Dearly beloved, we are gathered here today to celebrate a sacred union; the union of player and company, of actress and artistic home, of Jennifer Byers and TUTA Theatre Chicago.  Many of you may remember when Jennifer and TUTA were courting, back in the days of The Hour We Knew Nothing of Each Other.  It seemed then that they barely spoke a word to one another but clearly it was love at first sight.  Jennifer has stood by her artistic partner, even through the days when it asked her to perform mime-like antics on the sidewalk in front of the theatre.  TUTA has stood by its struggling actress, even when she could not find her character or remember her lines.

I remember my first run as TUTA’s bride in Rules for Good Manners in the Modern World.  It was a whirlwind romance that played out across more than one Chicago stage.  We even honeymooned at the Castillo theatre in New York (that was exciting).  I have such fond memories of that rehearsal process, which I never wanted to end.  Our director, Z, took a lot of time with me and our connection was at its peak.  As actors, we were given absolute freedom to explore and create our world.  We were encouraged to think and act outside the box and nothing was too strange to try.  Together we built something that was somehow baroness/bride/maiden/mother/grandmother/archetype and the voice of a society, all at once.  At the same time we were a real woman with a real heart and real relationships.  To this day I don’t know that I’ve even begun to scratch the surface of the depth and beauty that is possible with Z’s vision of Rules.  More than any other role, I dream of what I could do with it now that I am older and have more life experience and skill.  Rules marks the true wedding of my heart to TUTA and its mission.  That show was a perfect moment in time that, for me, exemplified the experimental, co-creative, full-bodied, intellectually stimulating rehearsal process that is core to TUTA and what makes it unique.

Having had such success with the first marriage, TUTA and I decided to tie the knot again in 2010 with The Wedding.  As much as tackling Brecht is a dream come true, it was also quite difficult and I really struggled with this piece and this process.  I was trying to figure out what it means to be a caricature, a concept and a real (and not very likeable) woman simultaneously.  I was very aware that we (the cast) are a metaphor (on some level) and that everything we do on stage is heightened, yet we fought to be flesh-and-bone, blood-and-shit-real up there.  I’ve been with TUTA for eight years now and Z expects me to take risks and to generate diverse ideas but I was so stuck.  Add to it that I had to learn to dance the tango in heels, had a fantastic solo but no idea what to do with it and was working amidst some challenging relationship dynamics.  Several nights I came home exhausted and weepy, wondering what the hell I was doing.  Then one night I realized how lucky I was to have all that fear.  That fear was a product of the freedom I was being given and of the reason I love TUTA.  A lesser company would not push, teach or scare me anywhere near as much.  Recognizing that helped me to find more joy in the work.

And so what do you think 2011 has in store for this happy couple?  That’s right, marriage number three!  Opening in February and back by popular demand, The Wedding is being remounted at The Chopin Theatre.  As they say:  “Third time’s a charm”.