Tony Burgess' PONTYPOOL at Strawdog Theatre

With many theaters opening their fall seasons with presidential-themed plays (and rightfully so this election year) Strawdog Theatre's zombie-themed production of Pontypool is a welcome addition, perfect for the Halloween season. Described as "Talk Radio meets 28 Days Later by blogger Christian Toto, Pontypool is a new and refreshing take on the zombie genre, based on the novel (and subsequent film) by Tony Burgess. A one time popular morning zoo radio jock has wound up doing traffic and temperature at a small station in the even smaller town of Pontypool, Illinois. Until one day the calls start to pour in; people are talking about bizarre mob attacks, military quarantines and people eating other people. Is this a hoax? Is it a small town prank? And if it is not a prank, will anyone survive?

My pal Anderson Lawfer, Artistic Director of the Hugen Hall Space at Strawdog Theatre directs this production. Upon my return from covering New York Comic Con for my Geek On! column (very appropriate), I was able to catch up with Andy and writer Tony Burgess:

Danny Bernardo: What first inspired you to write the novel Pontypool Changes Everything?

Tony Burgess: Well, it wasn't one specific thing, or idea. I wanted to write a psychosomatic zombie novel with the idea that if you described the symptoms you became infected. The idea that the virus is copied in infected words etc. came naturally to this idea.(though I've read my Burroughs, his `language IS a virus' is very different.) I also wanted the book to be pulling itself apart as you read it. I was reading a lot of occult memory theory, pataphysics and things... people like Blanchot, Kristeva... (fresh out of university, you understand)... but I also wanted it to be scary as hell... I wanted the reader to feel like their own thinking had run aground - that the experience of reading gets painful. I don't think every reader gets there. I think the effect needs an attentive and fragile reader. I like scaring unstable people most.

DB: You've adapted Pontypool for film and a radio play in forty-eight hours. How was the process of adapting it to the stage different?

TB: : This latest project... the "Ponty-play" is very exciting to me. I only ever write unfinishable things and theatre suits this well. Immediate and unfinished. It is a compelling savage place, full of breathing and talking. The Pataphysical works best in the physical. I am still adapting it, changing it. It will be published as a play next year. It has been mounted in Wales, U.K. California and soon in Kansas and London. The Strawdog folks have been terrific. They've asked some solid questions of the script, and they recognize how it works.

DB: Andy, what has the experience of working on this piece with Tony been like?

Andreson Lawfer: Tony and I talk to each other a few times a week, working on the script, sharing war stories and just chatting about life. He has been literally the best person I could have asked to work with for my first project like this. Tony has some experience in theatre, which means he understands the way a new script needs to be able to change and lines added, lines taken away. He has also, oddly enough, trusted my judgement and let me make some decisions that "Playwrights" aren't usually cool with. But, his generosity with this piece has been great. All serious horror fans know and love this film and book, so doing it justice is always the first priority.

DB: This is your first time directing for Strawdog, your artistic home. How has the experience been different from working elsewhere?

AL: Not only is this my first time directing at Strawdog, this is my first time directing a straight play in 10 years! I usually direct formatted shows (i.e. talks shows, games shows, variety shows, etc.), so it has been a learning process throughout. What makes Strawdog different for me, and what has made this a success, I feel, is that I have the opportunity to fail. When I say that Strawdog is my artistic home, that's exactly what it means. It isn't a theater where everything needs to go perfect and a theatrical quota needs to be met, it is a laboratory, a living room, a kitchen and a playground. We use the shit out of that space and have only begun to really take advantage of it the way we can. My job as Artistic Director of Hugen Hall (our side space) is to make sure we utilize the entire facility and let all of our artists grow and experiment. We have some great projects lined up, and I am super excited to see everybody flex a little bit

DB: Tony, the stage adaptation has an exciting new ending. Without giving any spoilers, how do you think fans of the film and novel will react?

TB: I think if you're a `fan' of the book and film, then you'll allow versions of the most eccentric kind. That's what I hope anyway. I've always wanted to write a play where the text lies on the stage and the audience watches it. And the text should be seriously developed as a play, but only ever performed, unthumbed and silent. Hey! Let's fuckin' do that!

Pontypool runs Friday and Saturday at 11P and Sunday at 8P (with an added 8P Wednesday performance on October 31) until November 10. Performances will be held at Strawdog Theatre Company's Hugen Hall, 3829 North Broadway Street in Chicago. Tickets are $15 and can be purchased on the company's website or by calling Ovation Tix at 866-811-4111.

The cast features Strawdog ensemble members Jamie Vann (Grant Mazzy), Carmine Grisolia (Dr. Mendez) with guest artists Mierka Girten (Sydney Briar), Nikki Klix (Laurel Ann), with Michael Dailey (Ken Loney) and Adam Schulmerich (Howard Ng).

The production team features Strawdog ensemble members Carmine Grisolia (set design), Aly Renee Amidei (blood and costumes), Jordan Kardasz (lights), Gregor Mortis (sound design) as well as John Moran (combat design), Josh Sobel (dramaturgy), Paige Reilly (props and blood) and Morgan Gire (production and stage manager).