Tag Archives: Rachel VanWormer
To see Francis Gercke and Rachael VanWormer laugh together, you would have no idea that they are just days away from opening one of the most challenging plays they have ever worked on – one that is set intimately in the round, written for only two actors who never leave the stage, and featuring the words of a playwright known for his almost infuriating poetic specificity.
Welcome to the world of Intrepid’s Oleanna, written by Pulitzer Prize winner David Mamet and directed by Intrepid Co-Founder and Producing Artistic Director Christy Yael.
Thankfully, these seasoned actors are not intimidated by the task, although they do admit that rehearsals have been equally both daunting and enlightening.
“With Mamet, there is very little room for interpretation,” says Rachael. “Not that he is a dictatorial playwright, but his language is so specific that until you figure out exactly what each word, if not sentence or phrase, means, the rest doesn’t make sense.”
“You have to crack the code,” says Fran. “He seems to be a really thoughtful person, which is crippling to an actor.”
According to TheatreDatabase.com, “the most easily recognizable aspect of Mamet’s style is his sparse, clipped dialogue” reminiscent of Harold Pinter and Samuel Becket. This style is so recognizable, in fact, that it has come to be known as “Mametspeak,” the Orwellian reference invoked, no doubt, to illustrate the pervasiveness of this playwright’s impact.
Wondering what the Mametspeak looks like exactly? Here’s a sampling from page one:
CAROL: You don’t do that.
CAROL: You don’t do…
JOHN: …I don’t, what…?
JOHN: …I don’t for…
JOHN: …forget things? Everybody does that.
CAROL: No, they don’t.
JOHN: They don’t…
JOHN: (Pause) No. Everybody does that.
If you are not quite sure what is happening in this scene, you are not alone. On page, there seems to be much room for speculation. However, according to the actors, the more time spent with the text, the more the playwright’s intention behind each disjointed phrase begins to click into place.
“There a lot of fragmented thoughts, but that doesn’t mean that thought itself is complete. It’s just not expressed in a conventional full sentence,” Rachael explains. “It’s about finding the specificity of what those complete thoughts are and how these three words are different from the next three words. That’s been very frustrating but when you finally break through, it’s very rewarding, and so much of the play falls into place.”
“He’s so specific that the story truly turns, literally turns, on one phrase,” says Fran. “There are certain playwrights that have a reputation for being great playwrights. Mamet is just a really good, smart playwright. There’s not a wasted phrase.”
And ultimately, the intentions behind these phrases are what builds into a story. On the surface, the story of this play revolves around a professor and a student who meet to discuss her struggles in his class. However, it is soon clear that much more is going on beyond this seemingly straightforward setup.
“Mamet’s a great storyteller,” says Fran. “You’re compelled to watch. It’s like watching a train wreck in slow motion. You know what’s going to happen, you can do nothing to stop it and you end up caring for the people who are in the car headed for the major accident.”
Even in the midst of this train wreck, Mamet is very careful not to take sides, especially when the characters become heated in their discussions. While the play might be known for its controversial themes, the actors are clear that it is truly up to the audience members to form their own interpretation of the action – and that their job is to stay out of the way.
“One of the things that we are discovering in rehearsal that is does not serve us as actors to consider the themes,” says Rachael. “Instead, it’s about finding out what’s personally at stake for the individuals at any given time. It might touch on harassment, power, feminism, but that’s never the intention. When these things come up, it’s out of the circumstance.”
“He writes two really smart, really self-assured, and really uncertain people trying to navigate their way through a real crisis that…just happened,” says Fran. “Mamet writes two strongly opposing points of views and then sets the characters in motion.”
So, as the actors consciously avoid influencing the audience’s conclusions about the action of the play, they find they are left with only the essential theatrical tools at their disposal: the words and each other.
“Fran and I have developed an effective means of keeping each other honest,” says Rachael. “You’re forced to hold each other accountable. There’s not a compromise in that, but on the other hand, there’s so much gratitude that there’s someone up there with you.”
She pauses, and then adds, “It boils down theatre to its purest form.” — T.T.
Oleanna opens Saturday April 6 at the Clayton E. Liggett Theatre on the campus of San Dieguito Academy – 800 Santa Fe Drive, Encinitas.. This special engagement must close April 14. You may purchase tickets here.