Tag Archives: acting
Fran Gercke, Brian Mackey, Shana Wride, and Ruff Yeager sit at a table. No, they are not planning world domination via the theatre, although given the breadth and depth of their collective experience, that task would not be too far out of their reach.
Instead, they are thoughtfully pondering a lengthy list of plays, both classical and contemporary, written by a wide range of playwrights. They have been tasked with one simple challenge.
When Intrepid first opened its doors in 2009, along with the mainstage productions came the idea of staged readings – opportunities to hear plays in an intimate setting, presented by accomplished actors, lead by passionate directors, and accented with flavorful wine and tasty hors d’oeuvres.
The success of these sporadic readings was so much that, this time last year, the City of Encinitas offered Intrepid a standing spot in the ocean-view community reading room at the Encinitas Library in which to present an yearlong season of staged readings.
“Intrepid is helping us realize this longstanding preference of the residents to experience live theatre,” said City of Encinitas Arts Administrator Jim Gilliam of the city’s first and only professional theatre company.
Now, one year later, as 2013 and the inaugural season of the Staged Reading Series winds to a close, Intrepid and the City can see a plethora of accomplishments in the creative wake of this communal endeavor.
Among the playwrights featured this year were the likes of Moisés Kaufman, Jane Anderson, John Patrick Shanley, David Mamet, Arthur Miller, and, of course, William Shakespeare. The monthly readings on the whole hired more than 80 talented local actors, as well as eight directors culled from the most influential players across San Diego’s ever-expanding theatre scene.
For many, participation in a staged reading marked a debut with the company. Other faces were more recognizable to the subscribers who regularly attended the readings as well as the mainstage productions. Audiences embraced the readings, returned month after month, and were rarely hesitant to offer standing ovations at the conclusion of any given evening.
With this success of the series, the City was eager to renew the staged reading series contract with Intrepid for 2014. However, Artistic Directors Sean and Christy Yael-Cox knew that if Intrepid was to commit to another year, they had to harness and build upon the sense of community involvement the readings had inspired.
That’s when the idea of a Staged Reading Committee came into being. Instead of Sean and Christy deciding the playlist for a year, the reading series would be handled by a team of respected actors and directors who, from the benefit of their varied perspectives, would create, direct, and cast the 2014 season of staged readings for Intrepid.
Cut to the lengthy list of plays. While these four San Diego theatre notables may be scratching their heads about the 2014 compilation, one thing is certain. They are all excited to be at the table.
“I love the idea of committee-based theatre,” says Shana Wride, who directed the reading of Yasmina Reza’s “Life(x)3” this year. “To be part of a group of like-minded talented people and be allowed such a wonderful creative outlet is a real treat.”
In addition to choosing plays that are favorites, the team has endeavored to pick selections that are new to them and, hopefully, to audiences. This is one of the advantages of working as an ensemble and acquainting fellow committee-members with unfamiliar plays.
Fran Gercke, most recently seen as John in Intrepid’s mainstage production of “Oleanna,” says this is one of the best parts of the process.
“I am excited about the ability to read new work and hopefully introduce the audience to a whole host of characters and a whole world they’ve not known before, about which they’ve no ideas, no preconceptions,” says Fran, who directed the reading of Sam Shepard’s “Geography of a Horse-Dreamer” this past year. “It’s always fun when there’s a thriller aspect, a who-done-it quality to every story so that you’re always wondering where is this going and how is this going to end. New stories provide that.”
While a staged reading is rehearsed, it is comparatively easier to present than a mainstage show. Therefore, the opportunity to perform big budget plays in this simplified environment – leaving much to the imagination – is also appealing.
“It is amazing to me how just listening to a play can, and has, elicited such strong, positive responses from audience members,” says Brian Mackey, who directs the yearly reading of “A Christmas Carol,” the reading series season finale.
Fran agrees. “I get caught up in staged readings because they invite me, almost magically and with little effort, to imagine much of what is happening,” he says. “That’s not so common anymore.”
From collaboration to imagination, the staged reading series is ultimately an opportunity to do the thing that everyone loves to do.
Ruff Yeager, who portrayed John Barrymore in this year’s reading of Paul Rudnick’s “I Hate Hamlet,” says it simply. “I am looking forward to working with incredible actors on a play I really love.”
Add in a little wine and cheese, and you’ve got yourself a recipe for a successful 2014 Staged Reading Series.
— Tiffany Tang
Intrepid’s 2014 Staged Reading Series
presented at the Encinitas Library
The Tale of the Allergist’s Wife by Charles Busch
Abundance by Beth Henley
In a Forest, Dark and Deep by Neil LaBute
Twelve Angry Men by Reginald Rose
A Number by Caryl Churchill
Private Lives by Noel Coward
Defiance by John Patrick Shanley
The Milk Train Doesn’t Stop Here Anymore by Tennessee Williams
Waiting for Godot by Samuel Becket
Titus Andronicus by William Shakespeare
Seminar by Theresa Rebeck
A Christmas Carol by Charles Dickens
When “A Life in the Theatre” by David Mamet debuted on Broadway in 1977, it opened hot on the heels of the playwright’s first White Way explosion, “American Buffalo.” Needless to say, the heartfelt strains of this new offering were somewhat off-putting for those expecting what the New York Times had called Mamet’s “bad boy bluster.”
Yet, Jason Heil, director of Monday’s night’s staged reading of this Mamet two-hander at the Encinitas Library, feels that this play fits nicely into Mamet’s canon, despite its more vulnerable moments.
“It may not fit into the Mamet mold,” he says, “but his writing style is very much there in this piece.”
That iconic writing style – also seen in “Oleanna,” Intrepid’s Season Four opener earlier this year – is what draws this Shakespeare-focused theatre company to certain contemporary playwrights. Mamet, who so clearly stamped his name on the voice of modern American theatre over three decades ago, lends his signature style and phrasing, this time in a very poignant fashion.
Chronicling the life of two actors – one a veteran and one a promising rookie – “A Life in the Theatre” is a series of vignettes that take place off stage, backstage, and even onstage, giving the audience a sincere portrait of friendship, professional camaraderie, and even a little competitive spirit.
“They are always trying to pin down where they stand with each other,” explains Jason, who directed last season’s main stage production of “Turn of the Screw” for Intrepid. “As the play evolves, and the younger actor gains more status and more confidence, we see how his growth affects their relationship.”
Bantering off of each other on Monday will be Sean Yael-Cox, Intrepid’s Co-Founder and Artistic Director, as the young upstart John, and San Diego notable Dale Morris as Robert, the heavy with a wealth of experience. In a unique segment of San Diego theatre history, Sean and Dale appeared together in a production of “The Elephant Man” when Sean first moved to town in 1998 and have been looking for a project to work on together ever since.
“When we were planning this yearlong series, this play was one of the few comedies we had on the list,” says Sean, referring to Intrepid’s monthly Staged Reading Series at the Encinitas Library that has played to sold out audiences and standing ovations, and has featured contemporary and classical, as well as Shakespearean pieces. This month will mark the ninth installment in what has become known as a concentrated showcase for notable San Diego talent.
“We are lucky to have hosted the highest caliber directors and actors from the start,” says Sean. “”The reading series has been a major undertaking. We’ve set the bar high and we are eager to maintain that level of performance quality for our audiences.”
To that end, every once in a while – however reluctantly – the schedule must be changed to accommodate this uncompromising outlook. For instance, “Julius Caesar” was originally slated for the September reading, but with a cast of more than a dozen actors and a director visiting from Los Angeles, a November timeline ultimately proved to be a solution for scheduling conflicts.
“For us, it was important to get the right group of people, especially for Shakespeare. We didn’t want to compromise on that,” says Sean. “We try to remember that theatre is growing and changing and that it’s a living thing, which means it can be a little unpredictable at times.”
Fortunately, that also means that the Mamet treat originally scheduled for the end of the year will be enjoyed a bit early, and that September’s audience gets to witness the dynamic connection between these two actors who have themselves been longtime friends.
“Both of these actors bring a lot of depth and groundedness to what they do,” says Jason, commenting on the impressive body of combined work. “I’m looking forward to digging in and mulching around with them a bit.”
One of the most interesting dynamics of the play, says Jason, is the fluidity of their relationship. “I like watching the two colleagues attempt to stay professional, to forge a friendship, to figure out the friendship that forges just by working with someone.” Again, it is Mamet’s words that endow that fluidity with a sense of realism.
“He creates this flow with the words that goes back and forth between the actors,” explains Jason. “He messes up clean dialogue and the result mirrors the way we speak. In reality, our thoughts take us somewhere and we overlap and interrupt and we don’t censor ourselves.”
Jason also points out that many modern playwrights now echo Mamet’s realistic style, which at the time of his debut, was a stark departure from the rigidity of his predecessors’ clean lines.
“When you look at the ‘classics,’ even with a modern play, these are texts that are still going to be standing years later,” points out Jason. “A ‘classic’ is a well-built script, where there’s a lot of answers buried within, and not laid out on a platter. It’s the playwright who knows how to write a play through the words and underneath the words at the same time.”
Recently a Broadway revival starring Patrick Stewart and T.R. Knight, “A Life in the Theatre” has been described as Mamet’s “valentine” to his business. Does that mean that non-theatrical types will still find the play as captivating as those who have taken a turn onstage themselves?
Jason is reassuring. “There are moments in the piece when it is really two people opening up about each other or their feelings for theatre and what theatre means,” he says. “But it’s more that we are saying come and take a peak behind the curtain, and we will show you what’s going on back here.”
– Tiffany Tang
A Life in the Theatre by David Mamet, a staged reading, will be held at the Encinitas Library, 540 Cornish Drive. Monday, September 23. 6:30 pm complimentary wine/appetizer reception. 7:00 pm reading. Please rsvp to email@example.com and pay with cash/check at the door or purchase tickets in advance. $15. Julius Caesar will play in November.