CIC: Hey Gillian you have been with the show now for 20ish of the over 30
show run. What is your favorite moment so far?
Gillian: My favorite moment so far would the the grande finale vaudeville roll dance that Cynthia Shur and I performed. Some may ask themselves, what is a vaudevillian roll dance. Well, it is a spectical to behold. Rolls are flying. Ladies are dancing. Spoons are flipping, and the world is better at the end.
CIC: What is the hardest thing about doing the show?
Gillian: Patience and trust. Patience to let others do what they feel they need to do, and trust to honor what it is they are doing.
CIC: What is your favorite thing about doing the show?
Gillian: The discovery of what actually comes out. You just never know.
CIC: What is some other projects you are working on right now?
Gillian: I am on a Playground Team, Damascus Steel. I have a show opening on Sept 12th called Downward Smile at Donny’s Skybox at the Second City, and I am currently working on my one woman show.
CIC: What is something none of your cast mates know about you?
Gillian: I just got a new phone, light blue, a chocolate.
CIC: Anything else you wanna add?
Gillian: I love the Price is Right, but I’m not sure Drew Carey is a Bob Barker. Know what I mean?
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Bad Review performs each week on Sunday at 8pm tickets are $10. We take the worst review from this weeks Chicago Reader and we improvise the show we feel the critic would rather see. This weeks Review:
Anna Livia, Lucky in Her Bridges
David Brendan Hopes’s play is a gay ghost romance, with echoes of Brigadoon and The Dybbuk, in which true love weathers not only suicide but steambath assignations. Alternating between the first Bloomsday–June 16, 1904, the date on which James Joyce’s Ulysses unfolds–and its centennial celebration, this ambitious work follows David, an American tourist, as he uncovers the supernatural connection that draws him back to Dublin over and over again. Clearly, Hopes envisioned a parable about overcoming the shame historically associated with homosexuality. But that’s the only thing that’s clear. Between Kevin D. Mayes’s misbegotten direction, an amateurish lighting design, dramaturgical failure, and Hopes’s own, badly tangled metaphors (question one: Why Bloomsday?) the project’s a mystic mess. Only Timothy Martin survives, as David’s love interest. –Tony Adler