Monthly Archives: March 2013
To see Francis Gercke and Rachael VanWormer laugh together, you would have no idea that they are just days away from opening one of the most challenging plays they have ever worked on – one that is set intimately in the round, written for only two actors who never leave the stage, and featuring the words of a playwright known for his almost infuriating poetic specificity.
Welcome to the world of Intrepid’s Oleanna, written by Pulitzer Prize winner David Mamet and directed by Intrepid Co-Founder and Producing Artistic Director Christy Yael.
Thankfully, these seasoned actors are not intimidated by the task, although they do admit that rehearsals have been equally both daunting and enlightening.
“With Mamet, there is very little room for interpretation,” says Rachael. “Not that he is a dictatorial playwright, but his language is so specific that until you figure out exactly what each word, if not sentence or phrase, means, the rest doesn’t make sense.”
“You have to crack the code,” says Fran. “He seems to be a really thoughtful person, which is crippling to an actor.”
According to TheatreDatabase.com, “the most easily recognizable aspect of Mamet’s style is his sparse, clipped dialogue” reminiscent of Harold Pinter and Samuel Becket. This style is so recognizable, in fact, that it has come to be known as “Mametspeak,” the Orwellian reference invoked, no doubt, to illustrate the pervasiveness of this playwright’s impact.
Wondering what the Mametspeak looks like exactly? Here’s a sampling from page one:
CAROL: You don’t do that.
CAROL: You don’t do…
JOHN: …I don’t, what…?
JOHN: …I don’t for…
JOHN: …forget things? Everybody does that.
CAROL: No, they don’t.
JOHN: They don’t…
JOHN: (Pause) No. Everybody does that.
If you are not quite sure what is happening in this scene, you are not alone. On page, there seems to be much room for speculation. However, according to the actors, the more time spent with the text, the more the playwright’s intention behind each disjointed phrase begins to click into place.
“There a lot of fragmented thoughts, but that doesn’t mean that thought itself is complete. It’s just not expressed in a conventional full sentence,” Rachael explains. “It’s about finding the specificity of what those complete thoughts are and how these three words are different from the next three words. That’s been very frustrating but when you finally break through, it’s very rewarding, and so much of the play falls into place.”
“He’s so specific that the story truly turns, literally turns, on one phrase,” says Fran. “There are certain playwrights that have a reputation for being great playwrights. Mamet is just a really good, smart playwright. There’s not a wasted phrase.”
And ultimately, the intentions behind these phrases are what builds into a story. On the surface, the story of this play revolves around a professor and a student who meet to discuss her struggles in his class. However, it is soon clear that much more is going on beyond this seemingly straightforward setup.
“Mamet’s a great storyteller,” says Fran. “You’re compelled to watch. It’s like watching a train wreck in slow motion. You know what’s going to happen, you can do nothing to stop it and you end up caring for the people who are in the car headed for the major accident.”
Even in the midst of this train wreck, Mamet is very careful not to take sides, especially when the characters become heated in their discussions. While the play might be known for its controversial themes, the actors are clear that it is truly up to the audience members to form their own interpretation of the action – and that their job is to stay out of the way.
“One of the things that we are discovering in rehearsal that is does not serve us as actors to consider the themes,” says Rachael. “Instead, it’s about finding out what’s personally at stake for the individuals at any given time. It might touch on harassment, power, feminism, but that’s never the intention. When these things come up, it’s out of the circumstance.”
“He writes two really smart, really self-assured, and really uncertain people trying to navigate their way through a real crisis that…just happened,” says Fran. “Mamet writes two strongly opposing points of views and then sets the characters in motion.”
So, as the actors consciously avoid influencing the audience’s conclusions about the action of the play, they find they are left with only the essential theatrical tools at their disposal: the words and each other.
“Fran and I have developed an effective means of keeping each other honest,” says Rachael. “You’re forced to hold each other accountable. There’s not a compromise in that, but on the other hand, there’s so much gratitude that there’s someone up there with you.”
She pauses, and then adds, “It boils down theatre to its purest form.” — T.T.
Oleanna opens Saturday April 6 at the Clayton E. Liggett Theatre on the campus of San Dieguito Academy – 800 Santa Fe Drive, Encinitas.. This special engagement must close April 14. You may purchase tickets here.
Wendy Waddell admits that she was rather unfamiliar with The Price by Arthur Miller when she was invited by Intrepid to direct the next reading in their year-long Staged Reading Series at Encinitas Library. Thankfully, she was not that intimidated by the assignment
“I think I said something like, ‘This is Arthur Miller! You’re giving me Arthur Miller to start with?!'” Wendy laughs as she recounts the request for her directorial debut with Intrepid, which will happen this Monday evening.
Intrepid’s confidence in Wendy’s skills is not misplaced. No matter how short and sweet staged reading rehearsals may be, Wendy is excited about bringing life to Miller’s work, especially since the play itself is somewhat obscure compared with his other offerings.
“It’s typical ‘Miller’ in that it’s a character study,” says Wendy. “In this case, it’s about two brothers who haven’t spoken in years. They come together because their childhood home is being torn down.” In light of that impending event, the brothers must deal with numerous items in the attic that are left over from earlier parts of their lives, and whether or not they will sell them, and for what price. Wendy notes that, in many ways, The Price parallels where we are now economically, with residual hardships from recent events.
“But of course, it’s Miller, so it’s not really about the price of the items,” elaborates Wendy. “It’s about the price of family, of honesty, of pride. What is the cost of not maintaining a relationship?”
This particular playwright turns up more than once in Intrepid’s Staged Reading Series queue, and it is interesting to note that while it is a more contemporary perspective than the traditional Shakespearean fare, Miller’s stories focus as much on language to tell the stories as the Bard.
“Miller is extremely rhythmic,” says Wendy. “There is a lyrical quality to his words and he’s not afraid of using language to make you dig for what is really going on in the scene. He makes you, as the audience, do a little work.”
But the actors aren’t off the hook. “It’s a wonderful challenge for the actors to start peeling away the layers of the onion,” she continues. “You, as the actor, get to create beautiful stuff through his words.”
The actors in question here are a talented group, including Jacob Bruce, Jack Missett, Dale Morris, and Julie Sachs. Wendy admits that casting was a challenge because the play calls for mature actors – all over 50, with one character described as 89.
“I’ve come up with a really good cast, so I’m really excited about that,” she says. “They are sickly talented and will bring their ‘A’ game.”
If there is any thought of a staged reading as being an easy way into directing for this company, Wendy is not entertaining it.
“This is not a well-known play like The Crucible, so there may be less expectations,” she says. “That might give me a little more leeway to interpret the script and clarify my vision for the rhythm, look, and feel of the play.” She also notes that while she admittedly feels “terrified and excited,” the chance to collaborate with Intrepid and with the actors makes everything worth it.
“I’ve had the chance to work with a lot of directors who challenge me,” says Wendy, who was seen last month as Rosencrantz in Intrepid’s Hamlet. “The more I work with them, the more I want to do that for other actors.” She pauses and then adds, “Besides, terror is exciting to me. That’s what makes me grow.” — T.T.
The Price, a staged reading, will be performed at The Encinitas Library, 540 Cornish Drive, Encinitas 92024 on Monday evening, March 25, 6:30 pm complimentary wine reception, 7:00 pm staged reading. Please RSVP to email@example.com or click here to purchase tickets in advance.
If you ever wondered what life might have been like as an actor in Shakespeare’s time – with the company performing one show while rehearsing another while building sets for yet another – you need look no further than the rigorous morning schedule of Intrepid Shakespeare Company’s Education Tour.
This particular Tuesday tour day begins at 8:30 am on the campus of La Jolla Country Day. This particular company of actors includes Education Director and Intrepid Co-Founder Sean Cox, and Education Artists Scott Farrell, Brian Mackey, Erin Petersen, and Savvy Scopelleti. They assemble quickly, coffee in hand, and begin the well-practiced routine of unloading cars, assembling sets, organizing costumes, and running lines. The first performance on the docket: A Midsummer Night’s Dream for the 5th and 6th grade classes at 9:30 am.
Most may not realize the level of production value that arrives with the Intrepid Education Tour. For each performance, three flats are constructed onsite, which, once overlaid with a canvas backdrop hand-painted by artist George Weinberg Harter, set the stage for the action that will unfold. Each show is fully costumed. In fact, the actors will change three or four times in this production of Midsummer – a daunting feat given the 50-minute runtime.
This first hour of the day is spent in this set construction and costume preparation, accompanied by familiar banter and line rehearsals while the actors each carry out their individual component of this well-oiled machine. This is probably one of the most requested performances, and each company member understands his or her place in the choreographed dance of the school tour load-in.
All too soon, students begin to enter the auditorium. Some are intrigued by the new set on stage, some are doubtful about what they are about to watch. Teachers say that most students are surprised when they discover that they like Shakespeare. “When they see it come to life, they are like ‘Oh, cool!,'” says Kathy Hirsch, who teaches 7th and 8th grade English. Today, Mrs. Hirsch dons a velvet cape and lines her hair with Titania-inspired flowers, greeting the assembled students with “Isn’t it fun to play dress up?” This line receives a wave of cheers and Sean steps forward to introduce the play. The first questions to the students are always the same: “How many have seen a Shakespeare play before?” and “What do you think ‘Intrepid’ means?” To the first, a smattering of hands rise from the crowd. To the second, responses ranging from “fast” to “happy” and finally “daring, bold, fearless.”
Midsummer begins with Sean crowning a student sitting in the front row, thus casting him as Theseus, the character to whom he and the other actors will address their initial woes. Soon, we are in the forest, and Sean, once suited as Aegeus, now dresses in a neon green elf-suit for his role as Puck. Erin Petersen, as Hermia, also doubles as Peter Quince, the head of the Mechanical acting troupe. Brian Mackey, as Lysander, also has more than a few laughs as Bottom, while Scott Farrell steps into the roles of Demetrius, Francis Flute, and Oberon. Lastly, Savvy Scopelleti dons horn-rimmed glasses for Helena, an eccentric feathered mask for Titania, and lion headgear for Snug the joiner.
“It’s important for the students to see live theatre,” whispers Mrs. Hirsch, barely audible over the giggles Sean is getting with his Puckish antics. “We love building it into the school day because we want them all to be exposed.”
The young audience continues to be delighted by the antics of the actors onstage, especially vocal when Brian, bedecked in a donkey-eared newsboy cap, performs a ‘donkified” rendition of One Directon’s “That’s What Makes You Beautiful.” During the post-show Q&A, he explains his choice: “The actor playing Bottom in Shakespeare’s time would have performed whatever the most popular tune of the day was. So, I get to choose each time whatever song I think would work.” The other actors comment that they actually never know what song he is going to be singing in the middle of the show, although Brian admits, “I usually ask Erin.”
Mere minutes and umpteen quick changes later, the play is complete and the questions start flying. “Where did you get the donkey hat?” “How do you memorize all of those lines?” and “What are the links between Shakespeare and classical Greece?” The cast answers them in stride, each responding according to his or her own knowledge and experience. Scott, who also gives classroom presentations on medieval and Renaissance history through his Chivalry Today educational program, explains how artists of the late 1500s were enamored with the Classical culture of Greece and Rome, and used its themes as inspiration for their painting, poetry, and drama. At the end of the session, a pre-show question is repeated: “How many of you have seen a Shakespeare play?” And at this point, of course, everyone gets to raise their hands.
As the students depart, the cast reassembles, quickly draping luxurious red fabric over the canvas flats and revealing a built in “window” center stage which will play as a balcony. Next on the docket: Romeo and Juliet for the 7th and 8th graders at 11:30 am. Costumes are re-organized and Scott takes the cast through the stage combat sequences – everyone seems to be involved in one, as apparently, when you are doubling and tripling roles in Romeo and Juliet, the chances of being involved in a Verona street brawl are very high. Erin takes a moment to whack a prop knife against her palm in an effort to get the “blood” inside to drain properly. Sean checks to make sure his Mercutio tattoo sleeves can’t be seen under his Lord Capulet suit coat. Lines are run again during this transition period and again, almost too soon, students are filing into the auditorium.
This is an eager bunch, and student Arielle Algaze grabs a front row seat. “I saw Hamlet twice,” she says immediately, referencing Intrepid’s most recent mainstage production. While she admits that Romeo and Juliet is not her favorite play (“that’s King Lear”), she also states emphatically that Mercutio is her favorite character in the canon because of his humor. “He is an interesting and uniquely funny character.” When asked if she and her classmates are looking forward to the performance, she thinks for a moment and then responds. “To put something on stage and to evoke something from an audience takes risk,” she says. “So, I think theatre is something everyone should be exposed to.“
This “one-hour traffic” of the lovers’ tragedy begins and Erin and Brian immediately evoke nervous giggles and calls of “woooo” when they share their first kiss on the dance floor. Swordfights ensue – cautiously, due to the proximity of the audience – and before long, Nurse has wept, Friar has waxed philosophical, Mercutio has fallen, and the Capulet tomb is laden with bodies. Applause erupts and the actors quickly gather their thoughts for another round of questions from the crowd.
“Understanding Shakespeare is really empowering for the students, especially when it is relevant to their lives,” says fifth grade teacher Angela Lathem-Ballard, who has studied teaching techniques at the Globe in London and introduces Shakespeare into her classes on a regular basis. “Studying these plays and watching these performances gives kids a safe entrance into the arts – kids who would never take a risk normally.” As if on cue, a group of students who are studying Macbeth in class decide they would like to perform the witches’ scene for the actors. The aspiring thespians show off their skills and the actors respond with enthusiastic cheers as the last “fire burn and cauldron bubble!” echoes through the auditorium.
The future Shakespearean starlets disperse, and the actors begin the breakdown of the set – again, a well-rehearsed dance where everyone has a part. Even though the performances are done for the day, the work is not. As the actors gather their sets and props, they rehearse lines for the newest addition to their school tour lineup, Hamlet, which will be performed in Los Angeles in two weeks’ time. A scene perhaps not so dissimilar from Shakespeare’s original company of King’s Men: curtains are folded, flats dismantled, and costumes boxed while strains of “to be or not to be” flow through the now empty theatre. — T.T.
For information on the Intrepid Education Tour or the upcoming Camp Intrepid this summer, click here or email firstname.lastname@example.org.
“Auditioning is the most unnatural and unrealistic job interview ever.”
Christy Yael, Producing Artistic Director for Intrepid, is quick to admit this. Having just finished two full days, approximately eleven consistent hours, of open call auditions for Intrepid’s upcoming Season Four this past weekend, she is also quick to state that she is optimistic and impressed at the skill level of those who walked through the door.
“We saw so many talented people this weekend,” she says with enthusiasm, “really talented people.”
With the company entering its fourth year, Christy is now a veteran of the rigors of the open call, an especially demanding process for both directors and actors alike. And the requirements for Intrepid’s audition were nothing short of daunting. Non-musical actors were asked for two contrasting monologues, while musical theatre auditioners were invited, in addition to performing a monologue, to sing both a selection from the 1960s as well as one from Stephen Sondheim’s repertoire, a composer traditionally regarded as one of the most complex and challenging musicians in the American songbook.
“The two required musical pieces are so drastically different,” says Christy, “that it really gives us a good idea of a person’s abilities.”
Veteran musical theatre actress Kathi Copeland was unfazed. Having performed in musicals since the age of 16, when she was cast in a pre-Broadway tour of “The Me Nobody Knows,” Kathi feels a certain comfort level with these types of requirements. Although, she admits, she would probably never recommend auditioning with a Sondheim piece unless it was specifically requested.
“Every audition is different,” says Kathi, who was attending an Intrepid open call for the first time. “It’s just important to prepare, prepare, prepare. You never know how it’s going to go once you get in there.”
There are many variables that could affect a singing audition – the pianist’s tempo, the acoustics of the space, and one’s level of nervousness, for instance. The singing voice, sometimes more vulnerable than the speaking voice, is likely to reflect all of these conditions, and therefore it is important to prepare as many things as one can control ahead of time. “Always take the time to talk to the accompanist about tempo,” advises Kathi. “Don’t forget that it’s your moment to shine.”
Veteran actor and accomplished theatre artist Tim West agrees that the same advice would apply to non-musical auditioners. “It was my first open call for monologues in a decade, so though I prepared I lacked that practiced feeling,” he says, although clarifying that it was perhaps for the best. “I’ve grown less concerned with choices per se and more concerned with trying to find the moment.”
It’s this type of attitude that Christy appreciates the most. Although she finds herself more often in the director’s chair these days, she was once attending the same sorts of open calls as an actor. “At the time, it helped me to think of it as an opportunity to do some work,” she says. “There are stakes involved, but it’s an invested audience with potential payoff.”
For her part as a director, Christy pays close attention to those auditioning, looking for specific elements in the presentations. “With the Shakespeare, it’s a combination of the acting ability and how the verse is handled,” she says, “and all that that entails. I could talk for hours about just that.”
Surprisingly, she says, she has found that many with musical theatre backgrounds were more adept at handling Shakespearean verse than their resumes might suggest. “They are both heightened forms of expression,” she says, noting that one’s ability to act through verse or through music can be both daunting and tricky.
“I just have a tremendous amount of respect for actors,” she says. “It’s hard work and it’s vulnerable work and that’s a heady combination.”
While being on the director’s side of the table is definitely preferably, Christy’s acting background also helps her create a safe space for potential auditioners. Both Kathi and Tim agreed that the process was painless. “Christy was one of the most gracious auditors I’ve ever performed for,” says Tim. “It’s such a difficult thing, to make people feel warmly welcomed while maintaining professional decorum. I am glad I chose this audition to return to the practice. I’ll try never to miss an opportunity at Intrepid.”
Christy maintains that the excitement of finding new talent keeps her consistently invested throughout the audition process. “The thing that maybe people don’t realize is how optimistic we are going into auditions,” she explains. “We have high hopes and expectations that everyone is going to be fantastic and incredibly talented. We are not looking for what’s wrong – we are looking for what’s right.” — T.T.