Running time: 90 minutes
(no intermission)
Thank you for joining us for the first reading presentation of the 2025 Spark Lab Series! A series dedicated to the creation and development for exciting and original new theatrical work for the stage.
Lobby opens 30 minutes prior to show time for an audience reception. Theater seating begins 15 minutes prior.
Reception time: 1:30pm
Reading starts at: 2:00pm
Post-show discussion: 3:30pm
Please join us for a short feedback session and Q&A response with the artists after the reading.
*Limited seating available. Email newworks@paramountarts.com to reserve your seat.
Blood of my mother’s
February 8th, 2025
A play by Karissa Murrell Myers, Directed by Denise Yvette Serna
On Christmas Eve 1997, pregnant Marina fled to her older sister Lillian’s house in the middle of the night with the biggest problem she ever faced: an unwanted pregnancy. After giving birth, Marina abandons the baby Egg in her sister’s care, much to the concern of Lillian’s husband, Richard. Now sixteen years later, Egg has gone missing and no one seems to care but her sister/cousin Deanna. The search for the truth turns this Filipino -American family’s world upside down as they are forced to face their inner demons. Because sometimes, the place you run to for safety turns out to be the most dangerous place of all.
Playwright’s Note
During lockdown, I started writing plays because I had too much time on my hands and sitting there, stewing in my own thoughts was absolutely maddening. The first play I wrote was ON THE GREENBELT, which was an exploration of grief and complicated family dynamics I’d experienced firsthand on my dad’s side of the family.
With my second play, BLOOD OF MY MOTHER’S, which I started writing in Fall 2020, I was keen on examining the relationships between the women on my mom’s side of the family, and how they both function and dysfunction. I also remember thinking at the time, “I love Sam Shepard’s BURIED CHILD, why isn’t there a BURIED CHILD for Filipinos so that people like me could be in it?” Having no answer for that, I decided to write it myself.
BLOOD OF MY MOTHER’S has seen development over the last few years having been a part of two writers’ intensives at both Jackalope Theatre and Steep Theatre, readings with Silk Road Rising (now Silk Road Cultural Center) and Wayward Sisters Ensemble, and a workshop with Rivendell Theatre back in Fall 2022. A scene from it also won at Bramble Theatre Company’s Festival of Unfinished Work last summer via audience vote. It’s an odd thing, coming back to workshop it after over two years of this piece simmering on a back burner in my mind. I had other plays I wanted to work on. I was opening up a theatre. I was BUSY, okay? But truth be told — and we playwrights are in the business of telling stories in order to tell the truth — the play was driving me so bananas that I metaphorically threw it in a closet and was like, I’ll deal with you and your nonsense later. Well, it’s later now, and I’m quite chuffed to be here at Paramount and have the chance to finally open the door, and coax this play out once more to poke around, see where we’re at, and nurture the thing to discover what it truly wants to be. Plays are like children: no two children are the same, they might look a little weird but they’re yours, and you really shouldn’t play favorites. So, with that being said, I’m thrilled to introduce you to my strange, dark-eyed, sometimes frightening child. She may make you uncomfortable. And to that I say: good.
– Karissa Murrell Myers
Dramaturg’s Note on Tagalog Usage in the Script
According to linguistic studies, a family typically loses a heritage language by the third generation when living in a new country, meaning that the grandchildren of immigrants will likely not speak the ancestral language fluently. When family members are not equally comfortable in a shared language, it can have a significant impact on intrafamilial relationships.
During the reading today, when you hear Tagalog (the standard national language of the Philippines), you will not see subtitles translating the meaning for you. Instead, we encourage you to use these moments to envision yourself in Deanna and Dominic’s shoes as they piece together conversations in multiple languages. What might these third-generation children be missing in their family dynamic because they can’t understand these moments?
– Emma S. Rund, Dramaturg
Content Guide
This play contains topics and themes of a sensitive nature. Please review the list below for details.
Content Advisories: violence, racism, sexism, death, profanity.
Talk of: inebriation, pedophilia, child sexual abuse material, abortion, and adoption.
Meet the Cast
Marie Tredway*
Lillian
Making Paramount debut.
Stephanie Fongheiser
Deanna
Making Paramount debut.
Carolyn Hu Bradbury
Marina
Making Paramount debut.
Arvin A. Jalandoon
Lolo
Making Paramount debut.
Ben Page*
Richard
Previously in A Streetcar Named Desire.
Thomas B. Tran
Dominic
Making Paramount debut.
WHO’S WHO IN THE CAST
MARIE TREDWAY she/her (Lillian) is a SAG-AFTRA actor theater director/actor. Notable credits: Goodman Theater, Steppenwolf, Victory Gardens, APT, and Milwaukee Chamber Theater. Marie recurs as Nurse Trini on Chicago Med, Fire and PD. She is proudly repped by DDO Artists Agency & Anthony Leones. She is a passionate artist advocate for marginalized voices.
STEPHANIE FONGHEISER (Deanna) Chicago credits include: Mercy Killing (Open Space Arts), The Brightest Thing in the World (u/s, About Face), A Christmas Carol (u/s, Drury Lane Theatre), Little Women (First Folio Theatre), and Frankenstein (Oil Lamp Theatre). She is a company member at Avalanche Theatre and is represented by BMG Talent.
CAROLYN HU BRADBURY she/her (Marina) is an actor, writer, and improviser from California. She has an MFA in Acting at The Theatre School at DePaul. She has performed with The Goodman, Remy Bumppo Theatre, Definition Theatre, and Jackalope Theatre, as well as appearing in Chicago Med and Chicago Fire.
ARVIN A. JALANDOON he/him (Lolo) This Author feels privileged in telling the story of Filipino Americans. Happily married Sag Aftra Chicago resident. Past credits; Indie Films, Commercials, Printwork and recurring roles in Chicago Med but am most happy being in the Theatre Stage. Thank You Karissa and Paramount.
BEN PAGE (Richard) is thrilled to return to Paramount Theatre where he recently played Mitch in A Streetcar Named Desire. He has also appeared onstage at Windy City Playhouse, Nebraska Rep, Rivendell Theatre, A Red Orchid, Jackalope and Shattered Globe. When he’s not acting, Ben enjoys Elvis, pancakes and the 4th of July!
THOMAS B. TRAN he/him (Dominic) is an Asian-American actor, born and raised in St. Louis, Missouri. Thomas is a BFA Acting graduate from the Theatre School at DePaul University. He’s starred in various productions, ranging from TV series to theatre. Thomas currently resides in Chicago, Illinois and is represented by Paonessa Talent.
Artistic Team
Karissa Murrell Myers
Playwright
Denise Yvette Serna
Director
Lanita Vanderschaaf*
Stage Manager
Emma S. Rund
Dramaturg / Stage Directions Reader
RJ Silva
Language Consultant
Tristin Hall
Intimacy Consultant
Kara Davidson
Director of New Works / Associate Artistic Producer
Creg Sclavi
Artistic Associate
Trent Stork, CSA
Artistic Producer / Casting Director
Elena Gerk
Casting Assistant
Ellen Dillenburg
Company Manager
Madeline M. Scott
Assistant Company Manager
Sloane Johnson
Company Management Associate
Erin Nicole Eggers
Production Manager
Adam Jezl-Sikorski
Audio, Lights, Media Coordinator
Kelly Lipsey
Crew Manager
Cody Kressman^
Head Electrician
* Indicates member of Actors’ Equity Association (AEA)
† Indicates member of United Scenic Artists (USA)
‡ Indicates member of Stage Directors and Choreographers Society (SDC)
^ The stage crew is represented by IATSE-Local 2
Who’s Who Behind the Scenes
KARISSA MURRELL MYERS she/her (Playwright) is the winner of the 2023 Maxim Mazumdar New Play Award and an O’Neill NPC Finalist. Her work has been developed/produced at Goodman Theatre, Strawdog, Renaissance Theaterworks, Rivendell Theatre Ensemble, The Road Theatre Company, among others. Member of The Dramatist Guild. www.kmurrellmyers.com
DENISE YVETTE SERNA she/ella (Director) is an award-winning theatre practitioner living in Chicago, Illinois. Directing credits include productions with Teatro Vista Productions, Lyric Opera of Chicago, MCA Chicago, Goodman Theatre, Steppenwolf Theatre Company, The Neo-Futurists, Strawdog Theatre Company, The Latinx Theatre Commons, Curious Theatre Company and Pemberley Productions. deniseyvetteserna.com
LANITA VANDERSCHAAF she/her (Stage Manager) is thrilled to be back at the Copley Theatre! She was most recently an Assistant Stage Manager for Frozen and Beautiful: The Carole King Musical (Paramount.) Additional credits include Billy Elliot, Little Shop of Horrors, School of Rock, Into the Woods, Dreamgirls, Groundhog Day, Cinderella (Paramount), Ain’t Misbehavin’ (Drury Lane) BULL: a love story, Hand to God, Sweat (Copley Theatre), and Celebrating the Black Radical… (Williamstown Theatre Festival). She would like to thank her family and friends for their continuous support.
EMMA S. RUND she/her (Dramaturg and Stage Directions Reader) is a Chicago-based dramaturg, playwright, and avid reader. Dramaturgy credits include School for Scandal at Idle Muse, Bones of Butterflies at the Indianapolis Phoenix Theatre, and Ball State University productions including Gypsy, Fun Home, Alias Grace, and Pride and Prejudice. As a playwright, Emma has workshopped plays with Ego Death Theatre Collective, Women’s Theatre Alliance, Chicago Dramatists, Wayward Sisters, and more. www.emmasophierund.com.
RJ SILVA he/him (Language Consultant) is a Chicago writer and producer from Manila, Philippines. RJ serves as the Artistic Director for CIRCA Pintig, the Filipino theatre and community arts organization in Chicago. RJ has produced and directed the inaugural Chicago Filipino Theatre Festival in 2024. His play Hail Mary/Maria has been workshopped in Chicago, and the Bay Area. RJ has also performed in Baked! at Theo Ubique Cabaret Theatre, and Daryo’s All-American Diner, voted Chicago Reader’s Best New Play of 2023. RJ is also the co-founder and creator of the multimedia pop-culture channel The Ampliverse where he hosts and creates podcasts, and currently in pre-production for their first BL web series Eat Cute, where he serves as writer and showrunner. Thanks Karissa and Paramount for this opportunity to uplift Filipino stories! rj-silva.com
TRISTIN HALL they/them (Intimacy Consultant) is honored to be joining the team for Blood of My Mother’s! They are a Chicago born and raised actor, Intimacy and Fight Choreographer trained with IDC, SAFD, and BASSC. They have choreographed at Northlight, Steep, Strawdog, Chicago Shakespeare Theater, Writers, Bramble Theater, Theater Evolve, and Citadel to name a few. Tristin is a proud founding member of Point Theatre Project and of Gladiator Fight Night. All the love to their family for their constant support!
KARA DAVIDSON she/her (Director of New Works and Associate Artistic Producer) Kara Davidson joined the Paramount team as the Director of New Works in 2023. Previously, she was the Producer of the NOW Lab with the Omaha Playhouse in Nebraska and the co-director/co-founder of The Lab Chicago.
TRENT STORK, CSA they/them (Artistic Producer and Casting Director) Trent Stork serves as the Casting Director for Paramount Theatre, casting both the Broadway Series and the Bold Series. Trent has cast over 40 productions for Paramount and they also serve as an Artistic Producer and Director of several productions.
JIM CORTI he/him (Artistic Director) is a Joseph Jefferson Award winning actor, director, and choreographer. He inaugurated Paramount’s Broadway Series with Tim Rater in fall of 2011, and by 2023, Paramount became the largest subscription-based theatre in the country, and soon became Jeff Award eligible in 2015, garnering 71 nominations with 20 wins in 3 years, including Best Musical awards for Les Misérables, West Side Story, and Sweeney Todd, which he directed. Recent collaborations: Fun Home, Into the Woods, Next to Normal, A Streetcar Named Desire, Million Dollar Quartet and The Full Monty. Next up, he is opening Paramount’s Bold 2025/2026 Series directing True West.
TIM RATER (President & CEO) has been with Paramount Theatre since 2010. Under Tim’s leadership, the productions at Paramount Theatre, RiverEdge Park, Copley Theatre, Stolp Island Theatre, and the Paramount School of the Arts have helped establish downtown Aurora as an entertainment destination. Tim and his team continue to expand the artistic and institutional boundaries and strive for new ways to energize downtown Aurora. With love, as always, to Bridgette, Alana and Evan.