Tag Archives: Jim Chovick
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Kaufman’s play, assembled in a docu-drama style which lifts direct quotations from historical documents, personal letters, and creative work, follows the later years of playwright Oscar Wilde as he undergoes three lawsuits in England – one which he initiates in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.
Sean Fanning doesn’t like scenery.
This may seem strange, considering he is the set designer for Intrepid’s current production of Hamlet, but when you hear Sean’s take on bringing Shakespeare to life, you might understand.
“It’s all about the words,” says Sean, a statement that is music to Intrepid’s ears. “You could do Shakespeare the way it’s written on a bare stage and it’s powerful because it’s so imaginative.”
To that end, Sean has created literal space on the stage at the Clayton E. Liggett for the “rottenness” of Denmark to play out. With the mere suggestion of a finished room, the landscape of the stage serves multiple purposes throughout the production without the necessity of changing sets or disguising scenery. Soaring colonnades meet ceilings which disappear into thin air, both uplifting the regality of the space as well as suggesting the distemper of the action to come.
“I see other plays that are more contemporary that rely so much on having to actually show people in location,” says Sean. “In Shakespeare, yes, it’s episodic, and yes, we’re going from place to place, but we don’t rely on all the typical conventions.”
In other words, Sean lets the audience have a say in each location, projecting their own ideas of the graveyards, the ships, the secret rooms of the palace, and the sites of hauntings onto the canvas of his design.
“Shakespeare demands so much,” he says. “If you really tried to physically transport people from location to location, you would lose some of the magic.” Best to rely on the words to carry the scene, he says. And based on the high praise he has already received (local press has hailed Sean as an unsurprisingly “in-demand designer”), he’s obviously on the mark.
“Shakespeare is one of my favorite things to do,” says Sean, who also designs all of the MFA productions at The Old Globe in Balboa Park. Hamlet is his inaugural show at Intrepid.
Sean’s design for Hamlet also captures the challenge of the thrust stage, where the audience is closer to the action, rather than gathered behind the fourth wall of a typical proscenium stage. This adds to the tension of the play, as actors have the space to move through and around the set’s dimensions without the necessity of facing all of the viewers at all times. Sean has ensured that the actors always have what they need, providing built-in places for them to sit, lie down, and hurdle over. The actors help create the locations, and Sean emphasizes, “that’s what’s so magical about it.”
“There is a sense of barrenness that the actors can fill with the words,” says Sean. “So, to me, some of the most beautiful sets are bare stages.” — T.T.
Catch a quick interview with Sean Fanning and see his path to creating Hamlet:
Hamlet runs through February 17 at the Clayton E. Liggett Theatre in Encinitas. Tickets can be purchased here.
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.