A Streetcar Named Desire is my favorite play in the whole world. I have always loved Tennessee Williams. His words, his glorious words, are as relevant today as they were when he first wrote them, when I first read them, and when brilliant actors were speaking them last night. I read Streetcar when I was about 14. I'd already read Glass Menagerie for 8th grade English. I went on a hunt for all things Tennessee. I loved his Southern, colorful, verbose characters, his imagery, and the brooding sensuality in his men. But Streetcar was special. It grew even dearer to me when I went to New Orleans for college and the magical, gritty city was brought to life.
As an actress, I’ve wanted to play both Stella and Blanche, of course. What actress doesn’t relish the challenge of Stella, the ingénue belle who went from debutante to put upon wife of a common laborer? Simple and sweet and innocent on the surface, and teeming with a bit of a twisted desire beneath, secretly loving when her brutish husband ravishes her, when she revels in the naughtiness of it all.
And Blanche…a tour de force for any actress who can accomplish that perfect balance of delicacy, manipulation, lusty prudishness, and true mental illness. As someone now over 30, I can understand the desperation to cling to youth, to will the hands of time turn back.
Last night, I was bursting with excitement at the prospect of seeing my favorite show at The Kennedy Center. Blanchett isn’t just a movie star seeking legitimacy with a starring stage role. Her list of theatre credits is longer than her list of movie credits, and she doesn’t act…she allows the character to take over her entire being. I knew she’d be good.; I was unprepared for her brilliance. She used her voice in so many ways to capture Blanche’s fragility and then her throaty sexuality. She was earthy, and yet she literally fluttered from room to room, creating ribbons of light and frenetic energy wherever she went. She shimmered as brightly as a flame and just as quickly extinguished her own flame. Her body language was fascinating, and she remained in character even during blackouts and scene changes, relishing her role in every second that she was onstage, and probably even the few moments she was off the stage. She had moments as giddy as a schoolgirl and then as brittle as an elderly widow. Even from the balcony, her eyes haunted me.
Joel Edgerton as Stanley managed to channel Marlon Brando’s iconic interpretation without stealing from him. He gave his own intensity, swagger, charm, and frightening glimpses of the animal Blanche proclaims him to be. He was hot, literally and figuratively, and he captured every nuance that Williams wrote for Stanley.
I couldn’t take my eyes off of either one.
I wish the same could be said for Stella, or Mitch, both who seemed content to play the stereotypes without digging deeper. The tiny supporting roles of other characters could have been much more…but everyone either phoned it in last night or never really owned their characters in the first place. It didn’t matter. The show belonged to Blanchett and Edgerton, and rightly so.
I was enthralled by the performance. I held my breath repeatedly during certain scenes, spellbound, and the hush over the audience was deafening. The three hours were suspended in time while the story unfolded before us. When Blanche spoke her immortal line "I have always depended on the kindness of strangers" chills ran through my body, and my eyes filled with tears.
I loved that this production found the wealth of comedy in the script and acted on it…much of Act I was played for laughs but in an appropriate way. That was very unique. The old Mexican woman singing while Blanche felt into one of her trances was such an intriguing juxtaposition. The staging was lovely, as were the costumes and the set. There was motivation behind every gesture, line, movement, and it was all right, all the time. There were some interesting choices with veils for Blanche that perfectly summed up her constant need to cloak herself in lies and that spoke volumes.
There was nothing ground breaking or earth shattering in this staging, but you know what? The play doesn’t need it. It doesn’t need frills or cheap theatrics to succeed. It doesn’t need to be reinvented. It’s timeless, and all it has ever needed are marvelous actors to breathe it into life. And with Blanchett and Edgerton, that goal was achieved, fulfilled, exceeded.
Thursday, November 12, 2009
Tuesday, April 28, 2009
On Directors...
When I was 14, I was doing my first professional opera. I was the only person under 25. I remember my director was giving notes after rehearsal one night, and I was chatting away with a castmate. Suddenly, the director said my name sharply. She then gave me a piece of advice that I've adhered to for the last 17 years. "When the director's mouth is open, everyone else's mouth is closed."
The director deserves respect. Yet, I've seen some directors truly disrespected, especially in community theatre. Not so much in pro theatre; generally, if you're a problem, you get fired. It's not so easy when you're not getting paid. I think people often forget that the task of the director is monumental. One has to have a concept, a vision...one must find a set designer who will help that vision come to life. One must cast the right actors in the right roles. One must babysit the fragile ego of an actor. One must accept 90% of the responsibility if the show flops.
I have had my share of good directors, bad directors, directors who micro manage, and directors who don't direct at all.
I have directed exactly one thing. A one act that Brian wrote last summer for the NVTA festival. It was an easy experience all around...it was a good script, and there were only two actors...Brian & Greg Powell. Brian's obviously the playwright, an actor, AND my husband. Greg is a marvelous, intuitive actor. I knew that I could feel my way around this inaugural experience without worrying that I was stepping on anyone's toes. I came up with a concept and a set. We did some initial blocking. We talked about characterization. I then tweaked accordingly...remembering to make sure that what I usually bitched about while seeing a show didn't happen in mine...no static moments, no unnatural moves...we all had fun and it was a positive first experience.
TIPS FOR A DIRECTOR, FROM AN ACTOR:
-Go over the script on your own time and form a plan. Don't come to the first rehearsal without a game plan because otherwise your actors won't take you seriously.
-Have a rehearsal schedule that utilizes people without rehearsing them to death OR making them sit idly while others rehearse.
-Take into consideration the performance space, the resources financial & otherwise that are available to you, the crew, etc.
-Talk with the actors individually, even before rehearsal...ask them what they think about their characters...and how you see their characters. Get a feel for how they like to work in terms of rehearsal structures, methods, etc.
-If your show requires accents, ensure that everyone can do what is needed of them. If not, reconsider your casting choices, employ a local dialect coach, OR consider doing the show without them.
-Pick a great stage manager. It's one of the most important jobs in all of theatre. Remember that from tech week on, the SM is in charge. The director gives notes and fine tunes hell week, but the SM calls the shots. And after opening nights...no more notes unless they come from the SM.
-Don't be afraid to give notes. Don't be mean, or condescending. But know that your notes could be invaluable to the quality of your show.
TIPS FOR AN ACTOR, FROM AN ACTOR:
-Read the play before you audition. If for any reason you can't get a copy, read at least a plot summary and character breakdown online. Then get to auditions early and look over the available sides.
-Come with all of your conflicts. Put them down even if you think the director won't cast you because there are several. Trust me-if they want you they can work around most conflicts. And if you're not honest, get cast, and then start having to miss rehearsals, the director AND the other actors will be pissed at you.
-Get to rehearsal on time. Have your script highlighted. Come with a clear idea of what you want to do.
-Wear proper footwear at rehearsal. This may sound silly, but ladies...stilettos and flip flops have no place on a stage. UNLESS your character actually wears things like that. You don't have to wear character shoes unless it's a musical, but tennis shoes and flats are a much better idea. No one gets hurt. If you know you'll be in a dress for a show, start wearing a rehearsal skirt. It'll give you a much better idea of what blocking you can and can't do.
-Be quiet when the director is talking, or when other actors are onstage. It's rude to disrespect your fellow colleagues.
-Learn your lines as quickly as you can. It really helps the process move and for the actual acting to begin.
-If you don't like a note from the director, don't address it right there. It's a drag for everyone else standing there while you debate a point, and potentially humilating for you and the director. Wait until after rehearsal, then address the director privately. If he/she gives you blocking or a characterization that doesn't feel right, ask if you can try it two ways...their way and your way. Remember...it's always good to speak your mind if you have strong ideas about a character and why they may or may not move/talk/act in a certain way...but also remember that the director is your eyes & ears. They are the ones who can see the play from a different vantage point. It doesn't always mean that they are right, and actors should always trust their instincts. But if the director is any good, they will be willing to see reason. Usually a happy compromise can happen.
-Write down your blocking. And if a director gives you a note, remember it. Don't make them tell you more than once.
-You don't have to like all of your fellow actors, but give them respect onstage and avoid them in the Greenroom. No point in creating tension that doesn't have to exist. If you hear gossip, go right to the source instead of perpetuating the rumors by asking for more details or spreading it to another person.
-Be nice to your crew. Without them, the production becomes infinitely more difficult if not impossible. The crew has a thankless job. They aren't seen, and they don't get to bask in the limelight. They are volunteering their time selflessly to make you & the show look good...treat them well.
That's my brain dump for today. I'm sure I'll add more, but this is what's been on my mind lately. I've learned lessons the hard way in 19 years of theatre, and I've learned them well. Theatre is an art, a passion, a beautiful expression. It should be fun, joyful, a cathartic experience, respectful, and professional. That goes for all venues.
The director deserves respect. Yet, I've seen some directors truly disrespected, especially in community theatre. Not so much in pro theatre; generally, if you're a problem, you get fired. It's not so easy when you're not getting paid. I think people often forget that the task of the director is monumental. One has to have a concept, a vision...one must find a set designer who will help that vision come to life. One must cast the right actors in the right roles. One must babysit the fragile ego of an actor. One must accept 90% of the responsibility if the show flops.
I have had my share of good directors, bad directors, directors who micro manage, and directors who don't direct at all.
I have directed exactly one thing. A one act that Brian wrote last summer for the NVTA festival. It was an easy experience all around...it was a good script, and there were only two actors...Brian & Greg Powell. Brian's obviously the playwright, an actor, AND my husband. Greg is a marvelous, intuitive actor. I knew that I could feel my way around this inaugural experience without worrying that I was stepping on anyone's toes. I came up with a concept and a set. We did some initial blocking. We talked about characterization. I then tweaked accordingly...remembering to make sure that what I usually bitched about while seeing a show didn't happen in mine...no static moments, no unnatural moves...we all had fun and it was a positive first experience.
TIPS FOR A DIRECTOR, FROM AN ACTOR:
-Go over the script on your own time and form a plan. Don't come to the first rehearsal without a game plan because otherwise your actors won't take you seriously.
-Have a rehearsal schedule that utilizes people without rehearsing them to death OR making them sit idly while others rehearse.
-Take into consideration the performance space, the resources financial & otherwise that are available to you, the crew, etc.
-Talk with the actors individually, even before rehearsal...ask them what they think about their characters...and how you see their characters. Get a feel for how they like to work in terms of rehearsal structures, methods, etc.
-If your show requires accents, ensure that everyone can do what is needed of them. If not, reconsider your casting choices, employ a local dialect coach, OR consider doing the show without them.
-Pick a great stage manager. It's one of the most important jobs in all of theatre. Remember that from tech week on, the SM is in charge. The director gives notes and fine tunes hell week, but the SM calls the shots. And after opening nights...no more notes unless they come from the SM.
-Don't be afraid to give notes. Don't be mean, or condescending. But know that your notes could be invaluable to the quality of your show.
TIPS FOR AN ACTOR, FROM AN ACTOR:
-Read the play before you audition. If for any reason you can't get a copy, read at least a plot summary and character breakdown online. Then get to auditions early and look over the available sides.
-Come with all of your conflicts. Put them down even if you think the director won't cast you because there are several. Trust me-if they want you they can work around most conflicts. And if you're not honest, get cast, and then start having to miss rehearsals, the director AND the other actors will be pissed at you.
-Get to rehearsal on time. Have your script highlighted. Come with a clear idea of what you want to do.
-Wear proper footwear at rehearsal. This may sound silly, but ladies...stilettos and flip flops have no place on a stage. UNLESS your character actually wears things like that. You don't have to wear character shoes unless it's a musical, but tennis shoes and flats are a much better idea. No one gets hurt. If you know you'll be in a dress for a show, start wearing a rehearsal skirt. It'll give you a much better idea of what blocking you can and can't do.
-Be quiet when the director is talking, or when other actors are onstage. It's rude to disrespect your fellow colleagues.
-Learn your lines as quickly as you can. It really helps the process move and for the actual acting to begin.
-If you don't like a note from the director, don't address it right there. It's a drag for everyone else standing there while you debate a point, and potentially humilating for you and the director. Wait until after rehearsal, then address the director privately. If he/she gives you blocking or a characterization that doesn't feel right, ask if you can try it two ways...their way and your way. Remember...it's always good to speak your mind if you have strong ideas about a character and why they may or may not move/talk/act in a certain way...but also remember that the director is your eyes & ears. They are the ones who can see the play from a different vantage point. It doesn't always mean that they are right, and actors should always trust their instincts. But if the director is any good, they will be willing to see reason. Usually a happy compromise can happen.
-Write down your blocking. And if a director gives you a note, remember it. Don't make them tell you more than once.
-You don't have to like all of your fellow actors, but give them respect onstage and avoid them in the Greenroom. No point in creating tension that doesn't have to exist. If you hear gossip, go right to the source instead of perpetuating the rumors by asking for more details or spreading it to another person.
-Be nice to your crew. Without them, the production becomes infinitely more difficult if not impossible. The crew has a thankless job. They aren't seen, and they don't get to bask in the limelight. They are volunteering their time selflessly to make you & the show look good...treat them well.
That's my brain dump for today. I'm sure I'll add more, but this is what's been on my mind lately. I've learned lessons the hard way in 19 years of theatre, and I've learned them well. Theatre is an art, a passion, a beautiful expression. It should be fun, joyful, a cathartic experience, respectful, and professional. That goes for all venues.
Wednesday, April 1, 2009
My Favorite Plays/Playwrights
My top playwrights:
1. Brian Michael Doyle
2. Tennessee Williams
3. Arthur Miller
4. Edward Albee
5. David Mamet/Neil LaBute
6. Lillian Hellman
Brian's top playwrights:
1. Edward Albee
2. Tennessee Williams
3. David Mamet
4. Arthur Miller/Eugene O'Neill
5. Tom Stoppard/David Lindsay-Abaire
Similar, but not quite the same. That's why we're such a good match. :)
For me, Tennessee Williams has always just had this gripping style and unique ability to catapult me right back to the era, to the South, to the life that the characters lead. A Streetcar Named Desire is my favorite play of all time, even before I went to college in New Orleans. It is closely followed by Glass Menagerie, Cat on a Hot Tin Roof, and Summer & Smoke. He writes about families, and heartbreak, madness and betrayal. And it's hot. I want to be all of his heroines and more.
Arthur Miller is poetic and convicted all at once. The Crucible is never dated to me. It's as relevant to anything today as it was when it was written to represent McCarthyism...and still rings true for the Salem Witch Trials way back when. His male characters are his best, but he still manages to make them all count. There are no throwaway roles in Death of a Salesman or All My Sons. They have to be done well to be good, but I never tire of seeing them performed.
Albee sure can turn a phrase. His plays are so unusual in content and format...I mean, he goes from wealthy characters with a spiteful daughter in A Delicate Balance...to three major time periods in one woman's life in Three Tall Women...and then he has a middle aged couple chatting with a couple of sea monsters in Seascape! That's some versatility. And don't even get me started on The Goat, or Who is Sylvia? That play covers a fairly typical ailing relationship...except that instead of another woman, the husband falls for a goat. There's homosexuality, bestiality, and betrayal. Albee has a lot of balls, and a lot of heart. His plays are beautifully constructed. I think that's why Brian loves him especially.
Ah, David Mamet. You fucking genius, you. ;) I know my hubby with his potty mouth worships Mamet for the right reasons, but I know that he especially admires his limitless use of profanity. Gratuitous, yes, but also apt. I first saw Speed the Plow when I was about 16 and after that I knew that I wanted to play Karen, and that I didn't want to be in Hollywood. :) He has an uncanny knack for getting to the nitty gritty, and exploring and exploiting the complexities of relationships. Like Miller, he also focuses his best attentions on men, but unlike Miller, his female characters often fall short. His best attempt at a great female role is definitely Carol in Oleanna. I also love American Buffalo, and of course, Glengarry Glen Ross.
And the other playwright who often makes me want to take a shower to take off the layer of grime after reading/seeing one of his works...LaBute. My absolute favorite-The Shape of Things-is reptilian in its coldness and shocking twist...Fat Pig delves so deeply below the surface of modern society and is hysterically funny and blatantly sad. Even his raw one acts, like Coax, are mind blowing. They are simple, and yet extremely deep. LaBute says what people think but never say. He uses his "out loud" voice. And it is something fierce and something real.
The masterful works of top female playwright, Lillian Hellman...are wonderful. The first play I ever stepped onstage with was The Children's Hour. It was one of the few times in my acting career that I got to play someone mean and twisted (Mary)...The Autumn Garden is another marvelous play that give such life to seemingly ordinary people. I loved the taboo buttons that Hellman pushed, especially for the times, and the thought-provoking characters she created.
Did I mention how much I love Ibsen & Chekov, too? Feminist works and Russian "comedies" (very closely resembling Russian tragedies) were ground breaking and so well done.
I also have a great fondness for Irish playwrights...Conor McPherson & Brian Friel write beautifully. McPherson can write a chilling little ghost story (The Weir, Shining City) with amazing clarity...Friel tugs at the heartstrings of poor and hard Irish family life (The Lovers, Dancing at the Lughnasa)...what can I say? I'm Irish. I love the country, the customs, and their blunt sentiment.
I do have a playwright who puts everyone else to shame. My husband, Brian Michael Doyle. And guess what? It ain't just because I love him. Love him I do, but I am even more critical of his works that I am of others. Brian has only been a playwright for two short years, but he has already created an impressive body of work. His one act plays are creative, quirky, hilarious, and inspired. His full length plays are nothing short of awe inspiring. Brian's plays to me are like a Tori Amos cd. No other artist makes me feel the way she does...fully of joy and sorrow all at once...feeling like I can fly one minute and drown the next...she makes me feel everything. Brian's plays make me feel... everything. I have had the biggest honor of originating roles in two of his full length plays, The Inconceivable and Buried in the Attic. And this summer, the most amazing excitement of playing a role he wrote just for me, in The Duet. Come see it at the NVTA Festival on 6/27/09! He writes such versatile and dazzling plays...high comedy and slapstick stuff, family dramas, and deeply moving and sensitive works of art that string all those styles together. He has 5 full length plays under his belt, and at least 8 one acts...writing comes so naturally to him, and I cannot wait to see all of these works performed worldwide someday. And as always, I can't wait to read what comes next. It's a little intimidating to be married to someone with this great a gift...just another of my many blessings. Keep writing, my love...the world will know your works someday in the not too distant future. :)
The point of all this? I love theatre. I love reading it, seeing it, discussing it, and most of all, being a part of it. Onstage and offstage, it's in my blood. Life's circumstances took me from the ragtag gypsy life I always thought I'd lead...but the fire and passion of it all has never stopped consuming me. I am grateful for every play I get to read, and every show I get to see (even when they aren't so fabulous), and most of all, I am grateful every time I have the honor and joy of setting foot on a stage, speaking lines elegant and brilliant to a rapt audience, who wait in breathless anticipation.
1. Brian Michael Doyle
2. Tennessee Williams
3. Arthur Miller
4. Edward Albee
5. David Mamet/Neil LaBute
6. Lillian Hellman
Brian's top playwrights:
1. Edward Albee
2. Tennessee Williams
3. David Mamet
4. Arthur Miller/Eugene O'Neill
5. Tom Stoppard/David Lindsay-Abaire
Similar, but not quite the same. That's why we're such a good match. :)
For me, Tennessee Williams has always just had this gripping style and unique ability to catapult me right back to the era, to the South, to the life that the characters lead. A Streetcar Named Desire is my favorite play of all time, even before I went to college in New Orleans. It is closely followed by Glass Menagerie, Cat on a Hot Tin Roof, and Summer & Smoke. He writes about families, and heartbreak, madness and betrayal. And it's hot. I want to be all of his heroines and more.
Arthur Miller is poetic and convicted all at once. The Crucible is never dated to me. It's as relevant to anything today as it was when it was written to represent McCarthyism...and still rings true for the Salem Witch Trials way back when. His male characters are his best, but he still manages to make them all count. There are no throwaway roles in Death of a Salesman or All My Sons. They have to be done well to be good, but I never tire of seeing them performed.
Albee sure can turn a phrase. His plays are so unusual in content and format...I mean, he goes from wealthy characters with a spiteful daughter in A Delicate Balance...to three major time periods in one woman's life in Three Tall Women...and then he has a middle aged couple chatting with a couple of sea monsters in Seascape! That's some versatility. And don't even get me started on The Goat, or Who is Sylvia? That play covers a fairly typical ailing relationship...except that instead of another woman, the husband falls for a goat. There's homosexuality, bestiality, and betrayal. Albee has a lot of balls, and a lot of heart. His plays are beautifully constructed. I think that's why Brian loves him especially.
Ah, David Mamet. You fucking genius, you. ;) I know my hubby with his potty mouth worships Mamet for the right reasons, but I know that he especially admires his limitless use of profanity. Gratuitous, yes, but also apt. I first saw Speed the Plow when I was about 16 and after that I knew that I wanted to play Karen, and that I didn't want to be in Hollywood. :) He has an uncanny knack for getting to the nitty gritty, and exploring and exploiting the complexities of relationships. Like Miller, he also focuses his best attentions on men, but unlike Miller, his female characters often fall short. His best attempt at a great female role is definitely Carol in Oleanna. I also love American Buffalo, and of course, Glengarry Glen Ross.
And the other playwright who often makes me want to take a shower to take off the layer of grime after reading/seeing one of his works...LaBute. My absolute favorite-The Shape of Things-is reptilian in its coldness and shocking twist...Fat Pig delves so deeply below the surface of modern society and is hysterically funny and blatantly sad. Even his raw one acts, like Coax, are mind blowing. They are simple, and yet extremely deep. LaBute says what people think but never say. He uses his "out loud" voice. And it is something fierce and something real.
The masterful works of top female playwright, Lillian Hellman...are wonderful. The first play I ever stepped onstage with was The Children's Hour. It was one of the few times in my acting career that I got to play someone mean and twisted (Mary)...The Autumn Garden is another marvelous play that give such life to seemingly ordinary people. I loved the taboo buttons that Hellman pushed, especially for the times, and the thought-provoking characters she created.
Did I mention how much I love Ibsen & Chekov, too? Feminist works and Russian "comedies" (very closely resembling Russian tragedies) were ground breaking and so well done.
I also have a great fondness for Irish playwrights...Conor McPherson & Brian Friel write beautifully. McPherson can write a chilling little ghost story (The Weir, Shining City) with amazing clarity...Friel tugs at the heartstrings of poor and hard Irish family life (The Lovers, Dancing at the Lughnasa)...what can I say? I'm Irish. I love the country, the customs, and their blunt sentiment.
I do have a playwright who puts everyone else to shame. My husband, Brian Michael Doyle. And guess what? It ain't just because I love him. Love him I do, but I am even more critical of his works that I am of others. Brian has only been a playwright for two short years, but he has already created an impressive body of work. His one act plays are creative, quirky, hilarious, and inspired. His full length plays are nothing short of awe inspiring. Brian's plays to me are like a Tori Amos cd. No other artist makes me feel the way she does...fully of joy and sorrow all at once...feeling like I can fly one minute and drown the next...she makes me feel everything. Brian's plays make me feel... everything. I have had the biggest honor of originating roles in two of his full length plays, The Inconceivable and Buried in the Attic. And this summer, the most amazing excitement of playing a role he wrote just for me, in The Duet. Come see it at the NVTA Festival on 6/27/09! He writes such versatile and dazzling plays...high comedy and slapstick stuff, family dramas, and deeply moving and sensitive works of art that string all those styles together. He has 5 full length plays under his belt, and at least 8 one acts...writing comes so naturally to him, and I cannot wait to see all of these works performed worldwide someday. And as always, I can't wait to read what comes next. It's a little intimidating to be married to someone with this great a gift...just another of my many blessings. Keep writing, my love...the world will know your works someday in the not too distant future. :)
The point of all this? I love theatre. I love reading it, seeing it, discussing it, and most of all, being a part of it. Onstage and offstage, it's in my blood. Life's circumstances took me from the ragtag gypsy life I always thought I'd lead...but the fire and passion of it all has never stopped consuming me. I am grateful for every play I get to read, and every show I get to see (even when they aren't so fabulous), and most of all, I am grateful every time I have the honor and joy of setting foot on a stage, speaking lines elegant and brilliant to a rapt audience, who wait in breathless anticipation.
Monday, March 30, 2009
Bad Theatre...
...I'm sick of it. The DC Metro Area has one of the largest theatre populations, community & professional, in the entire country. I've seen the good, the bad, and the ugly...with far too many falling into those last two categories. Many a time I want to scratch my ears and eyes out during even the first act, or run away during intermission, but like a soldier in a war, I stay. I stay and sometimes watch the bloody massacre of something sacred to me.
As an actress who primarily works in community theatre, I'm appalled not just at the bad play selections, but at the dispassionate nature of those involved.
Community theatre. By very definition it's meant to be a volunteer effort, a local community coming together to entertain the masses.
I can forgive low budget. I can forgive crappy theater space and shoddy seats and lack of special effects and costumes that aren't fancy. I can understand why many groups do the same productions again and again...generally because they are for large casts to give everyone a chance and more importantly, they are guaranteed crowd pleasers.
What I can't forgive is the lack of effort by the directors, the stage managers, and many times, the actors themselves. Directors who don't direct, or fail to notice the little things that can make or break a production...like the femme fatale who constantly slouches, or the frosted lipstick on the 1940s heroine when it should be red red red...or the fact that the leading man has his backside to the audience more than half the time. The actors who don't work on their accents, or think about postures and vocalizations appropriate for the period or their particular characters, or who fail to establish communication (listening & responding) to their fellow actors. Or the stage managers who don't realize what their actual jobs are in rehearsals (prompting lines, getting lists of props and quick changes, writing down the blocking so the director can direct) and during the show (calling the show, being on headset, triaging problems, making sure all actors are in their places so they make their correct entrances, etc.)...these are things that need full attention and commitment.
I saw a show a while back that was truly terrible. People were falling asleep, the acting was overdone and comical (it was a drama)...and during the curtain call, I heard two women behind me, discussing the show..."That was just excellent." "What acting. I wish I could come again next weekend." Trust me...they weren't being facetious. What's more, this theatre had an almost sold out house. Hoards of people, spending their precious dollars during a recession to see something bad.
I think people have gotten so used to subpar productions that even a crappy hamburger looks like filet mignon after a while.
It kills me to see a production that I think is just phenomenal, and notice that the cast outnumbers the audience. Or to see those same terrific productions repeatedly passed over for recognition at the various award ceremonies just because they aren't on the radar for "great theatre" in this area. I have seen some of the "great theatre" in this area...and 80% of the time, it's all hype without substance. Confidence sells more than anyone realizes...theatres that are touted as being excellent convince others that they are excellent...even when the truth is that their productions are no better than anyone else's, and sometimes not as good.
I've been part of shows that I knew weren't the best, and shows that I was convinced were the best things ever. Because I'm objective and terribly critical of myself and of theatre in general, I think my assessments are generally right on the money.
I'm tired of seeing standing ovations for inferiority. And reviews that are effusive and over the top for inferior things. Maybe I'm jaded. But I also know that I approach every production professionally...I learn my lines immediately, I come to rehearsals on time, and there are no shows where I "phone it in." I try to help out with backstage stuff, publicity, set building, anything I am capable of doing...and try to bring a positive attitude to everything I do. It's community theatre. Everyone is equal, everyone is important. We don't get paid for it...so we may as well give every show our all...if not for the audience, then at the very least for ourselves.
I think that if more people had the respect for their own productions, and not in the "we're the best, our shit doesn't stink" way...but I mean acting as professionals...then the audience would pick up on that. Word of mouth would get out, not only would audience numbers be up but people might start dressing for the theatre again, and everyone's experience would be that much better.
This is just my rant. Feel free to agree or disagree...:)
As an actress who primarily works in community theatre, I'm appalled not just at the bad play selections, but at the dispassionate nature of those involved.
Community theatre. By very definition it's meant to be a volunteer effort, a local community coming together to entertain the masses.
I can forgive low budget. I can forgive crappy theater space and shoddy seats and lack of special effects and costumes that aren't fancy. I can understand why many groups do the same productions again and again...generally because they are for large casts to give everyone a chance and more importantly, they are guaranteed crowd pleasers.
What I can't forgive is the lack of effort by the directors, the stage managers, and many times, the actors themselves. Directors who don't direct, or fail to notice the little things that can make or break a production...like the femme fatale who constantly slouches, or the frosted lipstick on the 1940s heroine when it should be red red red...or the fact that the leading man has his backside to the audience more than half the time. The actors who don't work on their accents, or think about postures and vocalizations appropriate for the period or their particular characters, or who fail to establish communication (listening & responding) to their fellow actors. Or the stage managers who don't realize what their actual jobs are in rehearsals (prompting lines, getting lists of props and quick changes, writing down the blocking so the director can direct) and during the show (calling the show, being on headset, triaging problems, making sure all actors are in their places so they make their correct entrances, etc.)...these are things that need full attention and commitment.
I saw a show a while back that was truly terrible. People were falling asleep, the acting was overdone and comical (it was a drama)...and during the curtain call, I heard two women behind me, discussing the show..."That was just excellent." "What acting. I wish I could come again next weekend." Trust me...they weren't being facetious. What's more, this theatre had an almost sold out house. Hoards of people, spending their precious dollars during a recession to see something bad.
I think people have gotten so used to subpar productions that even a crappy hamburger looks like filet mignon after a while.
It kills me to see a production that I think is just phenomenal, and notice that the cast outnumbers the audience. Or to see those same terrific productions repeatedly passed over for recognition at the various award ceremonies just because they aren't on the radar for "great theatre" in this area. I have seen some of the "great theatre" in this area...and 80% of the time, it's all hype without substance. Confidence sells more than anyone realizes...theatres that are touted as being excellent convince others that they are excellent...even when the truth is that their productions are no better than anyone else's, and sometimes not as good.
I've been part of shows that I knew weren't the best, and shows that I was convinced were the best things ever. Because I'm objective and terribly critical of myself and of theatre in general, I think my assessments are generally right on the money.
I'm tired of seeing standing ovations for inferiority. And reviews that are effusive and over the top for inferior things. Maybe I'm jaded. But I also know that I approach every production professionally...I learn my lines immediately, I come to rehearsals on time, and there are no shows where I "phone it in." I try to help out with backstage stuff, publicity, set building, anything I am capable of doing...and try to bring a positive attitude to everything I do. It's community theatre. Everyone is equal, everyone is important. We don't get paid for it...so we may as well give every show our all...if not for the audience, then at the very least for ourselves.
I think that if more people had the respect for their own productions, and not in the "we're the best, our shit doesn't stink" way...but I mean acting as professionals...then the audience would pick up on that. Word of mouth would get out, not only would audience numbers be up but people might start dressing for the theatre again, and everyone's experience would be that much better.
This is just my rant. Feel free to agree or disagree...:)
Thursday, March 19, 2009
Auditioning Against Type
I have wanted to play Laura in The Glass Menagerie since I first read it at age 14. I love Tennessee Williams. His work is epic, beautiful, languid, passionate...it's a dream to play all of his heroines. I've seen the show done several times...three times in this very area, in fact. They were all pretty darned good.
Laura is not a natural role for me. I am often cast as the ingenue because of my long hair and young face, as well as my ability to play a convincing twit. :) And I've loved many of the roles...Alice Sycamore (You Can't Take It with You), Gillian the Witch (Bell, Book & Candle), and Shelby & Annelle (Steel Magnolias).
But something unexpected happened in the summer of 2006. I'd just finished playing Nora in A Doll's House when I was cast as Wanda in The Baby Dance. My character was a hard, Southern, trailer trash pregnant woman selling her unborn child to a wealthy couple because she couldn't afford to raise the four kids she already had, much less a fifth. In short, a polar opposite of my normal persona, look, etc. I brightened my red hair to a garish shade and wore it up in a clippy...I bounced around with a fake belly and unflattering clothes, and it was far from a glamorous role. I got to be funny, crass, greedy, bitter, and tragic all at once. And after that, I was hooked. I wanted to actually ACT.
I'm not saying that I haven't been truly acting for my entire life, but it's much easier to be cute and funny and sweet onstage when you're cute and funny and sweet in real life. It's much harder to pretend to be unconcerned with your appearance, to let the chubby or the blemishes hang out, when in reality you strive for perfection.
After that, I knew that I wanted to balance myself out with more challenging roles. I got that opportunity again in November 2007 when I was cast as Elizabeth Proctor in The Crucible. That was another dream role...I just never thought I'd play it in my 20s. But I did...and again, the tied back hair and baggy dress...combined with not only NO make up but "age" make up (blue circles under the eyes, whitish lipstick, drawn on crows feet)...it was again difficult for me and my vanity. And pretending to play a religious, bitter, cold woman whose husband has had an affair...and then finding him again only to lose him...every night was a sob fest and I thought I was going to need therapy! But to play such a role...it was my privilege.
Going back to Glass Menagerie...I wanted to play Laura. Beneath that shy and tongue-tied girl is a woman who does have strength to deal with her mother, to banter with her brother, and to lose herself in her imaginary world. She's beautiful and tragic, and her still waters run deep.
Sitting through about 40 "Laura" auditions over 2 nights, I was struck by the fact that no one really seemed to understand her. Oh, they did shy and soft spoken just fine. They were awkward with The Gentleman Caller and brow beaten by Amanda. But there was no spine beneath their portrayals. No spark of life to make her interesting or layered. My friend Heather, who played Laura a few years ago, was the best audition easily. She understood the role. She will most likely win the role. And I'm happy for her because she's lovely and talented.
But back to me-hey! it's my blog! ;) I walked into the audition totally prepared...knowing everything I wanted to portray, having worked on my body language, expressions, motivations. I always dress as generically as possible for an audition...which generally means normal jeans, a plain shirt or sweater, simple earrings and flats. At 5'6, you'd be surprised at how many guys I tower over at an audition if I wear even the smallest heel! I always pin my hair back at the sides or wear a low ponytail so that my face can be seen.
I sat for 2 hours that first night. I got to read half a scene with a prospective Gentleman Caller. It went well, although I think she took one look at my bright hair and animated face and thought "absolutely not"...I'm not sure she listened to me. Or maybe she did and she just didn't see what she wanted.
I sat for an additional 2 hours the second night. I knew I couldn't make callbacks, so I'd asked permission to come again the second night of auditions, and let the director know if there wasn't time to read me that was ok. There was time to read me, but she opted not to...I think she'd already seen enough. Which evidently wasn't good enough.
I didn't get a callback, which is unusual for me but at least I appreciate not having my time wasted. And I am supremely disappointed. Yet another dream role slipping through my fingers. I only am sad because I didn't get a chance to fight for the role, to prove that I am more than just an ingenue. See, cause...I am not really the typical ingenue...due to my illness I haven't been a size 6 in years. And just because I look 23...well, I'll be 32 in December. So at some point I have to stake my claim with real roles, not just fluffy ones. They certainly won't last forever.
I will go back to playing Roz in Moon over Buffalo this weekend...a comedic ingenue role with an amazing cast that I love. And then I will tackle two fun roles at the NVTA festival this summer...one a terrifying Russian opera singer and the other, Eve...as in Adam & Eve.
And along the way I will keep trying, keep auditioning against type...wanting to let the theatre world know what I am capable of...I hope it's as much as I think it is.
And someday, before it's too late, I will play Laura.
Thanks for listening, o blogging gods. :) Break a leg!
Laura is not a natural role for me. I am often cast as the ingenue because of my long hair and young face, as well as my ability to play a convincing twit. :) And I've loved many of the roles...Alice Sycamore (You Can't Take It with You), Gillian the Witch (Bell, Book & Candle), and Shelby & Annelle (Steel Magnolias).
But something unexpected happened in the summer of 2006. I'd just finished playing Nora in A Doll's House when I was cast as Wanda in The Baby Dance. My character was a hard, Southern, trailer trash pregnant woman selling her unborn child to a wealthy couple because she couldn't afford to raise the four kids she already had, much less a fifth. In short, a polar opposite of my normal persona, look, etc. I brightened my red hair to a garish shade and wore it up in a clippy...I bounced around with a fake belly and unflattering clothes, and it was far from a glamorous role. I got to be funny, crass, greedy, bitter, and tragic all at once. And after that, I was hooked. I wanted to actually ACT.
I'm not saying that I haven't been truly acting for my entire life, but it's much easier to be cute and funny and sweet onstage when you're cute and funny and sweet in real life. It's much harder to pretend to be unconcerned with your appearance, to let the chubby or the blemishes hang out, when in reality you strive for perfection.
After that, I knew that I wanted to balance myself out with more challenging roles. I got that opportunity again in November 2007 when I was cast as Elizabeth Proctor in The Crucible. That was another dream role...I just never thought I'd play it in my 20s. But I did...and again, the tied back hair and baggy dress...combined with not only NO make up but "age" make up (blue circles under the eyes, whitish lipstick, drawn on crows feet)...it was again difficult for me and my vanity. And pretending to play a religious, bitter, cold woman whose husband has had an affair...and then finding him again only to lose him...every night was a sob fest and I thought I was going to need therapy! But to play such a role...it was my privilege.
Going back to Glass Menagerie...I wanted to play Laura. Beneath that shy and tongue-tied girl is a woman who does have strength to deal with her mother, to banter with her brother, and to lose herself in her imaginary world. She's beautiful and tragic, and her still waters run deep.
Sitting through about 40 "Laura" auditions over 2 nights, I was struck by the fact that no one really seemed to understand her. Oh, they did shy and soft spoken just fine. They were awkward with The Gentleman Caller and brow beaten by Amanda. But there was no spine beneath their portrayals. No spark of life to make her interesting or layered. My friend Heather, who played Laura a few years ago, was the best audition easily. She understood the role. She will most likely win the role. And I'm happy for her because she's lovely and talented.
But back to me-hey! it's my blog! ;) I walked into the audition totally prepared...knowing everything I wanted to portray, having worked on my body language, expressions, motivations. I always dress as generically as possible for an audition...which generally means normal jeans, a plain shirt or sweater, simple earrings and flats. At 5'6, you'd be surprised at how many guys I tower over at an audition if I wear even the smallest heel! I always pin my hair back at the sides or wear a low ponytail so that my face can be seen.
I sat for 2 hours that first night. I got to read half a scene with a prospective Gentleman Caller. It went well, although I think she took one look at my bright hair and animated face and thought "absolutely not"...I'm not sure she listened to me. Or maybe she did and she just didn't see what she wanted.
I sat for an additional 2 hours the second night. I knew I couldn't make callbacks, so I'd asked permission to come again the second night of auditions, and let the director know if there wasn't time to read me that was ok. There was time to read me, but she opted not to...I think she'd already seen enough. Which evidently wasn't good enough.
I didn't get a callback, which is unusual for me but at least I appreciate not having my time wasted. And I am supremely disappointed. Yet another dream role slipping through my fingers. I only am sad because I didn't get a chance to fight for the role, to prove that I am more than just an ingenue. See, cause...I am not really the typical ingenue...due to my illness I haven't been a size 6 in years. And just because I look 23...well, I'll be 32 in December. So at some point I have to stake my claim with real roles, not just fluffy ones. They certainly won't last forever.
I will go back to playing Roz in Moon over Buffalo this weekend...a comedic ingenue role with an amazing cast that I love. And then I will tackle two fun roles at the NVTA festival this summer...one a terrifying Russian opera singer and the other, Eve...as in Adam & Eve.
And along the way I will keep trying, keep auditioning against type...wanting to let the theatre world know what I am capable of...I hope it's as much as I think it is.
And someday, before it's too late, I will play Laura.
Thanks for listening, o blogging gods. :) Break a leg!
Thursday, February 26, 2009
Pig Farm at 1st Stage (Tysons) thru 3/14/09
Pig Farm, a review
by: McCall N. Doyle
Reprinted from Showbiz Radio
Pig Farm…is the funniest, quirkiest, ickiest play you’ve never seen. 1st Stage has scored its third hit in a row with this raucous black comedy about pig farmers along the Potomac.
Together, Tom and Tina employ Tim, and Teddy’s from the EPA. The T name game sounds silly, but it’s actually an effective stylistic move by playwright Greg Kotis.
Working a pig farm isn’t easy, and the long hours, bacon filled monotony, and, well, the fecal sludge, have taken their toll on Tom & Tina’s marriage. Tim, the studly juvenile delinquent who “helps” Tom out has caught the eye of a lonely Tina. None of this comes at an opportune time for the farm, currently under EPA investigation. Tom hates the federal government almost as much as Tina wants a baby. Tim wants out of that pig farm almost as much as Teddy wants in. All of these desires eventually come to a head in a memorable climax.
It’s unbelievable that a few repetitive speech patterns, comical lovemaking, and seemingly low brow humor comes together the way that it does, but it does…and it’s a nonstop laugh fest. In fact, more than a few people were wiping away tears at alternate points in the show.
Lucas Beck as Teddy the EPA man is incredible. This actor has garnered rave reviews from every source during his brief time at 1st Stage, and they’re all warranted. He personifies each role, giving a different voice, look, pose to make it work. It’s extremely effective, and hysterically funny. No doubt that he is headed for big things, and 1st Stage is a wonderful place for him to be.
Tucker Sparkman as Tom and Charley Mann as Tim add layer upon layer of hickish hilarity to the mix. And Belen Pifel as the careworn Tina is an absolute treat. She possesses great expression and sultry moves combined with a total lack of inhibition.
The cast worked beautifully together, full of soaring energy, essential timing, and artful line delivery. The show as a whole didn’t really feel like a theatrical play. It more closely resembled a few film genres…think Beverly Hillbillies meets Pulp Fiction.
The straightforward farmhouse set (by director Mark Krikstan) actually has some neat dimension to it, and the space is used effectively.
The fight choreography (Anthony C. E. Nelson) was impeccably done and realistic. Sound and light design (Peter Van Valkenburgh) was also flawless.
The costumers (Andre Hopfer & Cheryl Wu) have dressed the cast well…in fact, there’s never been a better use of Daisy Dukes and sheer nylon than in this show.
Huge kudos to the running crew (including but surely not limited to Olivia Ellis, Kelsey Hill, and Kate Karcewski), who have an unfathomable mess on their hands after each show. Stage Manager Laurie Friedman keeps everything shipshape backstage between costume changes, entrances, and Pig Farm’s own brand of special effects. They are the often faceless people who make the show work…hats off to them!
Mark Krikstan obviously knows how to cast a show with talent, and then use that talent to the best of their abilities. The pacing was perfect; each scene was an intriguing vignette leaving the audience wanting more, and the production came together on all levels.
Last but not least, the rendering of Old Bess atop the farmhouse is amazing. Bob Krause, you rock.
The sold out house had an eclectic mix of high school students, middle aged society matrons, and everything in between. They all had a common denominator…pure delight in this play. It felt good to laugh and laugh they did…all throughout the play and surely en route home, remembering the outrageousness of it all, and savoring each bloody, funny bit.
www.1ststagespringhill.org
Monday, October 27, 2008
Fat Pig is Phat
Neil LaBute has the uncanny ability to express what people often think (but never ever say) in his plays. He explores a dark, cold & shallow side of people that most never see. I saw Fat Pig at Dominion Stage over the weekend. It came as no surprise to me that the show was outstanding...besides the strength of the script, I've also seen the work of all four cast members (Erin DeCaprio, Christopher Holbert, Chuck Dluhy, & Allyson Harkey) and have worked with director Sara Joy Lebowitz. There wasn't a weak link in the cast. All four created characters that we know in real life...stereotypes that exist...the heavyset but terrific woman that everyone wants to see happy; the handsome hero with everything going for him; the obnoxious and superficial friend that everyone hates; and the neurotic office gal who is attractive and fun but who can't seem to hold on to a man.
The play is extremely well-written, with such natural dialogue that you always feel as though you're hearing a real conversation and not a performance. But in the hands of the wrong director, or less than stellar actors, it can fail miserably as it doesn't have the "high drama" or the glamour of other shows. Fortunately for Dominion Stage, they've got all the magical ingredients.
DeCaprio as Helen is luminous. If the play didn't center around her weight, it wouldn't be noticed; she absolutely radiates beauty, energy, and charisma. She gives a heartfelt performance that never allows for self pity or exaggeration. It's just an eloquent testimony to the strength of her character. She's a role model for being happy with who you are, and refusing to accept anything less than she deserves.
Holbert as Tom gives us the hero with a flaw. We'd love to think he's above peer pressure and caring about what anyone thinks, but he's just as fallible as the rest of us. His Tom is sweet and sensitive, but lacks more self-confidence than even he realized. He gives us an internal picture that's not nearly as pretty as his outsides, and ultimately disappoints everyone he's seduced with his charm...Helen and the audience. It's a brilliant, vulnerable portrayal.
Chuck Dluhy has to be one of the nicest guys in theatre...which is why his depiction of an asshole the size of, well, his character's mother, is so fantastic. He creates the role of Carter, Tom's friend and officemate , and keeps the audience riveted. He spews disdain and mocking so well that it's impossible not to watch him every time he takes the stage...it's like rubbernecking on the side of the highway! There are layers to his audacity...and Dluhy has painted each one beautifully.
Allyson Harkey makes Jeannie nagging, shrill, nervy and sarcastic...totally perfect for her role. One can see why Tom is constantly putting off her advances and finding it so difficult to be honest with her...she is a character without being a caricature. She's done a terrific job of being unlikeable, and yet gives enough of her character's weakness that one finds sympathy for her.
Pacing, set, sound design...everything worked in perfect harmony. It's a show that will leave you thinking long after you've left the theatre. It's a show you don't want to miss. There are two weekends left...
www.dominionstage.org for more info
The play is extremely well-written, with such natural dialogue that you always feel as though you're hearing a real conversation and not a performance. But in the hands of the wrong director, or less than stellar actors, it can fail miserably as it doesn't have the "high drama" or the glamour of other shows. Fortunately for Dominion Stage, they've got all the magical ingredients.
DeCaprio as Helen is luminous. If the play didn't center around her weight, it wouldn't be noticed; she absolutely radiates beauty, energy, and charisma. She gives a heartfelt performance that never allows for self pity or exaggeration. It's just an eloquent testimony to the strength of her character. She's a role model for being happy with who you are, and refusing to accept anything less than she deserves.
Holbert as Tom gives us the hero with a flaw. We'd love to think he's above peer pressure and caring about what anyone thinks, but he's just as fallible as the rest of us. His Tom is sweet and sensitive, but lacks more self-confidence than even he realized. He gives us an internal picture that's not nearly as pretty as his outsides, and ultimately disappoints everyone he's seduced with his charm...Helen and the audience. It's a brilliant, vulnerable portrayal.
Chuck Dluhy has to be one of the nicest guys in theatre...which is why his depiction of an asshole the size of, well, his character's mother, is so fantastic. He creates the role of Carter, Tom's friend and officemate , and keeps the audience riveted. He spews disdain and mocking so well that it's impossible not to watch him every time he takes the stage...it's like rubbernecking on the side of the highway! There are layers to his audacity...and Dluhy has painted each one beautifully.
Allyson Harkey makes Jeannie nagging, shrill, nervy and sarcastic...totally perfect for her role. One can see why Tom is constantly putting off her advances and finding it so difficult to be honest with her...she is a character without being a caricature. She's done a terrific job of being unlikeable, and yet gives enough of her character's weakness that one finds sympathy for her.
Pacing, set, sound design...everything worked in perfect harmony. It's a show that will leave you thinking long after you've left the theatre. It's a show you don't want to miss. There are two weekends left...
www.dominionstage.org for more info
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