Tag Archives: Encinitas
“At their best, dreamers, and at their worst…dreamers.”
Jason Rennie describes his take on “theatre people” when asked about directing the upcoming staged reading of I Hate Hamlet for Intrepid on Monday evening. According to the playwright, Paul Rudnick, the play is “overrun with theatrical types,” and makes a humorous effort to capture the New York stage scene in all of its gusto and glory.
First performed in 1991, I Hate Hamlet is based on Rudnick’s actual experience renting a New York City apartment that once belonged to legendary actor John Barrymore. After imagining the stories within the walls of the fourth floor Washington Square brownstone, Rudnick decided to bring them to life in a play. Hilarity ensued.
“Some of the experiences in the play are kind of nod to people in his life at the time he was there,” Jason explains, mentioning characters such as Felicia the real estate agent (played by Brooke McCormick) and the Lillian, the theatrical agent (played by Rhona Gold) who is based on a woman who historically romanced Barrymore’s son-in-law within the walls of the apartment in question.
In the story, the main character is an actor who has been offered an opportunity to play Hamlet at Shakespeare in the Park. Needless to say, this part requires a little more chops than his regular television gigs, and the appropriate level of panic ensues.
Enter the ghost of John Barrymore.
Ruff Yeager will be portraying Barrymore in Monday’s reading and promises to be less of a handful than the actor who originated the role on Broadway, British thespian Nicol Williamson. In a detailed account for The New Yorker in 2007, Rudnick spelled out the worst-case-scenarios which came to life during the opening of what would be his first play on Broadway, including Williamson’s drunkenness, lewdness, and missed performances. The last straw had occurred when he purposefully struck a fellow actor with a sword during a stage combat scene. That actor promptly left the stage and never returned to the show.
Even though the show’s original opening was somewhat plagued, Jason maintains that it is one of his favorite plays of all time, and that he has been begging Intrepid artistic directors Sean and Christy to consider it for a while. With Hamlet opening February 2 on Intrepid’s mainstage, this first staged reading of the year at the Encinitas Library seemed to be the perfect opportunity to showcase the links between contemporary humor and Shakespeare.
Not up on your Shakespeare? Never fear. You’ll still laugh.
“It’s not so much an insider’s play,” says Jason, “but there are a few inside jokes. It’s a nice tongue and cheek homage to theatre. It allows us to poke fun of ourselves and laugh.”
You might even recognize a line or two, says Jason. “It doesn’t preach on Shakespeare, but the Shakespearean lines that are present do have a wonderful resonance. It reminds us that these speeches in these plays do still have value and meaning.”
Is there any truth to the thought of Hamlet as one of the most daunting plays in the canon? “There is such a heavy connotation with that play,” says Jason. “It carries a great deal of baggage. But at its core, it is still a quintessential revenge tragedy that centers around one young man and the conflict within himself.”
Ultimately, the pursuit of the stage translates now just as much as it did when Hamlet was first performed hundreds of years ago, which is what continues to make theatre and storytelling relevant and universal.
“With theatre, you have to look beyond the reality,” says Jason. “It’s odd because we are preying upon people’s imaginations as much as possible when creating productions.”
He pauses, and then adds, “Yet it is so absolutely necessary for us as human beings to be a part of that.” — T.T.
I Hate Hamlet (a staged reading). Monday, January 28, 6:30 pm wine reception, 7:00 pm performance. Directed by Jason D. Rennie and featuring Ruff Yeager, Jo Anne Glover, Steven Lone, Rhona Gold, and Brooke McCormick. Encinitas Library, Community Room 540 Cornish Drive, Encinitas 92024. $15. You must RSVP in advance in order to attend. You may purchase your ticket in advance here or rsvp to firstname.lastname@example.org and pay with cash or check at the door. Subscribe to a “Flex-Pass” Subscription Package and save $5. Packages come in 3-Play, 6-Play, 9-Play, or 12-Play passes. If you have any questions, please call the Intrepid Office at (760) 295-7541.
Beth Merriman always has a change of clothes with her. Granted, it might be a vintage dress that she would like Jennifer Eve Thorn or Debra Wanger to wear onstage, but nevertheless Beth’s bags are usually stuffed with outfits.
As the costume designer for Intrepid’s upcoming production of Hamlet, Beth is used to toting wardrobe with her at all times – at the moment, the pieces in her pocket range from flowing and feminine to military and structured – all reflective the 1930s. This will be the ninth show she has designed for Intrepid, and she admits that one of the best parts is mixing things up with different historical eras. Thankfully, the Bard provides a backdrop against which the design choices at Intrepid have plenty of room for creativity.
While the basic palate for the company’s Shakespeare productions has always been modern,”we’ve started experimenting with different time periods,” says Beth. “It’s always a challenge and I never know what’s going to happen.”
One of her favorite productions to design for was the recently successful A Midsummer Night’s Dream: the Musical, which was set in the doo wop era of the 1960s. Hamlet will be created in a world of the 1930s old Hollywood glamour.
“Christy [Yael, the director] wanted to give it a little bit of a romantic feel,” says Beth. “That Hollywood image really makes the story shine.”
It is an important part of the Intrepid’s mission statement that nothing interfere with the language of the plays – the story is created through the text first, only to be supplemented with production design. In this case, this pre-war era adds to the story, rather than distract the audience’s understanding of it. “We all kind of know Hamlet – vaguely for some people and intimately for some other people,” says Beth. “This design helps make it comfortable for us to go and enjoy the story. We don’t want the costumes to get in the way.”
With the parallels between the Danish royal family and golden-era movie star celebrity, the costuming choices can illuminate the story through the recreation of this familiar period in our history. To dig into this era, Beth had to delve deep into her research books and the internet, picking and choosing images that would help inspire her wardrobe choices. (View Beth’s Pinterest page for Hamlet to see some of her inspiration.)
The choices also help support the idea that this is a closed set – the characters who live in the palace exist apart from the rest of the world and move entirely within in their own circles of influence, free from outside interference. Similarly, the claustrophobic bubble of Hollywood fame can elicit a feeling of isolation that is pertinent to movement of the plot.
The costuming also helps illuminate each character’s journey through this story – the palates changing and shifting with each twist and turn. “We do play with color and we do take each character’s arc in the play into consideration,” says Beth, alluding to the fact that no one really ends up in the same place that he or she started, especially in Hamlet.
To support this, Beth chooses color very carefully. “I always have to check with the set designer beforehand,” she says, in this case referring to talented Sean Fanning. “Since the set is very monochromatic, I wanted brighter colors onstage so that the characters pop a bit.”
Giving life to the canon of Shakespeare plays is always a different experience, depending on the play and the company. Having worked at theaters in Wisconsin, and locally here at The Old Globe and at Asian-American Rep, Beth is happy to have found a creative home working with Intrepid.
“It’s always a challenge and it’s always fun and I get weird texts in the middle of the night,” says Beth. “But Intrepid is a place where I’ve really been able to spread my wings.” – T.T.
Hamlet opens February 2 at the Clayton E. Liggett Theatre in Encinitas.
Tickets can be purchased here.
When I sat down to chat with Wendy and Steven, my first question was the obvious one: Wait. Who is playing whom?
True to form, they began to finish each other’s sentences as they elaborated on their roles as Rosencrantz and Guildenstern (respectively), for which they resumed rehearsals this week after the holiday break. In the play, these characters are old friends of Hamlet, who appear after the action of the story has begun, and whose loyalties often appear undecided. Except for a few lines of text, they are never seen apart, but always together, their names confused even by other characters in the play.
Despite a now traditional route of portraying these two as similar personalities, both Wendy and Steven are adamant about director Christy Yael’s approach of distinguishing them.
“Immediately, there’s a challenge to make it your own and different from the other person,” says Steven. “There is no challenge or worthwhileness if you’re just playing Tweedle Dee and Tweedle Dum.”
Wendy agrees. “They can be easily disposed of or perceived as filler but, let’s face it, Tom Stoppard wrote an entire play about these characters. Even though they don’t have a ton of dialogue, they are very influential. They are the voice of the people.”
As Wendy and Steven step back into rehearsals this week, they are eager to see their ideas about their roles manifest into action and movement on the stage. Steven, a newbie to Intrepid, and Wendy, a three-show veteran, are finding their excitement about creating these characters paralleling their interest in getting to know each other as actors.
“My first question when I was cast was, ‘Who is my Guildenstern??’” says Wendy, and for a while, there was no answer. Steven, who just moved to San Diego with his family after a yearlong stint at The Royal Conservatoire of Scotland, had solicited local theatre companies for auditions upon his arrival. He was cast in Intrepid’s reading of Macbeth in October and eventually in Hamlet as well. “All everyone kept telling me during the reading was that I was going to love my Rosencrantz,” he says.
“Did they tell you Rosencrantz was going to be female?” Wendy asks him, curious.
“No, they didn’t right away!” laughs Steven.
As they have become acquainted, Wendy and Steven have also begun the journey of figuring out who their characters are in the context of the production. Both actors agree that there is still a lot of mystery to be unraveled. “We are still figuring out what our rhythm is going to be together,” says Wendy, and Steven agrees, adding that discovering what they are each going to bring is going to be pivotal in creating these two people.
“Often the placement of scenes with Rosencrantz and Guildenstern seems like they are not much more than ice breakers,” muses Steven when asked about how these characters fit into the story of the play as a whole. “They come before and after some fairly intense scenes, so it can seem difficult to show their reality as people.”
Wendy elaborates. “The more I reread the play the more I love what these two characters represent,” she says. “They bring Hamlet down to earth and make him accessible to the audience. This is a guy who has goofy friends!”
Whatever the motivations of these characters, it is clear that Wendy and Steven are ready to move from the extensive table work they have been doing for the past month and into the action onstage. While the table work is necessary to clarify intentions and motivations and specific moments of the play, for these two it is walking the walk – in this case, alongside one another – that will truly bring the characters to life.
“I’m a firm believer that I’m as good as my scene partner,” says Wendy. “I need to elevate my game for the other person. I love the idea of it being so seamless and breathing as one machine and telling the story together. I think, as a cast, we are all very invested.”
Steven has no hesitations jumping in with her, even though this is his first production with this crew. “It’s immensely gratifying to come into this group right after studying in Scotland,” he admits. “I’ve been awed to come back to a group of people who work with a process that is so professional and so familiar.”
Wendy is more than happy to put Steven’s mind at ease with regards to his debut show in San Diego.
“This is such a great group – I can’t stress that enough,” she says. “We’re going to have a fun time together. They are a supportive, fun, smart, risk taking group of actors and designers and directors.”
Then, she adds, “Take us all with a grain of salt, though.”
We have a laugh and I thank them for their time. I can’t help but smile when they answer, in unison, “No problem!”
We will see you on stage, Rosencrantz and Guildenstern. – T.T.
Hamlet previews January 30 at the Clayton E. Liggett Theatre on the campus of San Dieguito Academy in Encinitas. For more information about tickets and showtimes, click here.
Jim Gilliam is supposed to be on vacation.
However, in this moment he is at work, tying up a few things for 2013 before returning to family and year-end festivities. As the City of Encinitas’ Arts Administrator, Jim has one thing on his mind no matter what time of year it is: how to increase the presence of the arts in his city. Lucky for us, Intrepid has become a formidable component in that plan.
With Intrepid’s recently announced series of 12 staged readings to be held monthly at the Encinitas Library, and our ambitious Season Four program, Intrepid is helping fulfill a long term goal for Encinitas as well as for Jim – to increase the presence of live theatre in the city.
“I have my marching orders,” says Jim, based on the 2002 Arts Master Plan for the City of Encinitas, which includes the tenet that “art is an essential element in the life of Encinitas.” A survey in this plan revealed that a whopping 72% of Encinitas residents consider live theatre one of the most preferred arts experiences. Emboldened by that information, the city has spent the last ten years bringing Encinitas more of what it wants.
“Intrepid is helping us realize this longstanding preference of the residents to experience live theatre,” says Jim. “Until they showed up, we didn’t have a professional theatre company. And now, they are the first arts organization we are working with to launch our new initiative with the library to offer more arts programming.”
With the recent hire of a full-time facility attendant, the spacious community room at the Encinitas Library is now available for use by local groups in the evening hours. Many organizations will request the space, and Intrepid was offered the opportunity to present a staged reading series, taking place on the fourth Monday evening of every month. The series begins January 28th with I Hate Hamlet – a humorous nod to the fact that Hamlet will open on the mainstage at the Clayton E. Liggett Theatre a few days later.
“Intrepid has taken on this project with 12 evenings booked,” says Jim. “They are offering a terrific mix of plays.”
“Plus,” he adds, “they offer delicious, home cooked appetizers at the reception, award-winning plays, professional actors and director, in a terrific local setting, what more could one want at the very affordable price of $15. What more could you ask for?”
For our part, we are happy to oblige. — T.T.
Intrepid’s Staged Reading Series begins on January 28th and runs through November 25, with readings on the fourth Monday of each month. There will also be a reading of A Christmas Carol on Saturday December 14. For a complete list of plays or information on purchasing a subscription, click here.
The Encinitas Library is located at 540 Cornish Drive.
A conversation with Scrooge and Scribe about Intrepid’s upcoming holiday staged reading…
“A Christmas Carol is absolutely a ghost story.” Brian Mackey is emphatic as he describes his new adaptation of Charles Dickens’ timeless story, co-written with fellow San Diego actor Rachel van Wormer. Brian will also be directing.
“Even Dickens points out that fact in the introduction,” explains Brian. “He refers to it a ‘Christmas ghost story.'”
But audiences shouldn’t be worried. Revealing some of the darkness of the tale is just one of the gifts of adapting the story word for word from Dickens – a gift that develops more and more deeply throughout the play.
“The language really is beautiful,” says Brian. “And this version is literally Charles Dickens onstage.”
While Brian and Rachel’s adaptation doesn’t shy away from some of the darker moments of this tale, it is also very clear about the theme of the story: the transformative and giving spirit of the season.
“I think that’s why people come back to it again and again and why it’s appropriate for the holidays,” says Brian. “We are able to witness one man’s transformation from a curmudgeon to someone lighthearted. It’s a touching, powerful story of a man changing his life.”
So powerful, in fact, they knew it was necessary to find the right actor to handle Scrooge – both in the dark times as well as in the light. Not everyone can be convincing at both ends of the story.
The choice turned out to be simple one. Ron Choularton has been discovering and rediscovering this tale since childhood, when English television used to air it every Christmas Eve, featuring Alastair Sim. To date, he has played a part in 28 performances and readings of A Christmas Carol.
“There was a time when I was yearning to get old enough to play Scrooge,” says Ron of his days as Marley’s Ghost and Bob Crachit.
What keeps drawing him to this tale?
“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,” says Ron. He adds, “It’s the story of a second chance – one that most people never get.”
To that end, Ron is charged with the task of creating the horrible, penny-pnching, and miserly Ebenezer Scrooge and leading the audience through this transformative journey. He feels that Dickens is right not to shy away from the darkness that weighs on Scrooge in the opening scenes.
“It’s a fable,” he says. “Everyone in Scrooge’s life has left him, so his love of money is really about his fears of abandonment. The ghosts are teachers and their job is to scare the you-know-what out of Scrooge. Gradually, he realizes these things he’s forgotten about and forgotten to do. The transformation from darkness to light is not something that should be taken lightly.”
Brian agrees. “There is also an urgency about that journey,” he says. “Marley is basically saying, ‘You have tonight to save your soul.'”
Despite the grave themes present in the story, both Scrooge and scribe are confident that audiences of all ages will enjoy the performance. “There is some really funny stuff in there,” says Ron. “It is an amazing thing to see children who are affected by the story.”
Something tells us that Scrooge won’t be the only one transformed by the end of the night. — T.T.
A Christmas Carol, directed by Brian Mackey, adapted by Brian Mackey and Rachel van Wormer, and featuring Ron Choularton as Ebenezer Scrooge, plays on Saturday, December 14 at 530 pm at the Encinitas Library, 540 Cornish Dr.
Director Jason Maddy discusses Simon, Shakespeare, and situational comedy…
Jason Maddy pauses before he responds to the question of whether or not working on Neil Simon is similar to working on Shakespeare.
“I think there’s parallels in all great writers,” he finally says. “There’s always a path to the characters somewhere in the writing. You just have to find it.”
Charged with the task of directing Intrepid’s upcoming staged reading of Barefoot in the Park, Jason is thankful that these parallels do, in fact, exist. While he has taken a turn on stage playing the character of Paul, directing this Simon classic is another story entirely.
“It’s different viewing the story through the eyes of other characters,” he explains. “Because I played Paul once, he will always be a part of me. But the story is really Corie’s. It’s her journey. The rest of the characters are a part of that journey.”
Barefoot in the Park is set in New York City in the new brownstone apartment of Corie and Paul, who are newlyweds. Hilarity ensues as they manage parents, neighbors, and the challenges of their new married relationship. While on Broadway in the 1960s, it was nominated for three Tony Awards and became Neil Simon’s longest running production, with over 1,500 performances.
Jason cites many connections between Shakespeare and Simon, and he would know, having taken the stage with Intrepid in both Macbeth and Richard II. While his Shakespeare work here has been of a somewhat darker nature, he feels confident in his abilities to handle Simon’s somewhat lighter fare, partly because of these connections and his own past experience with the play. He points out that most of us know Neil Simon better than we think we do, as this playwright has perhaps contributed more to our social understanding of comedy than we realize.
“He’s the father of situational humor,” he says. “We owe a lot of our understanding of how comedy works to his writing.”
Addressing the comedy is also part of the challenge, however, especially in a staged reading format. “Some actors go over the top, and some actors are too natural. It’s exciting to help them walk that tightrope between honesty and comic timing.”
But most of all, the parallels to Shakespeare land within the text. Just as Intrepid’s mission statement cites the importance of the playwright’s words as the main source of illumination, Jason takes this approach with Simon as well.
“The play is really in the rhythm of the words. Once we find Simon’s pace within the situation and the text, that is when we find the story.”
Shakespeare probably wouldn’t have said it better. — T.T.
Barefoot in the Park (a staged reading). Wednesday, December 5. Encinitas Library 540 Cornish Drive, Encinitas. Tickets $10 – Purchase in advance here or RSVP here and pay cash at the door. Reception at 7:00 pm, reading at 7:30 pm.
Dr. Gideon Rappaport sits at the end of a long table onstage at the Clayton E. Liggett, head bowed in concentration. On his left, the new Arden Edition of Hamlet, edited by Harold Jenkins, lies open on the table. On his right, a working draft of the script for Intrepid’s upcoming production of Hamlet is stacked neatly. Pencil in hand, he glances repeatedly from one to the other, flipping pages, making small notations, and nodding his head. But most of all, he’s listening.
On the other end of the table sits the cast, who have come together for the first read through of the play that will be mounted at the end of January. Even though this is technically their first rehearsal together, relationships and intentions have already begun to develop. The actors spend the evening trying out the words, pronouncing them trippingly on the tongue, and looking to Gideon, who will act as dramaturge for this production, for any adjustments. By the end of the rehearsal, he has individual notes for each player, as well as a few technical reminders for the whole cast: “Don’t hit the helping verbs. Seek out antithesis. Don’t emphasize pronouns.”
While most of the actors are Shakespearean veterans, Gideon is more than qualified to deliver his instruction. Currently an English teacher at La Jolla Country Day School, he has also taught Shakespeare in hallowed academic halls around the country, including on the campuses of Hamilton College, SUNY Cortland, Concordia University, and the University of New Hampshire. His Ph.D. in English and American Literature from Brandeis University doesn’t hurt his reputation as a Shakespearean guru, either. Neither does the quote from the Bard that serves as the outgoing voicemail greeting on his cell phone.
Gideon’s stint as Intrepid’s dramaturge comes at an auspicious time. He is currently putting together a new annotated edition of Hamlet for students, teachers, actors, and directors which will feature Shakespeare’s text on one side, with his own commentary on the other. This commentary will feature everything from thematic notes to definitions, language insights, contextual analysis, and other relevant information. Needless to say, Gideon is currently fully entrenched in this project, and will therefore quickly and easily impart his readily available Danish prince knowledge upon anyone within earshot. “Just tell me when to stop talking,” he says often, and with a smile.
So, what exactly is it about Hamlet that makes this play so discussion-worthy? Easy. “It’s the single most misunderstood play of Shakespeare’s,” says Gideon. “People over the years have gone wrong about what it is really about.” He attributes this misunderstanding to the shifting priorities of society and the changing relevance of religion and spirituality.
“It’s a deeply spiritual play,” he continues. “It’s Shakespeare’s examination of how to live well in a morally complex universe where the choices seem unclear. How do you do the right thing when there seems to be paradoxical explanations of what that is? Hamlet’s story is a test case which generalizes to universal significance.”
Of course, that is a lot for a new cast to take in on the first rehearsal, and after some lengthy discourse on wood carving metaphors, the nature of evil, and revenge play traditions, Gideon finally takes a breath. “Of course, we have plenty of time to talk more about all that,” he says.
Aside from the questions of spirituality and universal significance, Gideon acknowledges that there is always one question on everyone’s mind when they are trying to unravel the tangled layers of Shakespeare’s longest play: Is Hamlet mad?
Well, Dr. Rappaport?
Gideon smiles the cryptic smile of a teacher who knows the answer but doesn’t want to give his students too much information.
“He definitely flies into passions,” he says carefully. “But, he also has moments of reason…” We get it, Professor. We’ll talk after the show. — T.T.
Hamlet previews on January 26 at the Clayton E. Liggett Theatre in Encinitas.
On the heels of our fabulous reading of Macbeth on Monday evening, and on the eve of Halloween, we thought it especially appropriate to address the one thing that all theatre has in common: superstition.
One of the most famous superstitions is, of course, the curse of Macbeth. Historically, many an accident or bit of unfortunate luck has fallen upon productions of this particular play. Researchers suggest many logical explanations for this, of course. The most popular is that, with this being Shakespeare’s shortest and bloodiest play, it seems it would be the easiest to add to a repertory season at the last moment as a surefire seat-filler. Therefore, back in the day, it was often mounted as a last ditch effort to save a dying theatre company, and eventually came to be associated with a company’s eventual demise. Additionally, this last-minute mounting often resulted in an under-rehearsed company, and with the extensive amount of swordplay and stage combat present in this particular script, one can imagine that accidents would not be uncommon.
Also, the play was written during the height of the witchcraft scare, when publications about demonology were rampant. Lastly, some say that the witches in the script utter actual incantations, which leads to a cloak of evil surrounding the play. Oh, and the play was cursed by Jacobean necromancers. Let’s not forget that one.
Whatever the actual cause, the curse of Macbeth has survived the centuries. Rarely will you find an actor who is entirely comfortable even uttering the name of the play in casual conversation for fear of raining down bad luck. Even though avoidance of the word is technically only a necessity when speaking of it inside of an actual theater, the habit is difficult to break. Instead, “The Scottish Play” is the preferred term, although caveats exist if a company is actually performing the play.
What to do if you accidentally say the “M” word inside of a theatre while not working on a production of it? The reigning antidote is to “leave the house, turn around widdershins (counterclockwise) three times, swear, and knock to be readmitted.” (Best write that down or save it in your phone, because no one ever really remembers when the time comes.)
Other famous theatre superstitions? Read on for a rather complete list of “dos and don’ts” to keep productions lucky and actors safe, thanks to The Steppenwolf “Watch & Listen” blog and The Guardian‘s Theatre Blog. One wonders if it is even possible to put on a play while adhering to all of these rules….
Happy Halloween! — T.T.
1. Always step out of your dressing room with your left foot.
2. Absolutely no knitting backstage.
3. Always say “break a leg” and never “good luck.”
4. Never wear blue, yellow, or green onstage.
5. Never use real jewelry, real mirrors, or real flowers onstage.
6. Never clean out your makeup box.
7. Always wind a found thread around your finger.
8. Never whistle in a theater.
9. Never have more than two lit candles in your dressing room.
10. Always leave the ghost light lit.
11. Apply your makeup with a rabbit’s foot.
12. Never bring peacock feathers into the theater.
13. Never wear brand new makeup on opening night.
14. Never place shoes or hats on chairs or tables inside of the dressing room.
15. Never open a play on a Friday.
16. Never speak the last line of the play before opening night.
When Jason D. Rennie was tapped to direct the upcoming staged reading of MACBETH at the Encinitas Library this Monday, he could not help but recall his first co-directing stint with Intrepid in 2009. “This particular play mixes nostalgia and significance for all of us,” he says.
How does directing a staged reading of this play differ from co-directing Intrepid’s inaugural production three years ago?
Well, for one thing, the original Intrepid production ran about 90 minutes and was played with only seven actors. Monday’s staged reading allows for a little more flexibility – a few more actors have been cast, which means less doubling (or tripling) roles, and more of the text has been captured in some significant scenes.
Plus, it’s Halloween, which means that Jason was very excited to “creepify” the show, adding back in the character of Hecate as well as the witches (who were disembodied voices offstage in 2009).
“The play is psychologically horrific,” he says, “and the witches are the physical embodiment of the evil that dwells in the world, and possibly within each of us. I wanted to embrace the atmosphere of spooking and haunting that comes with this time of year by accentuating the eerie and occult nature of Hecate and the Weird Sisters.”
That shouldn’t be difficult. Shakespeare’s witches have been portrayed throughout time as various incarnations of creepy, and Monday’s reading shouldn’t be any different with Savvy Scopelleti, Steve Grawrock, and Danny Campbell stepping into the roles. Molly O’Meara will be illuminating the role of Hecate.
“These witches are more than just pointy hats,” says Savvy, commenting on the conjuring spells used by her character. “Shakespeare wrote their language in a way that is constantly spiraling, the trochaic meter setting them apart from other characters in the play. It’s utterly fascinating.”
Is she creeped out by portraying a Weird Sister? She hesitates.
“If I believed in witches and spells, I would be creeped out, definitely,” she decided. “But this is all just pretend, right?”
Of course. But Jason’s direction sprinkles the play with ethical ponderings for those of us in the non-pretend world, as well.
“However I highlight their presence as the minions of evil, the fact is that the witches do not actually commit any evil – they merely awaken the ambition within Macbeth and stoke that flame until it consumes him. The truly unsettling spookiness of the play is that it forces us as spectators to wonder whether such dark forces lay dormant within ourselves and, if kindled, could we withstand them?”
A appropriately haunting thought, indeed. — T.T.