The Ostrich
by Wendy A. Schmidt
directed by Eileen Tull
May 2-17, 2025
Berger Park Cultural Center North Mansion
6205 N. Sheridan • Chicago, IL 60660 • (773) 761-0376
Jorge Salas………………Chuck Spenders
Shellie DiSalvo………….Incandescence Groane
Pete Wood……………….Orville Wright
Donaldson Cardenas*…Wilbur Wright
Ellen Adalaide……………Gidgitomy Groane / Ensemble
Jonathan Crabtree…….Hasty Morgan / Ensemble
Paul Kaufmann…………..U/S, Chuck and Orville
Debra FitzGerald………..U/S, Incandescence and Gidgitomy/Ensemble
Ted Dayton………………..U/S, Wilbur and Hasty/Ensemble
Prop and Set Designer: Mary Aurora Moore
Costume Designer: Annie A.
Assistant Director and Performance Stage Manager: Taz Stahlnecker
Assistant Stage Manager: Lou McNaughton
Rehearsal Stage Manager: Sallie Anne Young
Graphic Design: Wendy Schmidt
Production Photography: Steven Townshend | Distant Era
Videography: Josh Sparks and Kirsten Byers – microbird productions
Publicity: SHOUT Marketing and Media Relations
Land Acknowledgement
City of Chicago Land Acknowledgement
These performances take place on land that is and has long been a center for Native peoples. The area is the traditional homelands of the Anishinaabe, or the Council of the Three Fires: the Ojibwe, Odawa, and Potawatomi Nations. Many other Nations consider this area their traditional homeland, including the Myaamia, Ho-Chunk, Menominee, Sac and Fox, Peoria, Kaskaskia, Wea, Kickapoo, and Mascouten.
Playwright’s Note
The catalyst for writing this play was an image in my mind of the Wright Brothers as elements of their own logo—bowler hats, big mustaches, bicycles. The myth of technological progress is so deeply embedded in the American psyche that part of the myth is that we don’t have myths anymore. But human progress is not automated like technology. It requires action on our part, certain conditions, and long-term planning. Urban people demonize rural people for standing in the way of progress, but urban centers have access to educational and journalistic institutions (at least for now) that people in small rural towns do not, precisely because those in power have made it their mission to destroy them and replace them with outlets of propaganda over the last 50 years. Meanwhile rural people assume monstrous things of urban people they know nothing about based on propaganda. This is not to excuse them. It is to hold people to a more radical level of responsibility. Hannah Arendt’s Eichmann in Jerusalem was criticized as excusing the Nazis, but her point, and mine, is that aligning yourself with power in an economically exploitative, racist, misogynistic, and environmentally destructive Capitalist system will not save you. You may take for granted the right to the land, the resources, the promise that is America, but eventually you and yours will become the impoverished, the colonized, and the farmed. That is the tragedy of an immoral system. We don’t get to bask in the sun of automated progress. We only get to live in the “shadow of hope,” in Austin Channing Brown’s words. We are required to fight for a system that exploits neither our enemies nor our friends.
Cast
Ellen Adalaide (she/her, Gidgitomy, ensemble) Ellen is thrilled to be here and happy you’re here too! Credits include: Overtones (Hetty), Ever Young (Mrs.Blanchard), The Aviator* (Ensemble), The Mouseum (Company Member), The Diviners (Norma Henshaw), I’ll Leave It To You (Evangeline), Beetlejuice: The Musical (Assistant Stage Manager), Stillfield* (Director), Urinetown (Stage Manager). Thank you for continuing to support live theatre! If you’d like to get to know more about her career, follow her on the socials ellenadalaide.com and instagram @itsellenadalaide.
Donaldson Cardenas* (he/they, Wilbur Wright) Donaldson is proud to be working with Tull again, having recently played Willie in her limited run of Beckett’s Happy Days. Other recent favorite roles include Bobo in Hate/Lab & Runaways’ production of ‘Perforated Play’ and Peter in Young Krones’ ‘Drama In Roger’s Park.’ He feels a full circle moment by appearing in a Schmidt play, having played Harold in Marvelous Madeleines. Apparently, he loves Berger Park. He also loves Peaches and Nutmeg. L’pooh! Donaldson studied at Green Shirt, Neofuturists, Artistic Home, and Second City’s Conservatory. He didn’t go to theater school.
Jonathan Crabtree (he/him, Hasty/ensemble) Jonathan is chuffed to bits to be involved in the premier of this truly original play. Places you may have seen Jonathan before include: Howard in Rabbit Hole (Playhouse Collective), Smee in Peter and the Starcatcher and John Adams in 1776 ( EDGE Theatre), or as a professional Santa across Chicagoland, including Navy Pier and Midway/O’Hare airports. He would like to thank his loving wife Melissa, the most beautiful goblin in the world. You should buy her Broadway/cat stickers (www.anactorplans.com). If Jonathan was a D&D character, he would be a Dwarf Wizard.
Ted Dayton (he/him, U/S Wilbur and Hasty) is both excited and thrilled to make his debut with The Terror Cottas! His recent credits include Beauty and the Beast (AlphaBet Soup Productions), Jack and the Beanstalk (Chicago Kids Company), and A Christmas Carol: A Live Radio Play (Oil Lamp Theatre). You may also have seen him singing around town with The Chicago Carolers.
Shellie DiSalvo (they/sidhe, Incandescence) is a versatile artist hailing from Chicago, with a rich background in all aspects of Theatre and a passion for creative collaboration. Their extensive experience as both a stage and production manager brings a unique blend of creativity and organizational skill to every project, bridging the gap between the artistic and the administrative. Recently, Shellie has been digging back into their roots as an Interdisciplinary Artist™️– rediscovering writing, returning to slam poetry, and embracing the role of the Artist as Activist. Their diverse artistic pursuits reflect a commitment to creativity, collective equity (with a sprinkling of civil disobedience), and community. As they continue to evolve as an artist and human, Shellie remains deeply rooted in their overall role as Conduit for Chaos, grounded in praxis and the vibrant artistic community of the city. They are grateful for the opportunity to collaborate and share their artistry in all of its various forms, extending heartfelt thanks to all supporters and collaborators.
Debra FitzGerald (she/her, U/S Incandescence and Gidgitomy) is making her stage debut with The Terror Cottas in The Ostrich. She spent several years acting in college, performing in productions such as Lysistrata and The Really Hip Adventures of Go-Go Girl – Episode 9: Space Vixens with Sassy Attitudes, before taking a hiatus. Now, she is thrilled to return to the stage once again.
Paul Kaufmann (he/him, U/S Chuck and Orville) is thrilled to be in his first production with the Terror Cottas. Born and raised in New Hampshire, Paul graduated from Virginia Wesleyan College with a degree in Theatre, so naturally he had to move to Chicago. His past credits include Cornservatory’s (where he is a company member) Woodland Critter’s Christmas, Graveyard’s Ghost and PieTanic, other productions include: Yellow Rose Theatre’s Airport Time, Saint Sebastian Player’s production of An Enemy of the People, A Christmas Carol, The 39 Steps, Distracted, Suddenly Last Summer, and the Assemblywomen. Paul would like to thank his family and everyone who has helped him get here. Even his sister. And Rei Rei for her everloving support.
Jorge Salas (he/him/el, Chuck) is a Chicago-based actor excited to be part of The Ostrich! His recent stage credits include: Accidental Election of an Anarchist (Athenaeum Theatre), La Ronde (Meat Machine Theatre), The Language Archive, and Jeff nominated, Buried Child (AstonRep). Recent Film/TV work includes: Deli Boys on hulu, and BAM (Broke Ass MotherF*ckers) on Prime. Jorge has also done industrial and commercial work in both English and Spanish.
He is represented by Talent X Alexander and you can follow him on the socials at: imdb.me/jorgesalas or @jorgesalaschi
He works in technology by day, plays soccer, and lives for foodie orgasms.
Thank you for supporting live theatre!
Pete Wood (he/him, Orville Wright) Pete is excited to be a part of The Ostrich. He just recently performed his one person show But Seriously developed with Eileen Tull here at Berger Park and at Filet of Solo with Lifeline Theater in Rogers Park. He played Mr. Ivory in The Pot Boiler as part of the Alice Gerstenberg Plays Festival at Berger Park. He is a storyteller with Goodman Theatre’s GeNarrations program. He is a stand up comedian and plays “Johnny Rocco” in The Untouchable Gangster Tour here in Chicago. He has also played multiple characters in Tony ‘n Tina’s Wedding at Pipers Alley in Old Town.
Creative
Wendy A. Schmidt (she/her, playwright) is honored to be working with Eileen Tull and this talented cast and crew. The Ostrich is an example of how she keeps on writing about the pitfalls of Capitalism. Past productions include This Music Should Not Be at RhinoFest (2024), about the self-alienation of technology; her one-woman play Maker of Worlds starring Amy Gorelow at Theater for the New City’s Dream-Up Festival (NYC 2019), about the toxic marriage of Capitalism and religion; and Marvelous Madeleines right here at Berger Park Coach House Theatre (2016), a rom-com about two companies who fall in love and get married now that it’s legal. She once almost won an award, and was rejected for many things. She formed The Terror Cottas in 2022 to build audience and create performance opportunities for the work of experimental playwrights. Thank you to Latham, Thomas, and the Chicago Park District for being so easy to work with! Enduring gratitude to Firkins, The Mints, Lisa, Donaldson, and Eileen. VPAN!
and Bravelux
Eileen Tull (she/her, director) is a Chicago-based theatremaker, poet, educator, and one-woman-show person. Her work has been seen all over Chicago in bookstores, art galleries, bars, non-traditional spaces, and sometimes in theaters. Directing credits include Funny, Like An Abortion (Fat Theatre Project/Chicago Danztheatre Ensemble), Household Spirits (Theater Wit), STEPS (Improv Playhouse), and dozens of productions with the Chicago Park District including The Phantom Tollbooth, Cheerleaders VS. Aliens, Jason and the Argo-NOTS, Big Smoke, Fantastic Mr. Fox, and The Witches with elementary aged children and No Exit and Happy Days with adults. Eileen is the producer of both The Alice Gerstenberg Play Festival with the park district and The Gloria Bond Clunie New Playwrights Festival with Fleetwood-Jourdain Theatre. She is a drama instructor with the Chicago Park District, where she has taught creative classes to folks of all ages for almost 10 years. Eileen founded Fat Theatre Project in 2024 where she teaches, produces, writes, and directs. She is a graduate of Loyola University of Chicago and is currently working towards an MFA in Directing & Playwriting at Randolph College. www.eileentull.com
Design
Annie A. (she/they, costume designer) is a writer, performer, and theatremaker from Chicago. They’ve written and performed at The Second City, The Annoyance Theater, Otherworld Theater, The Neo-Futurists, and more. As an artist, Annie believes in the power of storytelling as a builder of community and creation as the spark that fuels life itself. Their recent work includes producing and performing in Fat Jokes, a comedic showcase put on by Fat Theatre Project, doing props and projections for The Curator Presents, a one-woman show about loss and self-discovery during COVID lockdown, and two showcases at The Neo-Futurists. She wrote, produced, and performed in Hairy Tales, a sketch show featuring queer feminist retellings of fairy tales. They were also on the steering committee for The Shrews, an improv team of women and nonbinary folks performing in the style of Shakespeare.
Mary Aurora Moore (she/her, properties and set designer) Mary is a jill-of-all-trades of theatre design, mostly in the props and set areas. In 2025, she worked as Props Designer for Funny, Like an Abortion (Fat Theatre Project with Chicago Danztheatre Ensemble) and as Technical Director for The Distrikt of Lake Michigun (StageLeft). Her previous post-pandemic shows include Set and Props Designer for No Exit (Chicago Park District), InterPlays (Fat Theatre Project), Happy Days (Chicago Park District), and 2 rounds as Production Designer for the Alice Gerstenberg Project with Berger Park.
Technical
Lou McNaughton (they/them, assistant stage manager)
Taz Stahlnecker (he/him, assistant director, production stage manager) Taz Stahlnecker is a Mexican-American writer, director, actor and photographer with a passion for storytelling and collaboration. He received a Master’s in Musical Theater Writing from NYU and a Bachelor’s in Theater Arts from Santa Clara University. His show “To Those Who Love the Moon: An Anthology of Lunar Stories” received a reading as part of More Mas Marami’s Writer’s Launchpad. Current projects include a new musical titled “Friends for a Night” (Book & Lyrics by Taz Stahlnecker, Music by Durra Leung) and an untitled play that uses Aztec myths as a way to explore traditions and queer sexuality. As an artist, Taz hopes to build and be part of a community that values collaborating with and supporting artists at all stages of their artistic journey.
Sallie Anne Young (she/her, rehearsal stage manager) is a dynamic co-director, stage manager, actress, and voiceover artist with two bachelor’s degrees in Mass Communications from Illinois State University. As the playwright of VR Rehab: Mark of the Beast and author of the upcoming novel Head Over Heels, Sallie brings bold storytelling to both stage and page. Her media career spans radio, television, film, and theatre, with credits that include stage production manager for Blake Martin’s The Circle and assistant director/stage manager for Amy Crider’s The Day After. She has lived and worked in New York City, Paris, Japan, and South Korea, honing her skills in acting, photography, and production. Featured on the front page of The Pantagraph as a first-generation college graduate, Sallie continues to break barriers. She is also a key media contributor at Davette J. Franklin’s DavJasFran Entertainment and has been recognized for her excellence in stage management and sound design.
Special Thanks
Special thanks to Thomas Wayda, Latham Zearfoss, the Chicago Park District, the Lubin-Platt family, Lauren Brescia, Josh Sparks, and Kirsten Byers.
Donors
Donors of $50 or more received the stupendous honor of naming an ostrich featured in the show. Thank you to these generous folks, and to all of our donors! Thank you to the excellent artists who created ostriches for us. It couldn’t have happened without you!
(created by Annie A.)
(created by Gretchen Boies)
(created by Kris Luedtke)
by Pattie Horwitz
This work is for sale >
(c/o Vivian Donaldson)
Bob and Meg Tull
This painting was generously lent by the artist and is for sale:
The Ostrich
Pattie Horwitz
Email: phorwitz@gmail.com
Price: $100
Medium: Acrylic on canvas
Preferred payment Venmo, Zelle or PayPal.
*Donaldson Cardenas appears in a volunteer capacity.
Remembering
Linsey Falls
Elyse Weasley-Freer
Kathy Holland
Benny Palmer
Fred Schmidt
co-produced by
The Terror Cottas
Chicago Park District
