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The Midwest Premiere of THE WHALESHIP ESSEX By Ensemble Member Joe Forbrich, Directed by Lou Contey and Tennessee Williams’ THE ROSE TATTOO Directed by Greg Vinkler.

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Thanks for joining SGT for OUR COUNTRY’S GOOD!



Wertenbaker’s adaptation of The Playmaker, by Thomas Keneally, examines Australia’s first penal colony and the redemptive power of art. As the inmates rehearse for the upcoming production, light is shed on the class system of the colony, relationships between the incarcerated and the officers tasked with policing them, and the effect of art on a prison population. OUR COUNTRY’S GOOD premiered in 1988 at the Royal Court Theatre and later ran on Broadway, garnering many awards along the way. Nominee of six Tony Awards and winner of two Laurence Olivier Awards and a New York Drama Critic’s Circle Award, the play was remounted in London this year to mark the 25th anniversary of its debut.

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Thank you to everyone who joined us!

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Time Out Chicago

Chicago Theater Beat

Chicago Tribune

“The show as a whole is raw and searingly authentic…and yet the audience isn’t

left with only the ever-lingering heartache and damage such loss creates. With the

show’s powerful performances and production choices, we’re also presented with

the shaky hope and strength that can eventually rise from the ashes.”

Time Out Chicago

“(Kate) LoConti, untamed and satisfyingly stubborn, sizzles and pops with

conviction, from an explosive anger to a much deeper place of hurt, guilt and

genuine sorrow.”

Time Out Chicago

“Sandy Shinner’s staging, a gem from Shattered Globe Theatre, could not achieve

better casting or generate more sheer conviction per minute. ….Solidarity is

almost too weak a word for Shinner’s nine dynamic performers. Using a kind of

immersion therapy, they put us in their place. It’s theater at its most present and

accounted for.”

Stage and Cinema

“Riveting….There’s a moment that took my breath away….honest, complicated

performances that are observant and piquant and true.”

Chicago Tribune

“At the hurt heart of this slice of work are two women who lose their men in

different and equally credible ways. Marlene ( a haunting Kate LoConti) has

supposedly held up a settlement by refusing to take “blood money” from the mill

owners for the loss of her young husband Champ (Drew Schad, present especially

in his absence), horribly burned in the blaze. Marlene’s hard-drinking, badly bored

sister-in-law, the ironically named Sunny (unforgettable Rebecca Jordan) wants to

leave her uninspiring Bo (a solidly flawed Ken Bradley): Ironically, his surviving a

fire that he might have contributed to through pain pills and inattentiveness has

preserved a sick marriage or given them a second chance.”

Stage and Cinema

“Shattered Globe Theatre’s intimate production carefully charts Nemeth’s

nonlinear narrative with the aid of Charlie Cooper’s inventive lighting and superb

performances… the story of loss and healing is universal.”


“Shattered Globe Theatre, under the imaginative direction of Sandy Shinner,

has mounted a haunting and deeply emotional story about the demise of a steel

town…We care and empathize with the Widows….Ken Bradley, Rebecca Jordan,

Drew Schad and especially Kate LoConti give yeoman performances as they each

struggle with the mourning process. This show rivets our heartstrings.”

Chicago Critic

“Shattered Globe Theatre ignites the story with a vengeance matched only by an

incendiary set of performances.”

Chicago Theater Beat

“Shattered Globe offers another truly visceral experience for its


Chicago Theater Review

Thanks for joining SGT for OTHER PEOPLE’S MONEY!


OTHER PEOPLE’S MONEY delves into the seedy and deceptive world of business, as a small company faces a hostile takeover at the hands of a ruthless businessman. Slimy, immoral and strangely likeable, “takeover artist” Lawrence Garfinkle will stop at nothing to gain control of New England Wire and Cable. Equal parts corporate critique and romantic comedy, OTHER PEOPLE’S MONEY mines the manipulation, greed and unexpected humanity in the world of business.

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“Coxon’s comedy hits nail after nail on the head—the sense of catharsis you get when someone has the guts to go for broke and tell it exactly as it is.”
— The Independent

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