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More If You’ve Got It
brings together five full-length plays spanning the 24-year (and counting) history of Chicago's acclaimed Theater Oobleck, a company renowned for producing intriguing new works without a director and for audiences with or without the means to pay. (Ticket prices for Oobleck shows are always a suggested amount, “more if you’ve got it, free if you’re broke.”)

This collection features works by five of the six playwrights currently active with the company, each of whom were founding members of company:

Ugly’s First World by Jeff Dorchen, in which a singing zombie, seeking revenge against T.S. Eliot, becomes a pawn in a battle to overthrow God;

Innocence and Other Vices by Dave Buchen, a half-true, half-blasphemous screwball comedy about the mildly unhealthy relationship between charity and capitalism;

Letter Purloined by David Isaacson, a whodunit comedy about war atrocities and a handkerchief;

There Is a Happiness That Morning Is by Mickle Maher, a play, in rhymed verse, about the poetry of William Blake and having sex in public;

Necessity by Danny Thompson, a bloody and historically inaccurate bio-drama of Thomas Alva Edison, from chain gang to electric chair.

(Founding member Terri Kapsalis’s most recent work The Hysterical Alphabet was published by Whitewalls in 2008.)
Theater Oobleck was founded in Chicago in 1988, out of the ashes of Ann Arbor’s Streetlight Theater (1983-1987). The company immediately distinguished itself with its absurdist, deeply referential aesthetic, and with its unique operating structure: Oobleck is dedicated to developing new works (60 plays to date), without the use of a director, substituting the traditional director’s role with a collaborative method. Two conventions are in place to help keep the creative process from descending into chaos. “Outside eyes” (company members, members of the Chicago theater community at large, friends, and audience members) are encouraged to attend rehearsals and give notes on all aspects of the production, from the script to the lighting design to the actor’s interpretation, engaging with the production from the ground up. Each performer is also given “actors’ prerogative”--the ultimate responsibility for her or his choices in blocking, delivery, even including the authority to amend the script in the course of a performance.