Tag Archives: Phil Johnson
“Edward Albee is so funny, so biting and says the most amazing things about human nature,” says Phil Johnson, director of Monday night’s staged reading of The Play About the Baby. “But, he does it in a way that is so poetic and has so much artistry to it. And in the end, the point he leaves you with is so enormous, so enlightening.”
Such strong statements can rarely be said about just any playwright, which is why Albee is considered one of the greatest living American playwrights of our time. From his early work in Who’s Afraid of Virginia Woolf? (which will have a future mainstage production at Intrepid) to this, one of his later offerings, over and over, and for better or worse, Albee’s plays expose and illuminate the truth in our very human nature.
As in Virginia Woolf, The Play About the Baby centers around two couples, one younger and more naive, and one offering the depth and darkness of experience. The younger couple, Boy and Girl, give birth within the confines of their idealistic worldview and are soon visited by Man and Woman, who have come to take the baby away. What ensues is a dark exploration of human nature, the reality of loss and the necessity of forging on with existence.
While the nature of the play sounds bleak, leave it to the genius of Albee’s words to lead us through the darkness while holding hands with the absurd. Shana Wride and Ruff Yeager, formidable talents with the charisma to tackle this unique brand of humor, will take charge of that journey, portraying the Woman and Man in Monday’s reading.
“The absurd form is one of my favorite genres of dramatic literature,” enthuses Ruff. “The games that these characters play! Role-reversal, gender-reversal, devaluation of language, logic, and plot! If the audience loves a good mystery, the brilliance of Edward Albee, and the witty and wily manipulation of language, this play is certainly not to be missed.”
Bringing the naivete of Girl and Boy to life will be Laura Bohlin and Connor Sullivan, their characters both charged with the daunting task of the play’s awakening.
“One of the most chilling takeaways for me was how much our reality can be morphed according to what, or perhaps WHO, influences us,” says Laura, pinpointing the stark universal truths couched in the absurdist structure of this piece.
“If someone tells you that something is the truth enough times, you may start to internalize that even if your own perceptions have told you otherwise. This really resonated with me because of how often we are told, persuaded, or even coerced to believe certain untruths,” she says.
Finding these universal truths where both the challenges and opportunities of this play lie. Assembling a cast that could unpack the particular language of this search was not an easy task. “I read this play on a fluke,” confesses Phil, “and it was so very funny, and then the point it made was so devastating. I knew I had the right people, and we could do it well.”
In the 2001 Off-Broadway review for The New York Times, Ben Brantley stated that “tragic theater, from Oedipus onward, has always centered on that moment when time is up. Mr. Albee…accepts this harsh given of existence unconditionally. But he refuses to sob and whine about it. Cursing the darkness is easy; lighting candles of defiant, fiery wit, like those that illuminate The Play About the Baby, is heroic.”
It is no wonder that we have entrusted the interpretation of some of our bigger, more human experiences to adept playwrights such as Edward Albee. We invite you to join us on Monday for this heroic journey.
“A big ‘thank you’ to Intrepid Theatre Co.,” says Ruff, “for providing the opportunity to explore the edgy, the experimental and the exciting.”
“There’s only one thing in life, and that’s the continual renewal of inspiration.” – Diana Vreeland
Fashion and theatre just might have a lot in common. They both tell stories. They both reflect culture. And they are both just as influential and impactful as they are fleeting and transient. Yet, even as these two worlds continually evolve and reinvent, the creative artists who drive them endure with longevity. Fashion editor Diana Vreeland is no exception.
Full Gallop, the one-woman play based on her life, will receive a staged reading on Monday evening at the Encinitas Library, and will feature the indomitable Amanda Naughton, most recently seen in Bethany and A Doll’s House at The Old Globe, as the iconic fashion doyenne. And, according to Intrepid Staged Reading Series Committee Member Phil Johnson, exploring Vreeland’s legacy is all about re-creation.
“The most challenging part of doing this play is that Diana is so singular and individual that capturing her spirit is difficult,” explains Phil, who will also be directing the reading. “But that’s also the inspiration. She is such an entertainer, as well as such an icon, leader and groundbreaker in both the worlds of fashion and of women in business.”
Diana Vreeland began her editorial career at Harper’s Bazaar, where she started as a columnist and then became fashion editor only six months into her tenure with the magazine. She is known for giving fashion advice to Jackie Kennedy, discovering Lauren Bacall, hosting social soirees for royalty in Europe and penning regular advice in her Harper’s column “Why Don’t You?” She would stay with Harper’s for almost 30 years before accepting a position as fashion editor at Vogue, a career which would end only a decade later with her termination.
Full Gallop explores this moment in Vreeland’s life when Vogue has left her, and does so in a capacity few were ever able to experience during her lifetime, according to an interview with playwright Mary Louise Wilson for Playbill.com. Known for her intimidating manner and sharp sensibility, the play exposes a more vulnerable moment in the life of this incredibly strong and influential woman.
“Everyone was so terrified, thinking of her as some sort of gorgon,” said Wilson in this interview. “What pained her more than anything was the loss of beauty.”
Co-written with friend Mark Hampton, the two writers had always been fascinated with Vreeland and decided to take up her story soon after her death in 1989. Wilson portrayed Vreeland in the Off-Broadway incarnation in 1996. The play will receive a full production at The Old Globe this fall.
Phil attributes the longevity of this play to the ability of the writers to fully capture Vreeland in all of her eccentric glory without making her a caricature.
“I think it’s one of the best written one person plays I know of,” says Phil. “Diana Vreeland, is a fascinating artist at a real turning point in her life, and because of her strength of character she refuses to be defeated.”
Full Gallop, a staged reading. By Mary Louise Wilson and Mark Hampton. Featuring Amanda Naughton. Directed by Phil Johnson. Encinitas Library, 540 Cornish Drive. Monday, July 27: 6:30 pm complimentary wine/appetizer reception. 7:00 pm reading. $15. Rsvp to email@example.com and pay with cash/check at the door or purchase tickets online.
“I think about comedy all day and all night.”
Phil Johnson, most recently seen this summer as Bottom in Intrepid Shakespeare’s “A Midsummer Night’s Dream: the Musical,” admits this obsession without hesitation.
“I probably need a twelve step group for my love of it,” he adds.
In lieu of addiction therapy, Phil Johnson will instead be putting this passion to good use by sharing it with others. Along with Artistic Directors Christy and Sean Yael-Cox, Phil will be an instructor in Intrepid’s brand new offering of fall classes.
What will he be teaching? A master class on comedy, of course.
A comedic stage veteran, Phil has shone on the San Diego stage for more than 15 years, racking up starring turns on the city’s major stages, and receiving a Craig Noel Award this year from the San Diego Critics’ Circle for his rendition of Sheridan Whiteside in “The Man Who Came To Dinner.” Aside from his stints in Los Angeles writing with the Acme Comedy Theatre, his grant from the San Diego Foundation for the Arts to develop his comedy solo show version of “Hound of Baskervilles,” and his comedy/cabaret fellowship with the Eugene O’Neill Theatre Center, his most impressive comedic credit is probably his run as the tavern-owning criminal Thérnardier in the Broadway production and the national tour of “Les Misérables.”
While continuing to develop projects in town, Phil is also eager to share the tips and pointers that his own comedic gurus have taught him over the years. A master class for Intrepid Shakespeare seems the perfect fit.
“I have a great enthusiasm for good actors who are also good comedians,” he says. “It’s thrilling and exciting to go to the theatre and be impressed by someone who can do both sides of the coin. Plus, I love Sean and Christy, and I would love for there to be a whole bunch of good, funny actors in San Diego for me to play with all the time.”
The three-hour master class will be geared towards professional working actors; however, theatre lovers are also welcome to enroll. While some actors may shy away from comedic training, Phil maintains that the funny bits are completely accessible to even the most dramatic of thespians.
“So many people think it’s separate from them, so they’re not using all the tools in their toolbox,” he says. “Almost any good actor can be a good comedian. It’s about details and intention and thinking things through.”
To that end, he plans to organize the class around a checklist – particulars that the actor can pay attention to in order to achieve the maximum comedic effect from his or her scenes.
“If the audience is laughing, then they are following your story,” explains Phil. “If they aren’t, then you need to shake things up.”
This is why he loves previews, he says, which is that time during the run of a show when things can still be adjusted after receiving input from the audience’s reaction each evening. “I get to see what works and what doesn’t before opening.”
This willingness to continually pursue the perfection of comedic timing is part of paying attention to the details. This is something Phil learned from his comedic stints in theatre, his own teachers, and also from a childhood spent watching the greats: Bill Cosby, Carol Burnett, Sonny and Cher, and Jonathan Winters. Honoring the legacy of comedy is something he feels is fundamental to its study.
“I think one thing that young people don’t do often enough is watch the old stuff. They don’t know who Bette Davis or Rock Hudson are,” says Phil. “Comedy is so much an homage to what’s come before.”
Studying the legends is one way to keep one’s skills polished and in tune, but nothing beats the experience of a class. “I wish I had had someone to give me a tune up every once in a while,” he says. “You can always be funnier.”
And what if you are rather nervous about taking a master class in comedy?
“Don’t worry,” says Phil. “Nervous people are almost always funny.”
— Tiffany Tang
A Master Class on Comedy with Phil Johnson. November 24, 6-9 pm. Clayton E. Liggett Theatre at Intrepid Shakespeare (SDA Campus). $60. Enroll here.
Dropping in on the Mechanicals during the early days of rehearsal is not unlike dropping into a cocktail party with old friends – minus the cocktails. And minus any actual history of friendship, for that matter.
It’s true. The five actors who will portray the working class players in A Midsummer Night’s Dream: the Musical, which previews this week, have bonded so quickly, one would think that they had known each other for years, when in fact they all met at the show’s first rehearsal.
“It is the first time we’ve worked as a group, but not the last,” says Phil Johnson, who will be portraying Bottom. “We’re getting a van.”
To be a Mechanical in A Midsummer Night’s Dream means that you get to be responsible for most of the humor in the play, as the band of hopeful actors gathers and rehearses in the forest, falling prey to the machinations of the Fairies.
“It was really fun for me to be a part of the group that everyone remembers as just the clowns,” says Gerilyn Brault, who will be portraying Peter Quince, the troupe’s director. “It’s been really freeing to work with this amazing group.”
This sentiment is a common one, even to Savvy Scopelleti, who will be reprising the role of Snug, which she portrayed in last summer’s production.
“It’s a different show this year,” she says. “It’s a new cast with new energy…and it really did gel so instantly.”
Thankfully this insta-bonding has created a safe environment of play and experimentation, relieving some of the stress that learning both the Shakespearean text as well as the 60s tunes which will be infused into the show can bring. Brian Imoto, who will be playing Snout and who is also fairly new to Shakespeare, takes solace in the fact that the Mechanicals are supposed to be “amateur actors.”
“It was a relief to me,” he says. “We’re off the hook!”
The group immediately dissolves into laughter, something that happens every thirty seconds or so. After spending more than five minutes with this crowd, you bring to wonder how they actually get anything done in rehearsals, with all of the gut-busting going on.
But no one seems to be worried. For now, this group of talented actors and singers are indulging themselves in their off-stage repartee. It can only come in handy once the curtains open this week. Nathan Riley, who will be playing Flute and ultimately the lovelorn Thisby, barely contains his enthusiasm for his tribe.
“If you’re going to see Midsummer this summer, which I’m pretty sure you will,” he says, “this is the one to see.” — T.T.
A Midsummer Night’s Dream: the Musical runs July 11-August 18 at the Clayton E. Liggett Theatre in Encinitas, CA.
Purchase tickets now.