Babes With Blades Theatre Company (BWBTC) announced today that the world premiere of Plaid as Hell, written by Cat McKay (she/her/hers), directed by Christina Casano (she/her/hers) with fight direction and intimacy direction by BWBTC Ensemble Member Maureen Yasko (she/her/hers), originally scheduled for January 29 - March 5, at The Factory Theater, 1623 W. Howard St, will be postponed with the new dates of the production to be announced.
Plaid as Hell, the winner of the BWBTC’s Biennial International Playwriting Competition Joining Sword & Pen and The Margaret W. Martin Award, is an honest, slightly raunchy, queer comedy which introduces us to Cass, who is hoping her annual camping trip will go well this year. But with her best friend Emilie sniping at Cass’s new girlfriend Jessica, not to mention the serial killer on the loose, the weekend is off to a rocky start.
ABOUT JOINING SWORD & PEN INTERNATIONAL PLAYWRITING COMPETITION AND THE MARGARET W. MARTIN AWARD
The Joining Sword & Pen international playwriting competition launched in 2005 to generate more scripts that featured women in roles involving stage combat. Created in collaboration with Artistic Advisor and Fight Master in the Society of American Fight Directors David Woolley who sponsors the competition, scripts inspired by a specific image are submitted and go through a blind judging process. The winning script goes through BWBTC’s new play development program, but also receives a full production, cash prize and the Margaret W. Martin Award
Margaret W. Martin was ahead of her time. In the 1960s and 70s, she maintained her full time job, taught piano, and raised a family of 6 children (four girls, two boys) all while she traveled the globe from the States to Saudi Arabia, across Europe and Vientiane Laos during the height of the Vietnam war. She founded the American International School – Riyadh (K-12) in Saudi Arabia in 1963, and it has flourished as an institution since then. The Margaret W. Martin Award is in honor of Artistic Advisor and SAFD Fight Master David Woolley’s mother.
ABOUT BABES WITH BLADES THEATRE COMPANY
Babes With Blades Theatre Company – for over the past 20 years, and moving into the future – strives to develop and present scripts focused on complex, dynamic (often combative) characters who continue to be underrepresented on theatre stages based on gender. Babes With Blades Theatre Company uses (and will continue to use) stage combat to tell stories that elevate the voices of underrepresented communities and dismantle the patriarchy.
In each element of their programming, they embrace two key concepts:
1) Folks of marginalized genders and underrepresented communities are central to the story, driving the action rather than responding or submitting to it.
2) Everyone is capable of a full emotional and physical range, up to and including violence and its consequences.
The company offers participants and patrons alike an unparalleled opportunity to experience every person as heroes and villains; rescuers and rescues; right, wrong and everywhere in between: exciting, vivid, dynamic PEOPLE. It’s as simple and as subversive as that.
LAND ACKNOWLEDGEMENT STATEMENT:
Babes With Blades Theatre Company produces theatre in venues located on the traditional homelands of the Council of the Three Fires: the Ojibwe, Odawa, and Potawatomi Nations. Many other tribes such as the Miami, Ho-Chunk, Menominee, Sac, and Fox also called this area home. This region that we now commonly refer to as “The Chicagoland Area”, has long been a center for Indigenous people to gather, trade, and maintain kinship ties. Today, one of the largest urban Native American communities in the United States resides in Chicago. Members of this community continue to contribute to the life of this city and to celebrate their heritage, practice traditions and care for the land and waterways.
BWBTC’s 2022 programming is partially made possible by the kind support of The Gaylord & Dorothy Donnelley Foundation, a grant from The Illinois Arts Council Agency, a CityArts Grant from the the City of Chicago Department of Cultural Affairs & Special Events (DCASE), and the support of the Small Business Alliance Shuttered Venue Operators (SVOG) grant program.