Milo Imagines the World at the Children’s Theatre Company - A Discussion with Director Mikael Burke

Article by Becky Fillinger, photos by Joe Mazza & Eleanor Kahn

First impressions aren’t always accurate. In Children’s Theatre Company's world premiere production of Milo Imagines the World, Milo takes the audience along with him on subway rides that expose him and us to different people, music, cultures and ways of thinking. We talked to director Mikael Burke about bringing the play alive from the printed page to the stage and lessons of empathy and understanding that apply to all ages. The play runs February 4 through March 9 - get tickets here.

Mikael Burke Q:  You’ve said, “When we come to the theatre to share in witnessing a story, we silently make a pact: for just a while, we all agree to believe what unfolds before our eyes. The imaginary becomes real because we believe it, and when that belief is rewarded, our experience is transcendent, our hearts and minds are changed.” Do you believe the audiences who attend Milo Imagines the World can or will be changed by the play’s messages?

A:  Absolutely. I believe audiences can expect to be moved by the story that unfolds. Milo's magical journey on an NYC subway train is a wild ride. It's full of great music, delightful surprises, and is just bursting with imagination. But it's also a moving story about love and family that is sure to tug the heartstrings. I cannot wait to see all the ways Milo's journey inspires audiences, and how they carry his story out of the theatre and beyond.

Q:  How does the play expand on the book’s themes of empathy and understanding?

A:  What the play does so well is deepen the explorations of empathy and understanding so expertly rendered in the picture book by giving us more time and space to actually experience the sights and discoveries Milo encounters. We get to experience the fun of imagining someone else’s life, and we also get to experience how it feels when someone makes a wrong assumption about us. And the relationship between Milo and his sister is greatly expanded in the play helping us to see Milo’s learning in real time thru his developing relationship with her as they go from siblings at odds to a family in harmony.

Q:  How do you convey Milo’s imaginative drawings in a theatrical setting? Are you collaborating with sound, set and costume designers to bring Milo’s world to life?

A:  We are bringing Milo’s drawings to life is exciting ways thru dynamic collaborations with sets, light, costumes and props. Every imagined world we visit is a little different, each with a unique musical style, but what ties them all together is Milo’s drawings, which leap off the page and become real elements that the cast interacts with in ways that are delightful and surprising.

Q:  Were there specific moments from the book that you were particularly excited to bring to life on stage?

A:  The moments from the book that most excited me when I first began thinking about bringing this story to life are the moments when we dive into Milo’s imagination, and the possibilities for theatrical play that arise when the rules of the real world are off the table. And there’s a moment of imagination that comes late in the play that I think will be a particularly impactful and moving moment.

Q:  What message do you hope audiences, especially children, take away from the play?

A:  I think this story takes us on a journey of understanding, and teaches us that there’s always more to people than meets the eye. I hope that people walk away understanding that we shouldn’t judge a sketchbook by its cover, and that there’s always more to the story if take the time to really understand rather than pass judgement.

Q:  How do you react when you find out a person isn't the way you thought they would be?

A:  I love when someone surprises me. At this point in my life, more often than not, if I’m discovering someone to be unlike what I anticipated they would be, my first impulse is to reflect inward and check in with myself about why I needed to believe that that person might be a certain way in the first place. Then, I simply keep an open heart and a gracious mind as I learn who they really are and I aim to meet them where they’re at rather than feel any sort of way about the fact that they’re different from what I expected.

Q:  What has been the most rewarding part of directing this world premiere?

A:  The most rewarding part of directing this piece is definitely the opportunity to collaborate with so many incredible artists across disciplines, and creating a rehearsal room that is vibrant, curious, and built on mutual respect of each other as artists and people.

Q:  What’s next for you after this project?

A:  Following Milo, I go into rehearsals for the Chicago premiere of Brendan Pelsue’s thrilling new adaptation of Dickens’ A Tale of Two Cities, which opens in late April with Shattered Globe Theatre. Follow my news on my website.