season 2010-11: Wuthering Heights began rehearsal this week. Click, Clack, Moo is cast. Mr. Hatch auditions next week while we also have workshop rehearsals for a project in development across town. We have so much going on we are bursting out of our building! This is how crowded we are: below is a recent rehearsal for Fillet of Solo….in our basement laundry room!

Dorothy Milne
Artistic Director