Tag Archives: Encinitas Library
Fran Gercke, one of the actors in Intrepid’s upcoming staged reading of Caryl Churchill’s A Number, ponders the numerous themes of this multi-layered play. Taking the stage on Monday night with Old Globe Associate Artist Jim Winker, the two will tackle this dynamic piece that explores the controversy surrounding human cloning while folding it into the complexity of father/son relationships.
Written in 2002, during the height of the Dolly sheep-cloning foray, Churchill’s story revolves around a father who has cloned his son, and the potential fallout of his actions. Fran portrays the son – in the various cloned incarnations. While the premise seems dystopian at best, the central conflict of the play remains ultimately relatable.
“I think of A Number as a play set against a backdrop of cloning that’s not about cloning at all,” says Old Globe Literary Manager and Dramaturg Danielle Amato, who will be directing Monday night’s staged reading. “It’s about fathers and sons, about parenthood and regret, about what we inherit and what we create for ourselves. It’s about all the same questions that have obsessed playwrights from Aeschylus to Ibsen to O’Neill. The cloning is just another context, revealing slightly new facets of an age-old story.”
Caryl Churchill is a playwright known for taking risks – both in thematic exploration as well as with her writing style. That this play revolves around a controversial issue is no surprise. However, that the writing offers opportunities for the characters to approach these issues from a diverse spectrum of emotional perspectives is a gift for the actors. This gift is inherent in Churchill’s writing style – abstract yet casual, fragmented yet thoughtful.
“The style Churchill has chosen for A Number is very elliptical,” explains Danielle. “She takes the gaps and half-sentences that mark our normal, everyday speech and heightens them into something like poetry.”
Jim agrees that this distinctive writing style makes this play ideal for a reading setting and the audience should be prepared for “active participation in the unfolding of a fascinating story.”
“The fragmentation of language also adds to the searching quality of the story,” he says. “There are no easy solutions or quick fixes in this plot. The humanity of the characters continues to be revealed with every reading.”
Even though the writing may seem challenging on the surface, it is apparent that the actors are quick to embrace its realistic nature. The audience will be able to navigate it as well, finding the familiarities that may seem too elusive in typical dramatic realism.
“I think Churchill is a great observer of the way in which we try to behave in any given situation,” offers Fran. “So the character is dealing with any number of vibrant reactions to the situation but is choosing to express something on the surface that is entirely different. Like we often do in life.”
Pairing this particular writing style with such sweeping themes also creates a terrific dramatic tension for the audience, say the actors, as they try to anticipate where the play will take them. The through line of this piece is anything but typical, although the ending is very powerful.
“Churchill leaves the audience with questions to consider, but not just as an intellectual exercise,” says Fran. “If the actors do their jobs, I think the audience is left wondering about these people, and wondering what happens next even though Churchill does a great job of ending a play just where it needs to end. It’s a complete experience that takes up residence in the back of your mind.
As happens with Intrepid’s readings, the success of the performances resides in the audience’s willingness to engage and experience theatre in a new and imaginative way. Danielle says that A Number is the perfect choice for a reading series.
“Churchill’s imagination is incredibly powerful and theatrical, and the piece is inspiring in the depth it achieves in such a short period of time,” says Danielle. “The audience can expect to be surprised, to be swept along, to puzzle out a compelling mystery. They can expect to hear two fantastic actors bring to life a unique and fascinating play.”
“If plays were coffee,” she adds, “this one would be something strong and Turkish in a tiny cup.”
A Number by Caryl Churchill, a staged reading. Encinitas Library, 540 Cornish Drive. Monday, May 19. 6:30 pm complimentary wine/appetizer reception. 7:00 pm reading. $15. Rsvp to firstname.lastname@example.org and pay with cash/check at the door or purchase a reading series subscription.
If you ask the cast of Charles Busch’s The Tale of the Allergist’s Wife, which will open Intrepid’s 2014 Staged Reading Series at the Encinitas Library this evening, how rehearsals have been going, you will find that they’ve all had a similar experience.
“I’m just trying to get through the scenes without laughing,” says Linda Libby, who will be playing Marjorie Taub, the title character of the play. “It’s very unprofessional.”
Linda joins a stellar cast this evening in this story about an Upper West Side socialite who craves the richness of a life filled with culture and substance, yet finds herself paralyzed by her own neurosis. Trina Kaplan portrays Marjorie’s mother, Frieda, and Gabriel Mario Cornejo, will break from his stage direction duties to step in as Mohammed, the doorman. Jill Drexler will play Lee Green, a childhood friend who arrives on Marjorie’s doorstep. Ruff Yeager rounds out the cast as Dr. Ira Taub, Marjorie’s allergist husband.
While most of these actors are veterans of Intrepid’s Reading Series, this marks Jill and Gabriel’s debut.
“We’ve all been wanting to work together for a long time,” says Jill with a smile.
Ruff Yeager, who also sits on Intrepid’s Staged Reading Committee and will direct tonight’s reading, says that picking this play to open this year’s series was not a difficult choice.
“It’s a funny play with a lot of surprises,” he says. “I think audiences will be comforted by the familiarity of the family dynamics. The fun of this script is watching this family, who thinks they are very balanced, become completely unbalanced.”
“We get to watch characters go places that most people would never go, even though they might entertain the idea,” says Linda. “Then we get to watch them work out how life continues after that. There’s a passionate neurosis about each of these characters.”
Passion is the name of the game in this “tale,” and even though the issues at hand may seem trifling to an outside audience, the ferocity with which these characters pursue their needs inspires both awe as well as humor.
This can be both great fun and a great challenge for an actor, however.
“The lines are familiar, ones you would hear in your own home,” says Trina. “But one thing you don’t want to do is play the comedy.”
“Charles Busch is a master,” says Ruff. “You have to play the reality of the situation and the high stakes that are written in. The comedy takes care of itself.”
With a note of warning, the cast also clarifies that the humor can lean towards mature audiences. Trina is frank about how many “F-bombs” she uses during the course of the play.
“That’s Yiddish, right?” Gabriel jokes.
“Also,” chimes in Ruff, “clothing will be removed. We can’t tell you what clothing, though.”
With all of these laughs, it’s hard to imagine this cast having more fun performing this reading than they are having in rehearsals. But if there’s one thing aside from the humor that we can expect from this play, they say, it’s the surprises.
The Tale of the Allergist’s Wife by Charles Busch, a staged reading, will be held at the Encinitas Library, 540 Cornish Drive. Monday, January 27. 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.
“As sad as Scrooge is in the beginning of his journey, there is just as much joy at the end. It’s a joyful thing to see someone really change and change for the better. It’s one of the most uplifting things to see in your life.”
Ron Choularton, who has played the character of Ebenezer Scrooge over 25 times, never tires of delving into the true meaning of Dickens’ oft-performed ghost story. He will again be gracing the stage at the Encinitas Library this Saturday evening as Intrepid presents its 2013 Staged Reading Series finale, Charles Dickens’ A Christmas Carol, adapted by local actors Brian Mackey and Rachael van Wormer.
“It’s the story of a second chance,” adds Ron.
Read more about Ron’s Scrooge and Brian Mackey’s direction here.
In addition to enjoying the last staged reading of 2013, please explore the shows on the docket for Intrepid Shakespeare’s Season Five. Subscriptions to our mainstage productions make the perfect holiday gift! Additionally, we will have subscriptions to the 2014 Staged Reading Series available, as well as gift certificates for our adult classes in Shakespeare and scene study. Bring home some theatre this holiday season and help support our growing programs which bring Shakespeare into the classroom. Thank you and happy holidays!
A Christmas Carol by Charles Dickens will be read on Saturday, December 14, at the Encinitas Library (540 Cornish Drive). 530 pm holiday reception, 600 pm reading. $15. Please rsvp to firstname.lastname@example.org
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
“The fault, dear Brutus, is not in our stars, but in ourselves…”
Julius Caesar utters this famous line in Act One of Shakespeare’s tragedy, blissfully unaware that fault and fate would soon play large parts in his own destiny. In this Monday’s staged reading of Julius Caesar, fault and fate are two questions Director Jason Rennie knows better than to tackle directly.
“I have always been very intrigued by the play and it took a while to figure out why I was drawn to it,” says Jason. “I think it’s mostly because the ambiguity is so appealing to me.”
That ambiguity is what has made this particular tragedy so memorable for audiences, and at the same time so challenging for actors and directors. Even though acts of savagery abound, the clarity of right and wrong in this political arena is not so absolute. Sympathy, surprisingly, falls on the backs of unexpected characters. The lines in the sand are blurry.
While this is Jason’s first foray into directing Julius Caesar, he has been through this story as an actor more than once.
“My drive to want to do this play stems from the frustration I’ve had as an actor,” he explains, citing the questions the story raises about politics, patriotism, and power. “The play itself doesn’t take one side or the other as far as the central conflict is concerned. All these characters, even the antagonists or the minor functionaries, are all drawn with ambiguity. It’s plausible to see them on one side or the other of that conflict, and you can easily sympathize one way or the other.”
In fact, he states, a more accurate title would probably be The Tragedy of Marcus Brutus, the character on whom most of the moral ambiguity falls during the course of the story.
“Brutus feels patriotic and wants to combat tyranny,” explains Jason, “but at the same time he’s thinking of committing murder. Can you ever truly justify and sanctify murder? I think none of those questions are actually answered within the play.”
Shakespeare plays his political cards close to the vest on this one, which makes sense, given that the play is perceived as a veiled critique of the Elizabethan monarchy. The fascination with Rome in the late 1500s provided an apt backdrop to the perceived overreaching power of Queen Elizabeth’s self-proclaimed deific reign.
“Elizabeth was starting to equate herself with that divinity and an immortal type of ruler, which was extremely hubristic,” says Jason. “It was a very hot political issue at the time.”
For us in modern times, the play still carries a critique – not of monarchy, necessarily, but of patriotism and the lengths to which it will be cited as justification for untoward acts.
“What is the motive when you invoke patriotism?” Jason asks. “Is it to justify an act that you personally don’t feel you can stand behind without it? And who’s to judge?”
Indeed, many of these questions have arisen within our current political climate, not just domestically, but globally. While Shakespeare writes sympathetic characters on both sides of the issue in Julius Caesar, the dialogue is the same as the one we are currently having around the world.
“A lot of the political issues that have been front page issues over the last few years can be boiled down to the same types of things,” says Jason, commenting that Julius Caesar could be performed against a backdrop of the current political landscapes of Egypt or Syria. “It’s a question of who has more power and do they deserve it?”
And with complicated questions come complicated answers. Once power is taken, what is left of the political state? It’s fine to depose a king, says Jason, but what happens afterwards? In this light, he says, Julius Caesar becomes not only a tragedy, but also a cautionary tale.
Hopefully, he and his actors can shed some light on this subject, but Jason is just as wary as Shakespeare was of actually picking sides.
“Shakespeare isn’t condoning or condemning a political assassination in Julius Caesar, but instead asking whether or not it is within the public’s power to make the decision,” clarifies Jason with a statement that, like the nature of both art and politics, perhaps generates more questions than it does answers.
— Tiffany Tang
Julius Caesar, a staged reading. Encinitas Library, 540 Cornish Drive. Monday, November 18. 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.
As Sean Yael-Cox, Artistic Director of Intrepid Shakespeare, prepares to direct the company’s upcoming staged reading on Monday evening at the Encinitas Library, one question keeps reverberating in his mind:
“Why isn’t this play performed more often?”
The play in question is Moisés Kaufman’s Gross Indecency: The Three Trials of Oscar Wilde, which will be presented by a stellar cast of San Diego heavies, among them Tom Hall as Oscar Wilde and Jim Chovick as the Marquess of Queensberry.
“It feels incredibly timely and appropriate to look at this play now because it’s about human rights,” says Sean, citing the recent waves of political change with regards to equality. “It’s a strong play to do now.”
Kaufman’s play, assembled in a docu-drama style which lifts direct quotations from historical documents, personal letters, and creative work, follows the later years of playwright Oscar Wilde as he undergoes three lawsuits in England – one which he initiates in order to rebuke a slanderous statement made against him by the Marquess of Queensberry, and two others initiated by the government on the charges of “gross indecency” between Wilde and Lord Alfred Douglas, the Marquess’ son.
“A lot of people don’t know what happened to Wilde and how it ended for him,” comments Sean. “I think it says something about his writing that he is known for his wit and his charm and not remembered for the trials.”
Charged with the task of portraying Oscar Wilde is Tom Hall, most recently seen in Intrepid’s production of Hamlet as Horatio. Even though Tom describes the role as “very challenging and very daunting,” he is thankful that the authentic words of Wilde are there to provide a foundation for his real life character.
“You get a strong sense of who he was and how he carried himself through his writing,” says Tom. “Wilde wasn’t just a person. He’s a personality.”
Also recreating an historical figure is Jim Chovick, who will be portraying the Marquess as well as two different prosecuting attorneys in the reading.
“The Marquess of Queensbury is the nemesis,” says Jim, also last seen in Intrepid’s Hamlet as the Ghost. “He’s rather rough and strong arms his way through life.”
What lends credibility to these characters is that their conversations are almost entirely created from historical record, and Kaufman manages to investigate the trials with a modern perspective while maintaining the integrity of the people involved.
“It’s like a crash course history lesson, but it’s incredibly theatrical,” says Sean, who will also take a turn on stage during the reading. “It’s almost like doing an Oscar Wilde play because there are so many excerpts from his writing. It’s the beautiful poetry and a ton of humor.”
Sadly, it is the creative writings of Wilde that are also used as evidence against him when he is put on trial for his “illegal” activities with Douglas. Tom notes that because of this, it is not the actual relationship between the men that ends up under the microscope. It is Wilde’s struggle for artistic expression.
“He was really being tried for his subversive views on art, morality, and Victorian society,” says Tom. “Wilde believed in the power of art to transform man. He believed that art could change the world, could bring about peace, and all of these ideas that were revolutionary for his time.”
Jim agrees. “The playwright knew what he was doing,” he says. “Wilde isn’t defending his actions, he’s saying I’m an artist and art rises above these petty little rules.”
This “rule” that Wilde was ultimately found guilty of was “gross indecency” between males, and while the term was never clearly defined by Parliament, it was used to criminalize homosexuality in Victorian England. It was not repealed until 1967.
The somewhat didactic nature of this play should not be intimidating, however. Anyone familiar with Kaufman’s The Laramie Project will understand his unique ability to take facts and weave them into a compelling narrative.
“The best kind of play is one that will move you emotionally and educate you,” says Jim. “Anything that is well-written will resonate. It’s human nature.”
Rounding out the cast of historical figures is Brian Rickel, Danny Campbell (most recently seen as Polonius in Hamlet), as well as John Tessmer, Ben Cole, and Edred Utomi who are all currently acting in A Midsummer Night’s Dream, the musical, which closes on Intrepid’s mainstage on Sunday.
— Tiffany Tang
Gross Indecency: The Three Trials of Oscar Wilde by Moisés Kaufman, a staged reading, will be held at the Encinitas Library, 540 Cornish Drive. Monday, August 19. 6:30 pm complimentary wine/appetizer reception. 7:00 pm reading. Please rsvp to firstname.lastname@example.org and pay with cash/check at the door or purchase tickets in advance. $15.
Moonlighting at Intrepid Shakespeare: A Conversation with “The Quality of Life” Director, Kathy Brombacher
Kathy Brombacher is the first to admit that things are a little bit different now than they were a year ago. “My life is a little simpler now that I’m ‘retired,’” she laughs. “It is nice to do one project at a time.”
This time last year, Kathy was wrapping up her 31-year stint as artistic director of Moonlight Stage Productions, her post there historically integral to arts development in North County. Now, as she told the U-T last August, she is finding “a different way to be involved in theatre.” And this week, that involvement includes directing Monday night’s staged reading of Jane Anderson’s The Quality of Life.
In Jane Anderson’s play, which was originally commissioned by and had its premiere at the Geffen Playhouse in Los Angeles in 2007, two couples meet on the burned out remains of a Jeannette and Neil’s house in Northern California. The couple has set up a yurt on the land, artistically displaying salvaged items from their lives on nearby trees. They are visited by Jeannette’s cousin, Dinah, and her husband Bill, Midwestern parents grieving over the tragic loss of their daughter.
“Jeannette and Neil are post-intellectuals,” explains Kathy. “They bought this beautiful home in the mountains because of their own spirituality, which is linked to Buddha and appreciating nature.” That they choose to honor the remains of their lives artistically is evidence of their ability to come to grips with their loss in a cheerful way. “They are defiant of the misery that might affect other people,” says Kathy.
By contrast, Dinah and Bill, who have arrived after hearing about the devastation of the fire, live conservatively in their religious and political values. The juxtaposition of these two ideologies creates both tension and humor.
“These are two sets of very different people, looking at life in very different ways,” Kathy explains. “There are lovely threads of humor throughout, but you also begin to see people use humor to escape things that haunt them at night…the things that are always with them.”
Charged with bringing these complex characters to life is a seasoned cast of San Diego notables: Jo Anne Glover and Jeffrey Jones will portray the fire-devastated Northern Californians, while Colleen Kollar Smith and John Tessmer will play the grieving Ohioan visitors.
“The cast is incredible,” enthuses Kathy. “There are a lot of levels of thinking in these characters for the them to discover. It’s a beautiful play to listen to and will be completely in the hands of the actors.” While Kathy is new to working with the majority of the cast, she notes that Colleen grew up doing theatre in North County San Diego. “She’s a gifted lady we claim as our own,” Kathy says, of Colleen’s early theatre days at Moonlight.
These kinds of connections are important, especially to someone who has been so involved in the development of San Diego’s theatre scene. Kathy looks forward to cultivating more of these relationships outside of Moonlight, among them, one with Intrepid Shakespeare.
“I really welcome this opportunity,” she says. “I so completely admire what Intrepid is doing onstage. I just love that Christy and Sean are bringing the classics to the schools and splitting open the idea of what the classics are and approaching Shakespeare in a new way. I have all kinds of respect for them and I hope they flourish and thrive.”
— Tiffany Tang
The Quality of Life by Jane Anderson – a staged reading, will be held at the Encinitas Library, 540 Cornish Drive. Monday, June 24. 6:30 pm complimentary wine and 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.
Shana Wride is thoughtful as she considers her upcoming stint at Intrepid Shakespeare as director of Yasmina Reza’s Life(x)3. An established actor and director, this is the first time she has directed any of Reza’s plays, but she has always found the writing both challenging and haunting.
“Something about her work makes you think about it once it’s done,” says Shana. “It’s not until you walk away that you begin to ask the questions.”
Life(x)3 will be no exception. Stocked with a brilliant cast – Jessica John, Melissa Fernandes, Mark Pinter and Andrew Oswald – the play revolves around two couples and an unexpected dinner party. What makes this particular telling unique is that the story is told three times – each from a different character’s point of view.
“The conceit that we see an evening from three different angles with three different outcomes is intriguing,” says Shana.” I love that she uses this approach to examine how subtle shifts in our perception and response can drastically alter the outcome of our lives. I find that both exciting and absolutely terrifying.”
Yasmina Reza, a two-time Tony Award winning French playwright, unpacks these types of themes throughout her work – the dissolution of relationships, the misunderstandings that reveal deep-rooted psychological tendencies, the truth behind socially-acceptable behavior. Her work has been seen all over the world, translated for the English stage most often by playwright Christopher Hampton. Recently, her play God of Carnage was also adapted for film.
“What motivates me most is writing about people who are well brought up and yet, underneath that veneer, they break down,” Reza told The Observer early last year. “Their nerves break down. It’s when you hold yourself well until you just can’t any more, until your instinct takes over. It’s physiological.”
“It is all about the text but it’s also – which is really exciting to me – about what’s underneath,” says Shana, referring to the play’s revelations. “The tension becomes a character in the play.”
The staged reading format of Monday’s performance lends itself to exposing this tension. With simplified staging, the actors – and the audience – are free to focus more on the subtleties of the text. As is traditional with the staged reading format, there is minimal rehearsal time, putting a lot of responsibility on the shoulders of the actors when it comes to both preparing their parts and also staying in the moment during the reading.
“You’re forced to do everything very quickly and to make those choices quickly,” says Shana of the format. “We are really lucky to have the cast we have. These are four really amazing San Diego actors.”
Thankfully so, as Reza’s work seems like quite a balancing act, requiring not only the creation of this tension, but also an acknowledgment of the play’s humor. Yes, humor. Shana is reassuring that even though the tone can be stark, there are plenty of uplifting moments in the storytelling.
“[Reza] doesn’t worry too much about cheering you up, but at the same time it’s funny – brutally funny,” says Shana. “Her humor comes from how ridiculous life can really be.”
Yasmina Reza’s own analysis of her work absolves her of any responsibility for her characters’ behavior – humorous or not.
“We ask writers to have a vision of the world, to take positions,” she says. “I don’t like to do that because I want to be able to write characters who have different takes on life and for them to be convincing.”
Shana might disagree, describing Reza’s work as “challenging” and Reza as the type of writer who wants an audience look at their own behaviors.
“In Life(x)3, she’s asking: Are we at the mercy of our surroundings or are we contributing to them?” observes Shana. “It’s something we don’t want to look at sometimes because we might be more responsible than we want to admit.”
Ultimately, both playwright and director might agree that this self-analysis accomplishes the goal of the play.
“You leave the experience asking questions about how you live your own life,” says Shana. “I think that’s very powerful.”
— Tiffany Tang
Life(x)3 by Yasmina Reza, a staged reading. Monday, May 20. Encinitas Library. 6:30 pm complimentary wine and appetizer reception. 7:00 pm reading. Please rsvp to firstname.lastname@example.org and pay with cash/check at the door or purchase tickets in advance. $15.
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.
When actors approach their roles, the first order of business is to wholeheartedly believe in their characters’ actions and decisions without judgment. But, how is an actor expected to do so – without reservation – when the title of the play is Doubt? The cast of Intrepid’s upcoming staged reading sheds some light on the matter.
“This whole play is painted in shades of gray,” says Tom Hall, who will play Father Flynn, the priest who is accused of impropriety at a small parish school. The school’s principal and accuser, Sister Aloysius – who will be played by Trina Kaplan – is driven by her conviction, despite a lack of concrete evidence. “There is no black and there is no white,” says Tom. “And that’s sort of the beauty of it.”
Although set in 1965, Doubt was written in 2004 and playwright John Patrick Shanley won both the Pulitzer and the Tony for his work. Even though the words “genius” and “brilliant” are bandied about in the theatre world, says Tom, there is no “doubt” that this play is genius. And brilliant.
“I couldn’t stop thinking about it, long after I had read it,” he says.
Yolanda Franklin, who will be playing Mrs. Muller, mother of the first black student at the school who finds her family affected by the accusation, agrees. “Audiences are in for something,” she says. “Especially if they are hearing the play for the first time. I was blown away when I read it. The writing is that great.”
“Also, the play is so timely,” mentions Trina, commenting on the current investigations within the Catholic Church. “It’s interesting to revisit this show when so much has come out.”
Although the action unfolds within the setting of a parish and the organization of the church, the actors are also quick to point out that it is still immediately accessible, even without church familiarity, because the issues are so real.
“It actually has very little to do with religion, and more to do with human nature,” says Erin Petersen, who will be playing novice nun Sister James. “It’s not just about faith, but about faith in humanity and the desperate need we sometimes have to believe in people.”
To that end, each character seems very representative of very specific – and very opposing – viewpoints. Tom points out that as the Second Vatican Council was closing in 1965, there was immense upheaval in the traditional processes of the church. Throughout Doubt, there is a theme of change, of progression, and of old-versus-new that is immediately relatable.
“Father Flynn sort of embodies what was going on in the church at that time, which was the controversial march towards progression,” he says, whereas the character of Sister Aloysius is more steeped in tradition. “It doesn’t matter how these two meet, they are going to clash.”
Trina agrees that her character is absolutely driven in her conviction. “She’s so driven yet still sympathetic,” she explains. “Her heart is in the right place, but she’s on a mission. The more I study her, the more questions I have about her.” She pauses, and then adds, “The more I doubt.”
“It’s actually sort of written as a thriller,” Tom explains, referring to the play’s hooded development of the facts as well as the twists and turns taken by both the plot and the characters.
“I, for one, am enjoying my detective work,” says Yolanda, elaborating on her research for her role and her analysis of the time period of the play, the civil rights issues, and the protective feelings a mother would have towards her son when he already has a lot of cards stacked against him. “She just wants what is best,” she says.
True to its title, nothing is certain in this story, which only makes the characters all the more fascinating to play and to watch. If anything is without doubt, it is that audiences will continue talking about it long after Trina speaks the last words.
“At the end, the playwright is basically saying, ‘Discuss,'” says Tom. “‘Everything you need to know is right there. I’m not going to give you an easy answer.’ This play is intended to provoke a conversation.” — T.T.
The staged reading of Doubt will be held Monday, February 25, 630 pm wine reception, 7 pm reading at the Encinitas Library, 540 Cornish Drive. Tickets $15 and can be purchased here or reserved by emailing firstname.lastname@example.org and paying at the door.