Monthly Archives: April 2013
Intrepid Co-Founder Sean Cox is no stranger to introducing kids to Shakespeare. As Intrepid’s Education Director, he takes a troupe of professional actors to perform in schools on a regular basis. No matter what level of exposure the students have had, there is always one reaction to Intrepid’s school tour performances: enthusiasm.
“For most of the students, it’s their first Shakespeare play,” says Sean. “But the students are always engaged and laughing and positive throughout the performance. It’s great for the actors, too. Everyone leaves in a good mood.”
Capitalizing on this enthusiasm, Intrepid Shakespeare has partnered with San Dieguito Academy and the City of Encinitas to create a very special selection of offerings for kids this summer – not just one day workshops, but entire weeks of theatre immersion. Sponsored by the San Dieguito Academy Foundation, CAMP INTREPID will feature four different tracks: Young Actors Theatre, Shakespeare, Musical Theatre, and Backstage Camps.
The summer offerings are a long-awaited collaboration between Intrepid and San Dieguito Academy, an extension of their already successful internship program, which has been in place since Intrepid’s residency began there in 2010. Currently, Intrepid Artists work with interns during the year to create a student version of Intrepid’s mainstage show. This gives students the chance to interact with professional actors and technical directors and put together a culminating performance at the end of the internship. Taking this into a summer program is the next step in theatre education in Encinitas.
“A lot of the kids are looking for summer opportunities, but there’s nothing really in Encinitas that is available, or the cost associated with it is really high,” says Stephanie Siers, San Dieguito Academy’s drama teacher. “Our goal is to offer something that is closer to home and affordable, but still has the same quality that some of camps that are available elsewhere in San Diego.”
“Plus,” she adds, “everyone wants to get up and work on the grid,”
“The grid” to which she refers is a technically-advanced lighting grid which crowns the mainstage theatre space at the $9 million SDA Performing Arts Center. Aptly labeled the “centerpiece” of the San Dieguito Academy campus, the Performing Arts Center boasts both a beautiful, 200-seat indoor theater as well as a state-of-the-art rehearsal space, both designed by performance hall connoisseur architect John Sergio Fisher.
Since its opening in the fall of 2011, both SDA and the City of Encinitas have been searching for opportunities to make this space more available to the community, and Camp Intrepid has provided that outlet.
With the residency of Intrepid Shakespeare as the city’s first professional theatre company, local theatre patrons have been able to enjoy professional performances in the Performing Arts Center throughout the year. Camp Intrepid will provide even more opportunities to bring the arts into the neighborhood through this facility, and the city is eager to support that development.
“One of the 2013 Commission for the Arts goals is to have the community use the new Performing Arts Center at San Dieguito Academy in the summer, when school is not in session,” says Jim Gilliam, arts administrator for the City Manager’s Office. “The first summer arts program to be offered is by Intrepid Shakespeare—we could not be more pleased.”
Beginning June 17 and running through August 19, Intrepid Shakespeare will host a variety of summer theatre arts sessions for a wide spectrum of ages. Thus far, the camps offered will include a Young Actors Theatre Camp (ages 8-15), a Musical Theatre Camp and a Shakespeare Camp (prior experience required, ages 14-18), and a Backstage Camp (ages 14-18). All of the sessions will culminate in a performance and will feature guest artist teachers from local professional theatre companies.
Among the many performing techniques students will experience are audition coaching, movement and dance, and fight choreography, in addition to acting and textual work. Technical campers will have access to the advanced theater facilities, including the state-of-the-art tension grid used for mounting lights that hovers high over the performance space.
Mrs. Siers also hopes that students from the community will discover the opportunities available at San Dieguito Academy by participating in the Summer Theatre Camp and utilizing the facilities. “Our school is known for having an emphasis on the arts,” she explains. “This will be a great opportunity for students to be in our space, meet new people, and to work with the Intrepid Artists.”
Intrepid’s co-founders could not be happier about exposing more kids to Shakespeare and theatre through these summer sessions.
“It’s really inspiring for us who have made this our career to see the younger generation enthusiastic and passionate about theatre and performance and Shakespeare,” says Sean.
While Intrepid will run the theatre camps during the day, they will also be in full production on A Midsummer Night’s Dream: the Musical, their second show of Season Four, which will rehearse and perform in the evenings. To the City, this presents the perfect marriage of encouraging and celebrating theatre arts.
“The community will participate in daytime theatre camps for children and youth, and in the evening, enjoy performances in the Liggett Theater by our professional theatre company,” says Jim Gilliam. “This new partnership could not be possible without the assistance of the San Dieguito Academy Foundation and the school administration. We hope more arts programs will come online for this summer and are working with local arts organizations.“
“This camp is really an extension of us reaching out into the community,” says Sean. “Ever since we moved to Encinitas, we knew this was something we wanted to do.”
He adds, “Most of us took some sort of drama camp when we were younger, so we know what kind of memories and experiences that can build.” — T.T.
For more information and to register for Camp Intrepid, click here. Camps will be held on the campus of San Dieguito Academy, 800 Santa Fe Drive, Encinitas. June 17 – August 16. One or two week sessions, depending upon track. Ages 8-18.
“If this were play’d upon a stage now, I could condemn it as an improbable fiction.”
Fabian quips this line in Act Three of Twelfth Night, and both Jim Winker and Ross Hellwig – two actors featured in Monday’s staged reading of the play – would agree that Shakespeare has a way of shedding light on the spaces where art and life overlap, imitate, and illuminate. In this play, in particular, he has created a cast of colorful characters for this purpose, characters who constantly find themselves peeling back the layers of living.
“That’s the glory of Shakespeare,” says UCSD Professor Emeritus Jim Winker who will be playing Malvolio, the “narrow-minded and mean-spirited” steward to the Lady Olivia. “We’ve all got something to bring to each part. It’s like onion layers unfolding, depending upon the actors playing the roles.”
Jim is no stranger to unpacking the Bard. In addition to his accomplished acting resume which includes numerous Shakespeare productions and an Associate Artist designation at the Old Globe, Jim taught classical texts in UCSD’s Department of Theatre and Dance for 25 years. He was recently approached by Christy Yael and Sean Cox, artistic directors at Intrepid, to take their actors through scansion workshops during rehearsals for their main stage productions. He is looking forward to taking the stage on Monday as an Intrepid cast member.
While Malvolio – whose name can be translated as “ill will” – is typically seen as somewhat of a fool, Jim stresses the importance of recognizing his complexities. “For all of his general creepiness,” says Jim, “he’s a vulnerable guy. Shakespeare has given him to us in a wonderful package where he has balanced out all sides of him.”
Even though the turn of events in the story don’t favor Malvolio for the better, Jim observes that because of these complexities of character, audiences don’t automatically dismiss him. “We end up having some feeling for him,” he observes. “He’s got depth and feeling and complications.”
“He’s forgivable because he’s relatable,” says Ross Hellwig of his own character, Duke Orsino – the melancholy lover who’s “more in love with the idea of love” than the object of his affections. Similarly to Malvolio and many of the characters in Twelfth Night, Orsino takes a position of authority on a subject – in his case, the idea of love – but soon discovers that he is the one who has a lot to learn.
“One of the things I think is fun about Orsino,” explains Ross, “is that he imagines himself the most knowledgeable about love and women because he’s in the midst of this incredible passion for this woman. He’s in the midst of these scenes with Viola and educating her about what love is and – he’s really wrong. It ends up being the other way around – that she was teaching him about love.”
“Spoiler alert,” he adds.
And what is it like to play these complex people onstage?
“Characters who have deluded images of themselves can be a lot of fun,” says Ross, who is a graduate of the Old Globe/USD MFA Program and has worked on numerous Shakespeare productions in San Diego and Los Angeles. “And these characters are all so colorful. They are unique and full of life and the fun of the piece is seeing what kind of trouble they will get into.”
Trouble is definitely not out of the question for the staged reading format. With mere hours of rehearsal and script in hand, actors are required to perform to full production standards. While this process is not for the faint of heart, both Jim and Ross note that the “quickness” of the staged reading arena forces the company to focus on what is important: the words and each other.
“It goes fast,” says Jim. “You have to pay attention and get all of your tools ready to go. You have to be ready to improvise. It’s a wonderful challenge for an actor.”
“One of the great things about staged readings of Shakespeare is that everything you need to know in a Shakespeare play is in the text,” notes Ross. “All you need is the language. It’s the blessing and the challenge.”
To that end, Jim endorses Intrepid’s fast-paced and text-centered approach to the plays they read and produce.
“They pay great attention to the language,” says Jim. “What I love about them is that they are not afraid of it. They get on with it and they don’t play down to their audiences. They trust that they don’t have to hand it to us on a tray.”
In a time when it seems as though we are shortening our language use every day, it may seem remarkable that audiences understand Shakespeare as well as they do. But the themes and passions and logical twists are surprisingly accessible, mostly because we recognize our own lives in the machinations onstage.
“He’s the heart of our culture,” says Jim. “The plays teach us so much about what it is to be human. Each time you see one, you learn something about who you are.”
This extraordinary class will be in session on Monday evening. — T.T.
Twelfth Night: A Staged Reading. Monday, April 22. Encinitas Library. 6:30 pm wine reception. 7:00 pm reading. Please purchase tickets in advance or rsvp to email@example.com and pay with cash/check at the door. $15.
In designing costumes for Intrepid’s currently production of Oleanna, Jacinda Fischer only had two challenges on her mind.
The first was power.
“I love the idea of the power struggle between the characters,” says Jacinda. “They both change so much throughout the show… it’s really fun and challenging and interesting to play with that.” David Mamet’s play, known for its lightning fast, often overlapping dialogue as well as for its sudden and dramatic reversals, does its best to leave the audience in a quandary as to whom they are rooting for in the end. This teetering balance is especially treacherous in the capable hands of seasoned actors Francis Gercke and Rachael VanWormer.
Set in the round, Oleanna is three acts with no intermission – truly an 80-minute showdown that begins with what seems to be ‘business as usual’ and ends with the unexpected. Jacinda’s task of portraying these power shifts begin with setting a very impartial stage.
“At the beginning of play, we really want to keep it neutral so that people come in without assumptions,” explains Jacinda. “Then, as things start changing, the biggest challenge is finding that shift in balance without influencing the audience and how they feel about the characters.”
To that end, at the top of Act One, Rachael’s character, Carol, is dressed in pants and a comfortable sweater, typical perhaps of a college student who spends too much time at the library. Fran, as John the professor, dons an academic three-piece suit, also fulfilling an expected idea of how this world of higher education functions. However, Jacinda points out that there is a constant battle between the expected and the assumed, especially when it comes to theatrical dress.
“It’s very difficult to keep things neutral because, even with something as simple as color, people will have an assumption about a person they see based on what they wear, what colors they wear, what type of clothing they wear,” says Jacinda. “So, it’s very important to communicate where the actor’s character is at, and how they are feeling at that point, instead of saying ‘This is what I want the audience to feel when they look at them.'”
Along with input from director Christy Yael and insight from the actors, Jacinda began to form a plan as to how this story would evolve onstage through the costumes. However, there were more than thematic considerations to take into account. There were technical ones as well.
“Because it is set in the round, everything needs to look very clean,” she points out, noting that each seat in the house will offer a different perspective on the players. Plus, each act takes place after significant passages of time, an element which makes the costume changes even more important. While quick changes between scenes are not uncommon for actors, they traditionally happen in the wings off stage and with a lot of assistance.
Not possible with Oleanna. In this play comprised of a continual conversation, the first and only time Fran and Rachael ever leave the stage is after the curtain call.
Which brings us to the second thing that Jacinda had on her mind when designing Oleanna: theater magic.
“The costume changes have to happen onstage, in the dark, in a few seconds,” she says with a mischievous smile.
Challenge accepted. — T.T.
Oleanna plays tonight at 7:30 and runs through Sunday only. Must close April 14. You may purchase tickets here. Clayton E. Liggett Theatre on the campus of San Dieguito Academy, 800 Santa Fe Road in Encintas.
Curtis Mueller knows better than to be fooled by simplicity.
When asked to design lights for Intrepid’s production of Oleanna (which is now currently running at the Clayton E. Liggett Theatre in Encinitas), he was careful not to presume that a two-person play set in the round would be an easy show to design.
“The challenge with this play is that it’s so focused on just a conversation really, one wouldn’t think that it would be that challenging,” says Curtis. “But from a lighting perspective, you are really trying to underscore certain moments of the show, depending on that conversation.”
Having designed for Intrepid’s past productions of A Midsummer Night’s Dream: the Musical (2012) and Hamlet, which just closed in February, Curtis was up to the task of switching gears from these bigger ensemble pieces to Mamet’s intimate office wordplay.
“Scenically, we’re in a professor’s office, so we’re trying to figure out ways to make each scene look different, but still not going too far from reality,” he said, explaining that the lighting will play a big part in portraying both the development of the story as well as the passage of time from one act to the next.
“The opening of the show is just a simple conversation,” he says. “The audience doesn’t know what it’s going to escalate to yet, so we have more of an isolated look to it.”
Using the idea of the office windows and playing with the amount of sunlight coming through the blinds is one way in which Curtis plans to tell the story, although without an actual window onstage to work with, this gets tricky. Enter special effects created by lighting gobos that douse the stage with dappled sunlight on cue.
“By the end of the play, the scene is fully exposed, wider and open,” says Curtis. This brighter lighting also serves to “expose” the action as the play culminates into its most heated moments.
The specifics of these lighting choices will also serve to distinguish each act. Since the actors never leave the space and the set never alters, the challenge is making sure that the audience understands that each act takes place in a different time.
“We made a point that passage of time would affect the lighting design because we don’t want to have the feeling that nothing changes at all – especially with the way the play progresses, and the characters develop, and argument continues,” he says.
Working in the round also presents its own set of challenges, as the designer has to make sure that the actors and the set are cleanly lit from all angles and from all audience perspectives. Additionally, the blocking – or the movement of the actors – is different from a traditional stage, so there is extra pressure for the lighting to be uniform no matter which direction the actor is facing.
Given these challenges, this piece is a far departure from its surface simplicity, Curtis acknowledges. “We can really strip everything away and focus on the details,” he says. “I’m actually excited by the simplicity of it.” — T.T.
Oleanna is a special engagement that runs through April 14 at the Clayton E. Liggett Theatre in Encinitas, CA. Tickets can be purchased here.