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An interview with Jessica Wright Buha

Note: This is a posting from Lifeline ensemble member Amanda Link, dramaturg and assistant director for our winter MainStage production of One Came Home.

An interview with Jessica Wright Buha, the adaptor of One Came Home.


Q: What drew you to the book?

A: Alan Donahue, a Lifeline ensemble member, was the one who recommended the book to me. We had worked together on several shows at Lifeline when I was an assistant stage manager there. I was also his assistant prop designer on Treasure Island. He was always really supportive of my writing. He came out to see shows I had written for Deathscribe, and Whiskey Rebellion and other theaters around town. And one day he emailed me and said that when he read One Came Home, he thought that I should be the one to adapt it. I was in the middle of working on Lyle Finds His Mother for the Lifeline KidSeries and I was so honored and excited that he thought of me.

I immediately fell in love with the language and the world of the book. I am always drawn to lyricism and imagery. The way Amy Timberlake described the landscape of Wisconsin was just beautiful. And I have always been drawn to the late 1800s. I read a lot of Little House On the Prairie growing up. And I really like the mystery genre. I also loved the songs in the book. I was very interested in having actual songs in the show.

I also have an older sister. We are twins but she is technically older by three minutes. She is the more floaty of the two of us. She’s always moving, always changing jobs. She was the social butterfly growing up and I was the studious, quiet, homebody. She went through a phase where she was very difficult to get ahold of. She didn’t have a cell phone for awhile and she was just off doing her own thing. I related to Georgie’s idea that home is a sacred place. I didn’t have the typical teenage impulse of wanting to get away from home. I always wanted to be best friends with my sister but we were always so different. Getting to explore that sister relationship was very appealing.

Q: How did you begin the adaptation process for this piece?

A: I had just finished adapting James Joyce’s Ulysses and it was very dense. I went back to the text a lot while writing. For this one, I wanted to do it differently. I read through the book a couple of times and then on my third reading I took notes, made an outline, and chose snippets of dialogue. After I read it a fourth time, I put it away and wrote my first draft. It took me about two months to write that first draft and then I wrote several more drafts before we started rehearsals.

Q: What was your biggest challenge while writing the adaptation?

A: It was really difficult to take out the first person narration but still keep what I loved about the book. I decided early on that I didn’t want to have a narrator. It works so well in the book but I wouldn’t know how to do it effectively in a play. Georgie has such a great voice but I didn’t want it to turn into us reading the book on stage. I tried to find a way to preserve her voice and capture her emotional journey in a theatrical way.

Q: The Lifeline process is very unique. The playwright is at all of the rehearsals and receives a lot of feedback along the way. How has this affected your writing?

A: It really feeds into my style nicely. I like to crank out drafts quickly and then do lots of rewrites. I have typically experienced a lot of closed rehearsals where the playwright is not welcome and that can be difficult. I really like to be in the room and hear the actors speaking the words. If they are stumbling over the lines, the problem might be with the lines themselves and that is good to know. I trust the actors a lot and it is really helpful to be in rehearsals with them and see where their instincts are leading them. I feel very lucky to be able to change things throughout the entire process.

Q: What are some of your own personal writing habits?

A: I like to write at night when the house is quiet. I like to write on the couch with the dog sitting next to me. I will often put headphones on and listen to the same ten songs over and over again while I write. It’s like when you go to the gym and you listen to certain songs to motivate yourself. I do it to create a rhythm to encourage myself to keep writing. That way I don’t have time to stop and judge myself. I’ll also use music to connect to the emotion of the story. If I’m having trouble with a scene, I’ll step back and start writing paragraphs about it. I’ll describe the setting and characters and just keep writing until some dialogue pops into my head. Sometimes I’ll start acting things out while I’m writing and then my dog will look over at me like I’m crazy.

An interview with Amy Timberlake

Note: This is a posting from Lifeline ensemble member Amanda Link, dramaturg and assistant director for our winter MainStage production of One Came Home.

An interview with Amy Timberlake, the multiple award-winning author of One Came Home, That Girl Lucy Moon, and The Dirty Cowboy.

Q: What inspired One Came Home?

A: I wrote it over a long period of time, so there were many inspirations. I saw a production of The Taming of the Shrew and was disturbed by the relationship between the sisters. After that, I knew I wanted to write a story about two sisters. I had already written a middle grade novel called That Girl Lucy Moon, in which one of the characters is a 68-year-old business woman. I ended up cutting about 100 pages of her from the book, but I held onto her voice. Someone in my writing group suggested I try that voice as a 13 year old girl. She would be a future business woman, sure of herself even at that difficult age. Now I had two ideas but I still didn’t have a setting. That’s when I came across a book on passenger pigeons. I knew a little about this bizarre phenomenon and wanted to learn more. I’m an amateur birder and will occasionally pick up bird books, and this one was amazing. I had to keep reading bits aloud to my husband! It sounded like science fiction at times. And then on one page there was a map of Wisconsin, my home state, with a giant L-shaped blob in the middle of it. It was the site of the largest passenger pigeon nesting ever recorded. It was about 850 square miles, which is about the size of 3 and a half cities of Chicago all put together. I had also been watching a lot of Westerns and I thought, I could set a Western in Wisconsin. Why not?

Q: At our first rehearsal, we went around the room and discussed if we related more to Agatha or Georgie. Do you see yourself more in one or the other?

A: When you write in first person, you end up feeling very strongly connected to that person. I like giving my opinion, but I’m not as dogmatic as Georgie. I actually don’t speak like Georgie at all. My Grandfather talks like Georgie. In my book The Dirty Cowboy, I made my first attempt at my Grandfather’s voice. He had a very Western way of approaching people. He would just tell them the truth and move on and let them do what they wanted with the information.

Listening to stories being told was a big part of my childhood, especially whenever I would visit my grandparents. In One Came Home, Georgie is telling this story to someone. It’s a long story, but she’s a talker so it works.

Q: What is it like for you to see your work adapted into another form?

A: It’s exciting when you’ve written something that makes someone else want to create something. I haven’t seen One Came Home yet but when Lifeline adapted The Dirty Cowboy, it was so much fun! I’ve been to a lot of shows at Lifeline so I trust you guys. You take good care of your stories and it’s clear that you value literature.

I can’t wait to see how you’ll do the birds! And what will Billy look like? I’m looking forward to seeing the show.

Q: When did you start writing?

A: In the third or fourth grade, I wrote a poem. When I showed it to my Dad he said, “You really have a way with that.” And that little comment stuck with me. I was always a big reader. I loved to read. And I thought my library card was like a super power badge that I could use to get anything I wanted. I lived in a small town and I could walk to the library by myself and then use the books to travel to different times and places. The idea that I could write my own book was so cool, but also really intimidating. I had a long path to becoming a writer because it didn’t seem possible. I thought I should do something more practical. I studied economics and then history before I got my Master’s in Writing. But all along the way I took every creative writing class available in high school and college because it was always something I wanted to do.

Q: Do you work on one thing at a time or do you tend to have multiple projects going at once?

A: I always have lots of ideas. I’m trying to get better at working on more than one thing at a time. Right now I have two things. I’m working on a novel and that is my primary focus. The secondary project is a nonfiction picture book. I am in the research phase for that one, trying to see if it will work.

The novel is written in third person and there is lots of humor in it. I don’t want to say too much about it but I will say that one of the issues from One Came Home has come into this book. Telling this story is one way that I am working through a question that I have. All of my writing is like a record of my thoughts through stories.

Passenger pigeons

Note: This is a posting from Lifeline ensemble member Amanda Link, dramaturg and assistant director for our winter MainStage production of One Came Home.

Amy Timberlake’s book One Came Home is set in Wisconsin in 1871 during one of the last great passenger pigeon migrations. The nesting that took place in Wisconsin that year covered an estimated 850 square miles and is the largest one recorded. In his book The Passenger Pigeon: Its Natural History and Extinction, A.W. Schorger proposes that nearly all of the passenger pigeons in North America were present at that nesting. Amy loved the idea of having “a living, breathing setting” for her story.

ochblog1Passenger pigeons were in the news a lot this past year because September 1, 2014 marked the hundred-year anniversary of the death of Martha, the last remaining passenger pigeon. The species is now extinct, but when Europeans first began exploring North America, there were an estimated 3 to 5 billion passenger pigeons. Their numbers are difficult for us to imagine today. A flock could take 3 full days to pass overhead. And they flew so close together that, as John James Audubon described, “the light of noonday was obscured as by an eclipse.” Each spring they migrated en masse from the South to the Midwest and returned in the fall.

The passenger pigeons were quite different from the pigeons we’re used to seeing here in Chicago on a daily basis. They would be more similar in their shape and coloring to a mourning dove. They had short red legs, light powder blue throats, reddish-fawn bellies, rich red breasts, and slate blue heads. Their strong pointed wings spanned two feet. They traveled with great unity of movement at an average cruising speed of 60mph. While flying, each bird’s head was only inches behind the tail of the bird preceding him, and no more than 2 feet from the birds above and below him. The roar of wings and calls of birds could be heard up to 3 miles away. As they grew nearer, the sound grew to frightening proportions. Passenger pigeons required large dense forests and ate acorns and beechnuts. Traveling and nesting in such large numbers protected the birds from their natural enemies by virtue of sheer numbers, but also made them vulnerable to hunters.

ochblog2Professional hunters followed the passenger pigeons around the country. They could easily capture more than a hundred birds with one throw of a net. One gunshot could bring down dozens of birds. Once the telegraph and the railroads were added into the equation, making it easier to find the birds and ship the meat to other locations, the passenger pigeon numbers rapidly decreased. The birds only laid one egg a year. That in combination with over hunting and deforestation quickly led to their extinction.

But that is not the end of their story. There is currently an organization that is trying to bring them back. The Long Now Foundation has started a project called Revive and Restore. They are interested in de-extinction and have selected the passenger pigeon as their test species. The passenger pigeon was chosen because it is “not only feasible to successfully bring back, but also presents enough challenges to push the science forward and open up the possibility of de-extinction to many more species. An extinct mouse would be an easy win for de-extinction, but it does not challenge us to produce the methods necessary to revive birds or reptiles.”

Many people wonder about the repercussions of such an experiment. Scientists do not yet know how reintroducing an extinct species will effect the existing ecosystem. We’ll have several years to debate the issues as the project progresses. This year they are beginning to replace segments of the band-tailed pigeon genome with the essential passenger pigeon sequences. By 2022 they are hoping to generate live passenger pigeons using band-tailed pigeons as surrogate parents. The live birds will then be bred in captivity and eventually returned to the wild with a soft release target date of 2027.

Stewart Brand, of the Long Now Foundation, suggested that “this generation gets to rethink extinction, gets to rethink habitat loss and habitat restoration, and gets to ponder the role of biotechnology in protecting biodiversity. Welcome to a very interesting century.”

Sources include: Hope is the Thing With Feathers by Christopher Cokinos, The Silent Sky by Allan W. Eckert, The Passenger Pigeon: Its Natural History and Extinction by A.W. Schorger,, and the Wisconsin Historical Society.

An interview with Christina Calvit

Note: This is a guest posting from Autumn McConnico, production dramaturg for our fall MainStage production of Jane Eyre.

Jane Eyre’s adaptor, Christina Calvit, is a Lifeline ensemble member and has written numerous award-winning scripts, including the previous version of Jane Eyre. She revamped the script for this new production, and answered some questions for us about her work.

Q: When did you first read Jane Eyre? What got you involved in this adaptation that first time around?

A: I first read Jane Eyre as a teenager. When we did the show back in 1991, it was purely because Meryl Friedman (the director at that time) and I loved the story. In this current production, there are other things that interested us as well… but back then we just thought it was a great book that deserved to be on stage.

Q: I’m curious about how you begin an adaptation. With books of fair length like this one, hundreds of pages, there are so many words, scenes, characters: in the face of making a 100-page script, many may seem like distractions. How do you find the story you really want to tell from a book? What was particularly clear – or challenging – about Jane Eyre?

A: There is usually something thematic that catches at me…for Jane Eyre it was a persistence of childhood trauma. Then I look at the book through that prism and see what pops out. And I normally don’t deconstruct a book in my work, so I look at the way the story is told and try to include what’s necessary to that. And I look at the dialogue to try and find the very best. The hard thing with Jane Eyre is that there are so many, many great scenes. So much great back and forth, especially between Rochester and Jane. It’s hard to choose.

Q: In this show, Jane’s past before arriving at Thornfield is told to us in a rather uncommon way. What brought you to this approach for the people of Jane’s past?

A: The first third of the book is all about Jane’s youth. It’s interesting that Bronte devotes so much space to it. You could make it happen in real time (and some of the movie and TV adaptations do), but I wanted to heighten those experiences and make them more important symbolically. So the show opens with a nightmare mash up of people from Jane’s past: Aunt Reed, Mr. Brocklehurst, the headmaster of Lowood school, and Helen, her best friend at Lowood. They are the inner voices that have shaped her idea of her own self-worth and guide her choices, for good or bad. And they follow her for much of the play.

Q: What are you most excited about for this particular production? Do you have words for fans of the book who might be wondering what they will find in our show?

A: I like the nontraditional casting and staging—exploding the book a bit out of its period. It’s an epic story that people come back to again and again, so it obviously speaks to us beyond the 1840’s. The cast is amazing and the design is like nothing we’ve ever done at Lifeline before. It’s a different kind of Jane Eyre. I’m hoping people will enjoy what they’ve always loved about the story and also see it in a new and deeper way.

Q: What’s next?

A: I’m off to shoot a commercial in Austin for Vitamix! Everyone should have one!

Thanks, Christina!


Note: This is a guest posting from Autumn McConnico, production dramaturg for our fall MainStage production of Jane Eyre.

“Speak I must,” says Jane.

Who is listening to this story? Jane Eyre is subtitled An Autobiography, with Bronte’s pen name of Currer Bell credited as the editor. Jane frequently refers to the reader directly, in the manner of one expecting or assuming kinship:

“I will tell you, Reader, what they are.”
“Reader, here an illustration.”
and once,
“(oh, romantic reader, forgive me for telling the plain truth!)”

Now we have two things: an awareness that this book is presented as an autobiography, having for its fictional frame a (mostly) realistic life; and a sense that its narrator seeks a voice in kind with our hearing, purposefully helping and entreating a real audience.

Linda Peterson describes Victorian and pre-Victorian placement of women outside the field of self-analysis and discovery by compiling a list of religious admonitions, concerns about a woman’s mental and spiritual weakness which may be so significant as to make it impossible for her to safely continue a thorough analysis of anything, especially a Biblical text, without guidance:

“Victorian women did not have the authority to speak the language of biblical types. By Pauline injunction, they had been admonished to ‘learn in silence with all subjection.’ ‘I suffer not a woman to teach,’ St. Paul had written, ‘nor to usurp authority over the man’ (I Tim. 2.11—12). By ecclesiastical decree, they were denied ordination in the Church of England during the whole of the nineteenth century, prohibited from interpreting the Scriptures to a congregation in most Dissenting sects, and banned from Methodist pulpits by the Convention of 1803. John Wesley’s comments to Sarah Crosby, a woman who felt the call to preach, are instructive: ‘Even in public you may properly enough intermix short exhortations with prayer; but keep as far from what is called preaching as you can; therefore never rake a text; never speak in continued discourse without some break, about four or five minutes.’” (Peterson 131-2)

Peterson goes on to define Jane Eyre as a subversion of the further belief that female writing could be both factual and analytical or self-aware. Brontë used the novel as a perhaps satirical means of delineating “between when a woman may apply types and when she may not, between what aspects of a woman’s life are accessible to typological interpretation and what aspects are beyond (or beneath) interpretation” (133).

Harriet Martineau, novelist and philosopher who wrote about feminine roles and sociological frames, and who wrote her own Autobiography to be published after her death in 1877, met Charlotte Brontë later in the latter’s life. Friends of Martineau who knew her life history, upon reading Jane Eyre, told Martineau they suspected she must have consulted in the writing, so close was Martineau’s accounted early life to that of the fictional Jane (and, perhaps by another degree, to Brontë). The events which Jane encountered early in her youth and adolescence might explain Jane’s later choices according to Peterson’s view of Martineau, since she “chooses to trace in the Autobiography the forces that contribute to the growth of a mind—and these forces, while including the internal, consist in greater proportion of the observable and external” (150). The autobiography, for Martineau and perhaps for Brontë, serves as a way of laying out the events of a life and considering them as instruments or guides in a continued development, the causes leading to the mind and situation of the narrator, the autobiographer – the person at the heart of the story who now has the voice to tell it.

“But in the world outside the novel, Brontë assumes no such enlightenment. Jane Eyre’s autobiography makes its way into the world through the offices of a man, Currer Bell, who appears on the title page as the editor and who, according to Victorian convention, selects and arranges what a woman has to say about her life.” (135)

Is this why Jane tells her story so earnestly to a “reader”? Is it a “chick flick” of a book – or play – intended for female audiences to commiserate and nod along with, or take encouragement from? But Jane’s struggle to find listeners bridges gender divides, and falls along lines of authority of all sorts: age, institutional roles, religious and familial tradition. For our part now, knowing the Jane speaks directly to us as readers and, in Lifeline’s production, perhaps to us as viewers, there is an implicit need for a listener who will add another dimension to this conversation. That understanding of a need may place a heavier burden on us as observers, since we appreciate that extra relationship. Watching Jane’s life and the outcome of her repeated attempts to find a listener or kindred spirit, what do we see? According to Carla Kaplan, writing about the complications of reading Jane Eyre as a feminist conversation:

“…A ‘true conversation,’ in which neither partner dominates, controls, coerces, or instrumentalizes the other, in which the partners ‘do not talk at cross purposes,’ is an object of Jane’s narrative desire to the very extent that it is not a feature of her everyday lived experience.”

So, it seems, the fictional world of Jane is not letting her voice resound. Are we to fill that void by giving her an outlet, an audience which will receive her story and use it? Kaplan goes on to ask, “does assuming that the text ‘desires me’ re-perform the essentialism against which this novel strains by assuming that because we can identify with Jane we must be the listener/lover she desires?” Later, we will ask this question of some of our Lifeline collaborators, to see what about Jane’s story impels them to help her tell it. And what about Jane’s story, Brontë’s story, we hope our own audiences will find to consider about us and themselves, and perhaps about the world we inhabit.

Further reading and quoted:

Kaplan, Carla. “Girl Talk: Jane Eyre and the Romance of Women’s Narration.” NOVEL: A Forum on Fiction. 30(1). Autumn 1996. pp. 5-31

Peterson, Linda H. “Chapter 5. Martineau’s Autobiography: The Feminine Debate Over Self-Interpretation.” from Victorian Autobiography: The Tradition of Self-Interpretation. New Haven: Yale University Press, 1986.

The Summer of Love!!

Lifeline recently bid sad adieu to the phenomenal intern class of Summer 2014:


Left to right: Julianna Donaher (directing major at DePaul), Browyn Sherman (recent graduate from Loyola), Claudia Roy (acting major, Columbia), Martin Hanna (acting major ISU), Emily Wills (acting major, Northwestern), and Bo Johnson (Comedy Writing & Performance major, Columbia College)

This group excelled in can-do attitude and enthusiasm. Three cheers for Martin, who is on his way to spend a year at Arts University College at Bournemouth, and Browyn, who has now graduated from Loyola and assistant directed Jane Eyre. Look for Bo, Emily and Browyn — you will see them at Lifeline this fall working front of house and driving the shuttle! We hope the rest of intern class summer 2014 will also be back at Lifeline soon! And we cheer them on as they finish their college degrees!

Dorothy Milne
Artistic Director

Education in Jane’s time

Note: This is a guest posting from Autumn McConnico, production dramaturg for our fall MainStage production of Jane Eyre.

“Isn’t she original?”

Jane Eyre. A short portrait of her faculties. She draws in charcoal, colors, and sketches. She debates over philosophy, religion, repentance, duty, and doubt with quite a few characters in the path of her novel. She tells her own story.

If we take her as a product of her period, how unique was Jane Eyre in the education and opportunity she received?

Today let’s talk about Jane’s education. At Lifeline, we have chosen to explore the childhood and early formative experiences – and characters – in Jane’s life as a presence in a way which I won’t tell for you here. You’ll recognize them when you see them. But as a fictional autobiography, JE gives us a large part of a young woman’s life to depict, and much of the earliest parts describe her education. Let us look at one of those early portions of Jane’s life though the lens of history. What was education like for Victorian girls, especially poor orphans?

Public education as we describe it in the United States (since the English term means something quite different) did not come about until well after the 1847 publication of Jane Eyre. Even the idea that all people should be educated took time to gain traction. Meanwhile, education for the poor was best found in parish schools and institutions providing tuition grants (“subscriptions”) by richer donors around the areas. Young orphans or poorer children with protectors motivated to educate them could perhaps depend on these subscriptions if a school with such a program were nearby, and these institutions might be more willing to accept poor pupils in order to expand their ranks – since after all, students could be asked to perform chores at the school. Charlotte herself attended the Clergy Daughters’ School in Cowan’s Bridge, in Lancashire starting in 1824, with a tuition starting at 14 pounds (compared to the 15 pounds for Jane Eyre’s Lowood Institution). From the Clergy Daughter’s educational report from 1842, quoted in Elizabeth Gaskell’s biography of Charlotte Bronte:

“The system of education comprehends history, geography, the use of the globes, grammar, writing, and arithmetic, all kinds of needlework, and the nicer kinds of household work – such as getting up fine linen, ironing, &c. If accomplishments are required, an additional charge of 3L. a year is made for music or drawing, each.”

Charlotte and Jane’s educations may have been the exception in the field of female study. Anne Clough, visitor to girls’ schools in the mid-1800s, observed: “A few dry facts are taught, but the life and spirit are too often left out and there is a monotony in girls’ education which is very dulling to the intellect”. Analytical work may be pursued little if at all, and even historical facts and mathematics would make up the vast minority of time compared to calisthenics, sewing, and maybe music and language drilling. Indeed, spiritual and biological general views had for a while held that women lacked the ability to combine a strong memory for facts with a logical faculty for reasoning their causes, chronology, and implications – a slowly fading sense which made emergence of female authors of autobiography or analytical fiction stand out, something we will explore more. According to Clough, Girls’ schools intentionally “accentuating the differences between the sexes” and were valued for improving social graces and displayable qualities, the all-important “accomplishments.” And all the time, conditions of the school, high physical demands and less consistent sanitary conditions, could present further obstacles for students’ deep education.

Cowan’s Bridge was known for poorly managed kitchens, and not all Bronte sisters survived the school before their father removed them from it. Certainly Charlotte admitted to allowing parallels in school life of the novel, as in many other aspects, between her own world and Jane’s. Bronte even tentatively recanted some of her harsher portrayals of Lowood’s conditions – for health of emotion and of body both – because of the condemningly easy connection to her childhood school. From Gaskell again:

“Miss Bronte more than once said to me, that she should not have written what she did of Lowood … if she had though the place would have been so immediately identified with Cowan’s Bridge, although there was not a word in her account of the institution but what was true at the time when she knew it”

Yet Bronte depicted these realities as well as the learning that Jane did get away with. Perhaps she was lucky in her chance to learn French and drawing, reading the works that she did, at a charity school.

Meet the contestants #4: Mike Speller

The 2nd Annual Smartypants Adult Spelling Bee is coming up on Monday, June 23rd at Mayne Stage. Between now and then, we’ll be highlighting some of the competitors hoping to destroy the competition. Today, we meet Mike Speller.

Q: Tell us a little about yourself.

A: I am a Crest Hill (Joliet) resident, used to live in Park Ridge & Uptown areas as well. I love poker, basketball, and collecting matchbooks. I teach history through a Will County museum.

Q: How many Spelling competitions have you taken part in? Any specific experience(s) you’d like to share?

A: Despite my name I don’t believe I’ve ever competed in the category beyond board games like Scrabble.

Q: What motivated you to sign up?

A: A bucket-list mentality, family honor, and a chance to show up Aaron Spelling.

Q: What gives you an edge over the other contestants in this year’s Smartypants Spelling Bee?

A: Genetics, Arrogance, and possibly Alcohol.

Q: Anything else about yourself that you’d like to share with the world?

A: If this were a reality show, I’d dignify that with an answer; but until E! Channel calls, I’ll remain mysterious.

Meet the contestants #3: Polly Bruno

The 2nd Annual Smartypants Adult Spelling Bee is coming up on Monday, June 23rd at Mayne Stage. Between now and then, we’ll be highlighting some of the competitors hoping to destroy the competition. Today, we meet Polly Bruno.

 Polly Bruno

Q: Tell us a little about yourself.

A: I hail from Hyde Park on the south side. All hail Hyde Park! I have also lived on the north side, in Evanston and in Glenview.

My favorite hobbies are reading, writing, dancing and cooking. I published a novel, Western Motel, in 1985 (as Polly Gross), and I am currently at work on a suspense novel.

For my day job, I manage the meetings and events departments for a large retail pharmacy company. Previously, I managed a technical writing department, and I have been an English and Writing instructor at the University of California at Irvine.

Q: How many Spelling competitions have you taken part in? Any specific experience(s) you’d like to share?

A: I took part in my last spelling competition when I was in second grade. I was unfairly deprived of the win because I spelled Christmas “c-h-r-i-s-t-m-a-s” and did not say “Capital C-h-r-i-s-t-m-a-s.” Although this policy had not been communicated in advance, and though my opponent had gone on to spell the word incorrectly, Miss Andrews declared a tie.

In short, I am seeking redemption!

Q: What gives you an edge over the other contestants in this year’s Smartypants Spelling Bee?

A: I have true grit and the will to win. Also, I spell really, really well.

Q: Anything else about yourself that you’d like to share with the world?

A: My personal motto is “Fortunas audentes iuvat,” or “Fortune favors the brave.”

Meet the contestants #2: Karen Werner

The 2nd Annual Smartypants Adult Spelling Bee is coming up on Monday, June 23rd at Mayne Stage. Between now and then, we’ll be highlighting some of the competitors hoping to destroy the competition. Today, we meet Karen Werner.

 Karen Werner

Q: Tell us a little about yourself.

A: I live in Rogers Park. Born and grew up in Detroit. I came to Chicago by way of Green Lake and Milwaukee, WI. I don’t have any hobbies, ha ha! When I’m not working, I try to find cheap entertainment, especially local, including Lifeline and Mayne Stage. I am a self-employed massage therapist.

Q: How many Spelling competitions have you taken part in? Any specific experience(s) you’d like to share?

A: In the seventh grade, I won every one of my English class spelling bees, and went on to win the school spelling bee. In the eighth grade, I took third place in the school spelling bee, and was sent to the district spelling bee at the last minute, because the first and second-place winners were sick. They put me in the principal’s office the morning of the district, and gave me lists of words to memorize. I remember I went out on the word ameliorate, a word I had never heard before.

I was in the Lifeline spelling bee last year, and all I wanted was to spell my first word right. That didn’t happen. I spelled marionette (a word I had spelled correctly the week before) with 2 n’s, which is correct in French. French was my favorite subject from 5th grade through my sophomore year in college.

Q: What motivated you to sign up?

A: I wanted to recreate a positive experience of competing and to have fun with it. And to face my fear – of being onstage, and of looking stupid – because I could remember everything when I was 12, but that was a few years ago. I still want to spell my first word correctly.

Q: What gives you an edge over the other contestants in this year’s Smartypants Spelling Bee?

A: Nothing, and I’m OK with that.

Q: Anything else about yourself that you’d like to share with the world?

A: I’m just trying to show up…for life.