Tag Archives: magical
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.
“…Swift as a shadow, short as any dream; brief as the lightning in the collied night…” (I.i)
Closing weekend descends upon us, and we are stunned that we are preparing to sing our last “So Happy Together!” Even though this production has moved swiftly though performance phase, we are so thrilled to have pulled off our Shakespearean musical motif with flair and sh’boom. But before we start patting ourselves on our own creative backs, we thought it might be a good idea to take a journey down a Shakespeare-inspired lane. Maybe these previous concoctions of Midsummer and music need a nod from our 60s set list as well.
Shakespeare penned MND in the 1590s and included some fairy lyrics for his flighty characters. But how long would it be before the idea of a full-fledged musical would enter the picture?
Meet Henry Purcell and his 1692 semi-opera, The Fairy Queen, which kept most of Bill’s original text but infused the play with masques to illuminate its themes of love and marriage, including one featuring the Greek goddess Hymen. Shockingly, it was widely misunderstood by Restoration Era audiences.
Unshockingly, David Garrick also had to have his operatic Midsummer say. His opera, entitled The Fairies, premiered in 1755 and featured only the storylines of the forest (sorry, Mechanicals!). All singing, all the time, there were 28 added airs, duets, and choruses in addition to the recitatively-crooned dialogue. Reception was mixed, but a publication called The Tuner deemed it “a laudable attempt to encourage native musical Productions.” (Future musical productions thank you for the vote of confidence!)
Moving forward…some midsummer trivia! Did you know that Felix Mendelssohn’s famous “Wedding March” was written in 1842 as incidental music for a German production of A Midsummer Night’s Dream? Writing the music to accompany this play actually spanned the composer’s entire lifetime, as he was 17 years old when he penned the overture and then completed the score a few years before his death.
Over the years, Mendelssohn’s music has also been choreographed into ballet by masters like Marius Petipa, George Balanchine, and Frederick Ashton.
Of course, in modern times, there have been a slew of looser adaptations which have woven music through the storyline of this play. Recently, the off-Broadway hit, The Donkey Show, featured the basic storyline set to 70s-era disco music, dance club style.
Which brings us to our own little corner of the Shakespearean musical anthology – an intermingling of nostalgia and poetry that has been tugging heartstrings and garnering smiles of familiarity since our opening two weekends ago. And it’s no wonder – when the cast sings about fairy tale love on summer nights in between their soliloquies and witty banter, the flow is so seamless, it’s hard to believe that infusing Midsummer with music isn’t what Shakespeare had intended all along. After all, wasn’t he the first to point out that “life could be a dream”? — T.T.
The opening night of A Midsummer Night’s Dream: the Musical is at last upon us.
Despite months of casting and development, weeks of rehearsal, and days of previews, it is tonight’s performance has been circled on everyone’s calendar from the very beginning. That’s definitely enough to make theatre people a little nervous. But, it might make them a little superstitious as well.
Well-known are the traditional superstitions of the theatre that date back to Shakespeare’s day and before. For instance, it is bad luck to whistle in the theatre, mostly because in the past whistling was used to communicate between the sailors who were hired to run the ropes and flies from the catwalks during a show. A misplaced whistle could be a dangerous thing. And of course, most people know never to say the real name of Shakespeare’s “Scottish play” in a theatre; however, if you ask any actors what the “cure” for this misstep is, you will get a different answer each time: “Turn in a circle three times, throw salt over your shoulder, go outside and curse. Or is it run around the theatre three times? Wait, do you throw the salt over your right or left shoulder?” And, yes, it’s true that everyone says “break a leg” instead of “good luck” before a show.
Given the superstitious nature of this environment, we thought it might be fun to see how some of our actors approach opening night, or any of the regularly superstitious habits they practice to through the run of the show. As we are also doing a play about magic and mystery, it seemed only fitting that we find out about the magic that takes place offstage as well.
At first glance, most of the company denied having any opening night traditions or habits at all. However, eventually some ritualistic practices did emerge. And, one thing is very clear – every actor has very specific feelings about opening night.
“It’s like a roller coaster,” says Eddie Yaroch (Peter Quince). “There is this terrific tension, like you are clacking up the metal chain that leads to your first line on stage. Once that first line is said, everything lets go and the show runs itself.” Traditionally, Eddie will repeat his first line to himself over and over again as he’s getting ready to go on, anticipating that moment.
Tom Stephenson (Bottom) agrees. “It’s like being the groom at a wedding. Excitement and terror before you go on, then lots of fun after you’re on stage.”
They both decided that opening night audiences were the best: “It’s opening night – the crowd cheers for you.”
Other actors focus more on their preparation for their roles to shake the performance nerves. Rin Ehlers (Helena) takes a walk through her blocking upon arrival at the theatre to solidify her character’s journey in her mind. Savvy Scopelleti (Snout) tunes into the perspective of her character – an immigrant needing to belong – by repeating a handful of key phrases to herself in her Russian accent during the hours before going onstage.
There is also something to be said for camaraderie among cast members. Especially on opening or closing night, Lauren King (Hermia) feels it’s important to acknowledge the company’s journey and usually tries to make little gifts or write little notes for her castmates. “The first professional show I ever did, someone did that for me,” Lauren says. “I’ve never forgotten that.”
Brian Mackey (Demetrius) and Kevin Koppman-Gue (Lysander) share similar approaches to dealing with their opening night nerves. “I like to be social and joke around with everyone until the second before I step onstage,” says Kevin. “The more I’m in my head about the show, the more chance there is for me to flub up.” Brian also tries to avoid the nervousness that infiltrates the dressing rooms as showtime nears. “People are pacing,” he says. “I read Sports Illustrated.”
“There’ s something special about opening night,” says Taylor Peckham (Puck/Musical Director). “I like to get dressed up and celebrate it.”
We couldn’t agree more, Taylor. Here’s to an auspiciously amazing opening night. Break a leg!!
Dateline: Rehearsal. Wednesday, August 29, 745 pm
‘Twas the night before previews
And in the Clayton E. Liggett
Were just the sounds of fine-tuning
And a director shouting, “I dig it!”
The rope swings were hung
From the stage grid with care
In hopes that “knot spacing”
Was finally secure.
Patrick was tucked
In the sound booth and gave
Life to the piano
When Taylor would wave.
And what was there left
on the list to complete?
Sharon just smiles and says,
“I can’t feel my feet.”
The actors run round
In costumes and curls
Rehearsing their harmonic
It was nigh around eight
When the last rehearsal began
The bower finally hung
As the actors filed in.
The company’s final attempt
To make everything right
Knowing tomorrow’s first preview
Would be a memorable night.