There is a saying, that one cannot make a silk purse out of a sow's ear. While scientists at MIT have proven this to be false, they also found that it takes more than one ear. Which, once again, brings the Savannah Dramaturgy around to the perennial problem of Theatre in Savannah... more resources are needed.
Upon seeing the latest offering of the Little Theatre of Savannah, this author found this to be all the truer. The Boy Friend, performed in the Seaboard Freight Station Theatre, falls all too short. This is through no real lack of effort on the part of the people involved, who should be applauded, but instead through various inherent shortcomings.
The story itself is almost as old as the theatre. Boy meets girl, boy loses girl, and boy gets girl in the end. This time honoured story can be found in musicals from Guys and Dolls, Anything Goes, and West Side Story. The Boy Friend is perhaps the most overt of all of these, but that is no real weakness, as such a primal story must have been addressed eventually, much to the pleasure of this author and anyone else with a romantic interest.
Yet, one cannot help feeling that the Little Theatre's production might have missed the point here. In the program notes, director DJ Queenan writes of a 1950's show spoofing earlier the musicals of the 1920's. And yet, if this piece is to be thought of as a send up, it most certainly lacks teeth, both scripturally and in the production. Though opportunity is ample to engage in self-referential fun, this is rarely done. Indeed, the opening song of "Perfect Young Ladies," seems a perfect opportunity. And yet, the tongues stay very firmly out of the cheeks and falls flat in a meta-theatrical sense. Indeed, only once, when Madame Dubonnet (played with gusto by Carol Melton) calls the spotlight to herself in true diva fashion before breaking into song. As such, there is a lost expectation here.
Further, there is a sharpness that one find highly desirable, and lacking, in this particular piece. Unfortunately, the Freight Station Theatre is an unforgiving venue, and errors can be glaring. Even small issues such as which particular leg is extended in the choreography do truly stick out around here. The combination of venue and the demands of the piece itself does the Little Theatre no favours. Combine this with the inherent limitations of the community theatre (which was addressed in the curtain speech preceding the show) and one most certainly has vagueness worthy of Monet himself. Unfortunately, beautiful as Monet's work is, the content of the piece does not lend itself to impressionism or watercolour.
Further, this author must wonder that an art city like Savannah lacks willing musicians. While musicians in the theatre are traditionally paid, even in community theatre, one must wonder if there is nobody out there. The use of electronic instuments (primarily keyboard and synth) kept the full impact of this piece from reaching the audience. Musicals are effective primarily because of the music, pure and simple. Indeed, one can often stand in the parking lot of a theatre after a musical and be treated to an impromptu performance of most of the showstoppers, being variously hummed, whistled, and sung by the departing audience. And yet, such was not the case. Proper orchestration helps to give the music a truly visceral effect, as one's skin thrills to the cadenza of a trumpet and the rhythm thumps in one's chest. And yet, the reliance upon electronic instruments instead of tradition orchestration robbed the audience of such an effect and failed to produce the impromptu parking lot performances. Indeed, by the end of this show, one finds oneself willing to sell one's soul for a trumpet (one should note that is production made limited use of trumpet, played from backstage by a member of the cast, but the effect was limited) or one's firstborn for an entire brass section.
And yet, despite all of this, one truly wants to feel the transportation inherent in the genre. The cast performs with such effort that one truly wishes that their boundless goodwill can be translated into the audience identification their pains deserve. Jeroy Hannah, who was also featured in the Little Theatre's The Moustrap, presents the clear-cut and slightly uptight of Percival Browne to great effect. Hortense (Lariena Brown) struts her stuff to delightful effect in "Nicer in Nice." Nick Bushkar as Tony, who could not have been better rendered by Norman Rockwell, is the quintessential perfect young man, and Polly Browne's (Jonette Page) shock and dismay at the possible derailment of her fledgling love affair grips the heartstrings of anyone who has ever feared the same.
In the end, this production was to be seen once, repeat performances neither needed nor desired. The fault is not that of the cast, but instead should be placed directly at the feet of the community's limitations. However, it should also be noted that this author also barely managed to get a ticket to the performance. Evidently, it clicked for some. Given that the average age of the audience was "post-mortem," perhaps there is something that this author needs time to see.
Friday, June 6, 2008
Monday, April 21, 2008
Laughing Wild: Cardinal Rep
Life is tough, why must we make it tougher on ourselves? This is the message promulgated by award winning playwright Christopher Durang in his show Laughing Wild. Chronicling the course of events surrounding an ill-fated shopping trip for tuna fish, Mr. Durang suggests that life could indeed be easier if we all would just breathe, live, and empathize with our fellow humans.
Written during Durang's early years in New York City, a city which he regarded with the deepest fear and loathing, the damaged souls that he parades before the audience do what they can to cope, even if it requires violence. And yet, despite the fact that the minds of his characters are not merely twisted, but indeed are fully sprained, there is a hopeful call for understanding between fellow humans.
One of the limitations of this script, however, is its inherent topicality. Very much a product of 1980's angst, numerous references are made to Chernobyl, the rising AIDS epidemic, and the king-hell of all unsympathetic father figures, Ronald Reagan. Given this topicality, which borders on the level of stand-up comedy at times, one might wonder if Laughing Wild can still speak to audiences today. Indeed, topicality in scripts is an issue that one must wrestle with when considering production. Even hallowed Rent, very much a product of its times, has been considered a candidate for topical update, in the hopes that freshness will be retained if the transcendent message is leavened with fresh topicality. However, one should note that all truly great drama not only contains these connectors to transcend time and place, but also is firmly rooted in the milieu of the time in which it was created.
Laughing Wild is a product of the Boomer/Yuppie ennui of the 1980's, he who dies with the most toys wins. While there are striking similarities between that ennui and the existential boredom that currently infests the culture, one should note that they have distinct roots. While today's ennui is the outcome of failed economic policy, fear, and interminable war, that of the 1980's was far for affective upon the fringes. Given that the United States would soon emerge victorious from the Cold War as the world's last remaining superpower, there was a tinge of victory in those times. Yet, the ennui of Durang is very much that of one who will not share in the celebration. Thus, The Savannah Dramaturgy applauds the director, Ms. Bridget Tunstall, and Cardinal Rep for refraining from updating this script. Only Twinkies keep their freshness unsullied through the ages, and keeping Laughing Wild rooted in the original context of the 80's actually helps the audience build a greater understanding of their own disillusionment by seeing that of another age honestly depicted.
Further, Caridal Rep has constructed, in Laughing Wild, a strong argument for its consideration as the flagship of Savannah's theatrical community. Given the spare set, really a stripped and repainted version of the Little Theatre's Moustrap, one is allowed to focus far more on the talents of actor and director without being distracted by flash. Ms. Tunstall, in her professional debut, has molded a moving and entertaining piece that reaches across the almost twenty years since its writing to shake the audience roughly awake and shine an almost Beckettian light in their faces. The acting, ably executed by Cardinal Rep Literary Director Phil Keeling and stalwart Valerie Lavelle, navigates the twisting, thesaurus infected stream of consciousness Mr. Durang has provided. Foundering upon the rocks of obscure referentiality or simple, ridiculous absurdism in order to keep the audience laughing would be easy with this piece, and yet the cast navigates well. Mr. Keeling effectively conveys the fear of one living in the United States and yet trying to retain that small shred of dignity and coherence that could all too easily be whisked away. Ms. Lavelle quite simply glows in the dark with the crushing madness of one who has already lost everything and now seeks only to survive.
Indeed, much can be said about the acting here. Which is another of the strengths of this piece, and Cardinal Rep's choice thereof. Though Edward Albee's Seascape had originally been planned for this slot, only having to be abandoned due to certain personnel issues, Laughing Wild has a particular strength in service the Cardinal Rep's mission to build an indigenous theatrical community for the city of Savannah. The sparse nature of this production, along with the opportunity for virtuoso performance from the city's actors, provides much-needed exposure to the talents available to the city's growing theatre. While Seascape is a wonderful play, it provides far less of this and therefor may be considered of lesser service to the development of Savannah's theatre community. Savannah now knows, because if they have not seen then The Savannah Dramaturgy is telling them, that there are some true virtuosos at their disposal. Further, we issue a warning that such talents MUST BE fostered if there Savannah truly aspires to have a theatre of its own. This extends to those groups outside of Cardinal Rep, and should be addressed across the board.
Finally, it is worth noting the intesly communitarian spirit felt in this production. The setting at the Freight Station Theatre is delightfully intimate and projects an aura of ongoing activity. In much the same way that mid-century movie houses would run their fare continually, including newsreels, on the off chance that one must step out and return, the feel around Cardinal Rep is very much that while you might miss one thing, the institution is here to stay. Indeed, if Mr. McCurdy and company keep this up, then The Savannah Dramaturgy prophesies that "The Rep" will soon become shorthand and an integral part of the Savannah lexicon.
Written during Durang's early years in New York City, a city which he regarded with the deepest fear and loathing, the damaged souls that he parades before the audience do what they can to cope, even if it requires violence. And yet, despite the fact that the minds of his characters are not merely twisted, but indeed are fully sprained, there is a hopeful call for understanding between fellow humans.
One of the limitations of this script, however, is its inherent topicality. Very much a product of 1980's angst, numerous references are made to Chernobyl, the rising AIDS epidemic, and the king-hell of all unsympathetic father figures, Ronald Reagan. Given this topicality, which borders on the level of stand-up comedy at times, one might wonder if Laughing Wild can still speak to audiences today. Indeed, topicality in scripts is an issue that one must wrestle with when considering production. Even hallowed Rent, very much a product of its times, has been considered a candidate for topical update, in the hopes that freshness will be retained if the transcendent message is leavened with fresh topicality. However, one should note that all truly great drama not only contains these connectors to transcend time and place, but also is firmly rooted in the milieu of the time in which it was created.
Laughing Wild is a product of the Boomer/Yuppie ennui of the 1980's, he who dies with the most toys wins. While there are striking similarities between that ennui and the existential boredom that currently infests the culture, one should note that they have distinct roots. While today's ennui is the outcome of failed economic policy, fear, and interminable war, that of the 1980's was far for affective upon the fringes. Given that the United States would soon emerge victorious from the Cold War as the world's last remaining superpower, there was a tinge of victory in those times. Yet, the ennui of Durang is very much that of one who will not share in the celebration. Thus, The Savannah Dramaturgy applauds the director, Ms. Bridget Tunstall, and Cardinal Rep for refraining from updating this script. Only Twinkies keep their freshness unsullied through the ages, and keeping Laughing Wild rooted in the original context of the 80's actually helps the audience build a greater understanding of their own disillusionment by seeing that of another age honestly depicted.
Further, Caridal Rep has constructed, in Laughing Wild, a strong argument for its consideration as the flagship of Savannah's theatrical community. Given the spare set, really a stripped and repainted version of the Little Theatre's Moustrap, one is allowed to focus far more on the talents of actor and director without being distracted by flash. Ms. Tunstall, in her professional debut, has molded a moving and entertaining piece that reaches across the almost twenty years since its writing to shake the audience roughly awake and shine an almost Beckettian light in their faces. The acting, ably executed by Cardinal Rep Literary Director Phil Keeling and stalwart Valerie Lavelle, navigates the twisting, thesaurus infected stream of consciousness Mr. Durang has provided. Foundering upon the rocks of obscure referentiality or simple, ridiculous absurdism in order to keep the audience laughing would be easy with this piece, and yet the cast navigates well. Mr. Keeling effectively conveys the fear of one living in the United States and yet trying to retain that small shred of dignity and coherence that could all too easily be whisked away. Ms. Lavelle quite simply glows in the dark with the crushing madness of one who has already lost everything and now seeks only to survive.
Indeed, much can be said about the acting here. Which is another of the strengths of this piece, and Cardinal Rep's choice thereof. Though Edward Albee's Seascape had originally been planned for this slot, only having to be abandoned due to certain personnel issues, Laughing Wild has a particular strength in service the Cardinal Rep's mission to build an indigenous theatrical community for the city of Savannah. The sparse nature of this production, along with the opportunity for virtuoso performance from the city's actors, provides much-needed exposure to the talents available to the city's growing theatre. While Seascape is a wonderful play, it provides far less of this and therefor may be considered of lesser service to the development of Savannah's theatre community. Savannah now knows, because if they have not seen then The Savannah Dramaturgy is telling them, that there are some true virtuosos at their disposal. Further, we issue a warning that such talents MUST BE fostered if there Savannah truly aspires to have a theatre of its own. This extends to those groups outside of Cardinal Rep, and should be addressed across the board.
Finally, it is worth noting the intesly communitarian spirit felt in this production. The setting at the Freight Station Theatre is delightfully intimate and projects an aura of ongoing activity. In much the same way that mid-century movie houses would run their fare continually, including newsreels, on the off chance that one must step out and return, the feel around Cardinal Rep is very much that while you might miss one thing, the institution is here to stay. Indeed, if Mr. McCurdy and company keep this up, then The Savannah Dramaturgy prophesies that "The Rep" will soon become shorthand and an integral part of the Savannah lexicon.
Thursday, April 10, 2008
Crossing the Footlights: Theatre and the Public
"You never change things by fighting the existing reality. To change something, build a new model that makes the existing model obsolete."
--R. Buckminster Fuller
Admittedly, The Savannah Dramaturgy stole that quote from Theatre Ideas, but it is fitting to our topic nonetheless. Conventional wisdom is that the theatre is dying. Of course, according to that same wisdom, it has been dying for almost four thousand years. It is, in quite simple economic terms, unwieldy. Take into consideration, for example, the resource input, in terms of manpower alone, for a production of Death of a Salesman. Even if, during a three-week run, this piece is a smashing success and fills its 500 seat auditorium, that is still a fraction of the total audience exposure compared to a comparable piece of cinema.
Quite simply, the theatre cannot compete with cinema and television in terms of sheer numbers. The march of technology, along with the need to pay theatrical artists a living wage, has made that impossible. Instead, the theatre must offer a substantial qualitative difference from these other two art forms. While volumes have been written about the specific power of live performance, and this article does not attempt to deny said power, this power is but a fraction of the possible qualitative difference that the theatre can offer to patrons.
The remainder of this difference, in my opinion, is where the concept of local theatres in various cities becomes involved. Theatre companies looking to be truly competitive need to reach out across the footlights and grasp the hands of the community as a whole. Indeed, the community needs to feel somehow involved with the theatre company, to develop a relationship, in order that they may then begin to look out for the welfare of the company.
This locality is the very heart of the qualitative difference between the theatre and film. The average film, while it will reach far more people, stands less of a chance of building a strong relationship with an audience that counts than an organized local theatre company. Films, made wherever taxes are cheapest and shipped to all corners of the Earth, can tend to be impersonal and lack a real connection to the community in which they are filmed. Take, for example, Glory. This piece ostensibly took place, primarily, in Boston. Yet it was filmed right here in Savannah, GA.
Theatre, on the other hand, is forced to be local. Unless one is dealing with a bus or truck tour, theatre is irrevocably rooted to the city in which it is located. And, in order to be their most effective, they must acknowledge and act as if they are beholden to their community. This means, and this may be something of a shock to many thespians, crossing the footlights and living in the community. This can take many forms, from partnership with local business to participation in civic events to simply cutting the locals a deal to ensure they can afford the best.
Benefits from such engagement run two ways. Not only does the community have the advantage of brightly plumaged birds (artists) that help to raise property values and general quality of llife, but also it has access to quality entertainment that is truly their own. One of the louder laments from the critics of the Regional theatre is that these institutions are often maintained as an object of civic pride, as opposed to artistic merit. However, what city would boast a shallow theatre? But the theatre itself also benefits, and not only financially. It has an engaged audience that, if fostered properly, will support the organization in taking certain artistic leaps.
However, all this is only possible if the theatre takes the initiative. Unfortunately, thespians are creatures of immense inertia. Indeed, Frank Rutledge once told his theatre history class, "The reason theatre people do certain things is because that is the way things are done in the theatre." Essentially, one can become so isolated that one becomes detached from the audience. To become so is to forget the most important of the collaborators, the audience. So, The Savannah Dramaturgy reissues its challenge to the city of Savannah and the theatrical community. Link up, all will be the better for it.
--R. Buckminster Fuller
Admittedly, The Savannah Dramaturgy stole that quote from Theatre Ideas, but it is fitting to our topic nonetheless. Conventional wisdom is that the theatre is dying. Of course, according to that same wisdom, it has been dying for almost four thousand years. It is, in quite simple economic terms, unwieldy. Take into consideration, for example, the resource input, in terms of manpower alone, for a production of Death of a Salesman. Even if, during a three-week run, this piece is a smashing success and fills its 500 seat auditorium, that is still a fraction of the total audience exposure compared to a comparable piece of cinema.
Quite simply, the theatre cannot compete with cinema and television in terms of sheer numbers. The march of technology, along with the need to pay theatrical artists a living wage, has made that impossible. Instead, the theatre must offer a substantial qualitative difference from these other two art forms. While volumes have been written about the specific power of live performance, and this article does not attempt to deny said power, this power is but a fraction of the possible qualitative difference that the theatre can offer to patrons.
The remainder of this difference, in my opinion, is where the concept of local theatres in various cities becomes involved. Theatre companies looking to be truly competitive need to reach out across the footlights and grasp the hands of the community as a whole. Indeed, the community needs to feel somehow involved with the theatre company, to develop a relationship, in order that they may then begin to look out for the welfare of the company.
This locality is the very heart of the qualitative difference between the theatre and film. The average film, while it will reach far more people, stands less of a chance of building a strong relationship with an audience that counts than an organized local theatre company. Films, made wherever taxes are cheapest and shipped to all corners of the Earth, can tend to be impersonal and lack a real connection to the community in which they are filmed. Take, for example, Glory. This piece ostensibly took place, primarily, in Boston. Yet it was filmed right here in Savannah, GA.
Theatre, on the other hand, is forced to be local. Unless one is dealing with a bus or truck tour, theatre is irrevocably rooted to the city in which it is located. And, in order to be their most effective, they must acknowledge and act as if they are beholden to their community. This means, and this may be something of a shock to many thespians, crossing the footlights and living in the community. This can take many forms, from partnership with local business to participation in civic events to simply cutting the locals a deal to ensure they can afford the best.
Benefits from such engagement run two ways. Not only does the community have the advantage of brightly plumaged birds (artists) that help to raise property values and general quality of llife, but also it has access to quality entertainment that is truly their own. One of the louder laments from the critics of the Regional theatre is that these institutions are often maintained as an object of civic pride, as opposed to artistic merit. However, what city would boast a shallow theatre? But the theatre itself also benefits, and not only financially. It has an engaged audience that, if fostered properly, will support the organization in taking certain artistic leaps.
However, all this is only possible if the theatre takes the initiative. Unfortunately, thespians are creatures of immense inertia. Indeed, Frank Rutledge once told his theatre history class, "The reason theatre people do certain things is because that is the way things are done in the theatre." Essentially, one can become so isolated that one becomes detached from the audience. To become so is to forget the most important of the collaborators, the audience. So, The Savannah Dramaturgy reissues its challenge to the city of Savannah and the theatrical community. Link up, all will be the better for it.
Friday, April 4, 2008
Does Theatre Spend too Much Time Navel Gazing?
Recently reading my way through various theatre blogs, I was struck by the fact that many posts were simply "interviews" where a list of questions had been sent to one artist or another and their answers listed. Questions such as "What role does anger play in your work?" seemed to abound, and yet there really seemed to be very little said. This is not to insinuate that the questions were not answered, in many cases they were, but there seemed to be little real substance.
One, however, should not mistake this reference to "real substance" as a condemnation of the answers afforded by these artists. For the most part, the questions were answered truthfully and thoughtfully. However, what was lacking was that essential aspect of a good publication, the concept of significance.
While there is nothing inherently wrong with such questions, they must be posed for a specific reason. If a playwright's work is based in anger... what does this mean for the theatre? Similarly with a director, dramaturg, or any other given discipline, what is the significance of their mindset? Samuel Beckett, poet laureate of the Theatre of the Absurd, lamented his Nobel Prize in literature, assuming that commentators would then search to find meaning in his plays from the context of the man's life when, according to Beckett, his own life experience had little impact on his dramatic theory and expression. Beckett refused questioning, as opposed to embracing it, but had a significant reason for doing so.
The fact that playwrights do/do not draw much of their work from anger and frustration must be given a context. Quite simply, what does it mean? Might such a fact point to a decline in the standard of living, or other such source of frustration, and thereby the drama be turned outward as a weapon against the root of said frustration? Such would be the ideal.
Aristotle viewed good drama as having medicinal qualities. Brecht posited that impulses could be directed to affect social change. The Savannah Dramaturgy encourages these artists, particularly the originator of the questionnaire that is the centre of this article, to try and draw some significance from their attitudes. It will not only inform their drama, but also might assist in curing what ills them. Attitude without context is simply navel gazing, much akin to simply "being avant-garde" for the sake of being edgy, as opposed to finding it to be the most effective method of dramatic expression for one's own particular message.
One, however, should not mistake this reference to "real substance" as a condemnation of the answers afforded by these artists. For the most part, the questions were answered truthfully and thoughtfully. However, what was lacking was that essential aspect of a good publication, the concept of significance.
While there is nothing inherently wrong with such questions, they must be posed for a specific reason. If a playwright's work is based in anger... what does this mean for the theatre? Similarly with a director, dramaturg, or any other given discipline, what is the significance of their mindset? Samuel Beckett, poet laureate of the Theatre of the Absurd, lamented his Nobel Prize in literature, assuming that commentators would then search to find meaning in his plays from the context of the man's life when, according to Beckett, his own life experience had little impact on his dramatic theory and expression. Beckett refused questioning, as opposed to embracing it, but had a significant reason for doing so.
The fact that playwrights do/do not draw much of their work from anger and frustration must be given a context. Quite simply, what does it mean? Might such a fact point to a decline in the standard of living, or other such source of frustration, and thereby the drama be turned outward as a weapon against the root of said frustration? Such would be the ideal.
Aristotle viewed good drama as having medicinal qualities. Brecht posited that impulses could be directed to affect social change. The Savannah Dramaturgy encourages these artists, particularly the originator of the questionnaire that is the centre of this article, to try and draw some significance from their attitudes. It will not only inform their drama, but also might assist in curing what ills them. Attitude without context is simply navel gazing, much akin to simply "being avant-garde" for the sake of being edgy, as opposed to finding it to be the most effective method of dramatic expression for one's own particular message.
Wednesday, April 2, 2008
Whence from the Academy?
For theatrical educators, especially in towns with a developing indigenous theatre community and numerous theatrical education programs, the question that often crops up from students, and which the educator might ask himself from time to time, is "where to from here?" Undergraduates who are not bound for a graduate program, and Graduates who are coming from anything other than a well-connected conservatory, is going to be faced with the difficult challenge of finding work. As Dr. John Hanners of Texas A&M University- Commerce once said, finding anything is a challenge, but it is worth it because one is "in theatre" no matter how poorly it pays.
While this is laudatory, and The Savannah Dramaturgy is inclined to agree, the necessities of modern life invariably assert themselves. Our actors (since the grand majority of them are actors) need to eat, and be shod, housed, and medically looked after. And, unfortunately, they wind up waiting tables, stocking shelves, or doing less savory things for the requisite cash. And, mores the pity, should they get theatrical work, then they often must abandon their "day" job in the name of their career... and as such the cycle perpetuates. Keep in mind that Actor's Equity, a trade union, boasts an 80% unemployment rate as an accomplishment.
So, my eager students, I fear I cannot answer that question well. The obvious suspects (New York, Los Angeles, and Chicago) are all possibilities. But The Savannah Dramaturgy joins with Theatre Ideas in recommending an idea a little closer to home. Many cities have the sufficient size and infrastructure to support a theatre! Thespians need to spread out! Sure, Sioux City and Kalamazoo aren't the most glamourous of places... but they still have audiences that need contacting! They still seek truth and art (all except perhaps Lubbock, TX... which I am convinced is primarily populated by refugee Visigoths).
Such an action might not lead to immediate stardom. Indeed, it most likely will not. Yet, many of the regional theatres in smaller and more marginal population centres have produced major work. How I Learned To Drive (Pulitzer Winner) was developed at the Perseverance Theatre in Juneau. Anna in the Tropics (also a Pulitzer Winner) originally came from Coral Gables! There is, at the very least, a better chance at recognition in a smaller town. You might not break into stardom in Juneau, but you definitely will not waiting tables at Yazoos in the Village.
Which brings us, dear reader, back to education. Most of modern theatrical education, unfortunately, is training our students for an industry that does not really desire their presence. Competition is too high, investment is too important. We must begin to teach our aspiring thespians not only skills for survival (something which this writer is still deeply indebted to Marcus Olson and Jeff DeVincent for) but also for artistic leadership. Lessing sought a theatre where even the "candle snuffer" was a Garrick. And educators must take those steps to prepare them. Not only must they know what to do, but why and how it is to be done.
While The Savannah Dramaturgy differs with Theatre Ideas on the desirability of the tribal structure, we are in agreement that we must spread out. As we all, intellectually, sprang generations ago from Yale and George Pierce Baker, we must push for a further expansion. Which leads me to once again lay a challenge at the feet of the city of Savannah. A sustainable, professional, indigenous theatre community is needed, and needed sorely. Reach.
While this is laudatory, and The Savannah Dramaturgy is inclined to agree, the necessities of modern life invariably assert themselves. Our actors (since the grand majority of them are actors) need to eat, and be shod, housed, and medically looked after. And, unfortunately, they wind up waiting tables, stocking shelves, or doing less savory things for the requisite cash. And, mores the pity, should they get theatrical work, then they often must abandon their "day" job in the name of their career... and as such the cycle perpetuates. Keep in mind that Actor's Equity, a trade union, boasts an 80% unemployment rate as an accomplishment.
So, my eager students, I fear I cannot answer that question well. The obvious suspects (New York, Los Angeles, and Chicago) are all possibilities. But The Savannah Dramaturgy joins with Theatre Ideas in recommending an idea a little closer to home. Many cities have the sufficient size and infrastructure to support a theatre! Thespians need to spread out! Sure, Sioux City and Kalamazoo aren't the most glamourous of places... but they still have audiences that need contacting! They still seek truth and art (all except perhaps Lubbock, TX... which I am convinced is primarily populated by refugee Visigoths).
Such an action might not lead to immediate stardom. Indeed, it most likely will not. Yet, many of the regional theatres in smaller and more marginal population centres have produced major work. How I Learned To Drive (Pulitzer Winner) was developed at the Perseverance Theatre in Juneau. Anna in the Tropics (also a Pulitzer Winner) originally came from Coral Gables! There is, at the very least, a better chance at recognition in a smaller town. You might not break into stardom in Juneau, but you definitely will not waiting tables at Yazoos in the Village.
Which brings us, dear reader, back to education. Most of modern theatrical education, unfortunately, is training our students for an industry that does not really desire their presence. Competition is too high, investment is too important. We must begin to teach our aspiring thespians not only skills for survival (something which this writer is still deeply indebted to Marcus Olson and Jeff DeVincent for) but also for artistic leadership. Lessing sought a theatre where even the "candle snuffer" was a Garrick. And educators must take those steps to prepare them. Not only must they know what to do, but why and how it is to be done.
While The Savannah Dramaturgy differs with Theatre Ideas on the desirability of the tribal structure, we are in agreement that we must spread out. As we all, intellectually, sprang generations ago from Yale and George Pierce Baker, we must push for a further expansion. Which leads me to once again lay a challenge at the feet of the city of Savannah. A sustainable, professional, indigenous theatre community is needed, and needed sorely. Reach.
Saturday, March 29, 2008
Flight of the Albatross: The Savannah Shakespeare Festival
"Good friend, for Jesus sake forebear
To dig the dust enclosed here.
Blest be the man that spares these stones
And curst be he that moves my bones."
-- Inscription on the Tomb of William Shakespeare
I figure that Shakespeare has little to fear on the account of his grave being moved. After all, the thing weighs quite a bit. Indeed, the curse upon those who move his bones will most likely be severe hernia.
Which is not at all dissimilar to the aspirations of the Savannah Shakespeare Festival. To accomplish the vision set out by Festival Director, JinHi Rand, some heavy lifting is going to be required. It is the hope of The Savannah Dramaturgy that the theatre community, or tribe, if you like, will be equal to the task. Getting almost any festival off the ground is a daunting task, and combined with the challenge of doing justice, as opposed to violence, to the Bard just adds to the weight.
As I currently understand it, and I encourage anybody more involved than myself to disabuse me of this if it is fallacious, is that the Festival will be partnering with the various producing agencies in the city of Savannah to produce a showcase, essentially, of Shakespearean works on the topic of love and its various incarnations. To sew such disparate elements into a coherent whole will be a challenge akin to getting the Spruce Goose off the tarmac. While I applaud the concept of integrating the performance community, I also question if it is possible. Indeed, if one were to lock Savannah luminaries such as Ryan McCurdy, Karla Knudsen, and DJ Queenan into a room, the chances of getting a completely satisfactory pizza order from them may fall short.
Indeed, having spoken to some folks involved, the unified festival auditions, as they were performed, left each of the institutions unable to cast their sequence and in need of holding separate auditions. While not necessary problematic, each of these producing agencies have their own health and seasons to keep in mind, and many things to do. Indicative of this is that there has been little to no notice regarding these separate auditions, and the clock is ticking.
Given how close this program was to being axed entirely, which would have been an unwise move on the part of the City of Savannah, perhaps we should consider ourselves lucky that it still has legs at all. But current status seems that it has legs very similar to James Caan's in Misery and one must ask if a year on ice might not help in the long run.
Indeed, my proposal for future festivals, so that they could be properly be called festivals, is that the Savannah Shakespeare Festival approach each of the production companies in the city and work with them to integrate festival content into their season. The Festival would help foot the bill, and the production companies would have a way of coming together. The current situation, I fear, may be an example of too many chefs spoiling the stew.
An albatross, once aloft, if actually quite beautiful. But watching the takeoff procedures is similar to watching sausage being made in terms of general pleasantness. Here is hoping that my worries are unfounded, but they exist nonetheless.
To dig the dust enclosed here.
Blest be the man that spares these stones
And curst be he that moves my bones."
-- Inscription on the Tomb of William Shakespeare
I figure that Shakespeare has little to fear on the account of his grave being moved. After all, the thing weighs quite a bit. Indeed, the curse upon those who move his bones will most likely be severe hernia.
Which is not at all dissimilar to the aspirations of the Savannah Shakespeare Festival. To accomplish the vision set out by Festival Director, JinHi Rand, some heavy lifting is going to be required. It is the hope of The Savannah Dramaturgy that the theatre community, or tribe, if you like, will be equal to the task. Getting almost any festival off the ground is a daunting task, and combined with the challenge of doing justice, as opposed to violence, to the Bard just adds to the weight.
As I currently understand it, and I encourage anybody more involved than myself to disabuse me of this if it is fallacious, is that the Festival will be partnering with the various producing agencies in the city of Savannah to produce a showcase, essentially, of Shakespearean works on the topic of love and its various incarnations. To sew such disparate elements into a coherent whole will be a challenge akin to getting the Spruce Goose off the tarmac. While I applaud the concept of integrating the performance community, I also question if it is possible. Indeed, if one were to lock Savannah luminaries such as Ryan McCurdy, Karla Knudsen, and DJ Queenan into a room, the chances of getting a completely satisfactory pizza order from them may fall short.
Indeed, having spoken to some folks involved, the unified festival auditions, as they were performed, left each of the institutions unable to cast their sequence and in need of holding separate auditions. While not necessary problematic, each of these producing agencies have their own health and seasons to keep in mind, and many things to do. Indicative of this is that there has been little to no notice regarding these separate auditions, and the clock is ticking.
Given how close this program was to being axed entirely, which would have been an unwise move on the part of the City of Savannah, perhaps we should consider ourselves lucky that it still has legs at all. But current status seems that it has legs very similar to James Caan's in Misery and one must ask if a year on ice might not help in the long run.
Indeed, my proposal for future festivals, so that they could be properly be called festivals, is that the Savannah Shakespeare Festival approach each of the production companies in the city and work with them to integrate festival content into their season. The Festival would help foot the bill, and the production companies would have a way of coming together. The current situation, I fear, may be an example of too many chefs spoiling the stew.
An albatross, once aloft, if actually quite beautiful. But watching the takeoff procedures is similar to watching sausage being made in terms of general pleasantness. Here is hoping that my worries are unfounded, but they exist nonetheless.
For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf: Armstrong Atlantic State University
For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf, performed over the weekend of March 28th at the Masquer's Chinese Theatre on the Southside has managed, under the direction of Dr. Elizabeth Denoyers-Cola, to create the ensemble feel that The Savannah Dramaturgy applauds most heartily.
This choreopoem, as it is labeled, by Ntozake Shange, has lost none of its bite or relevance despite roughly twenty years of age upon its back. Particularly following Dr. Cola's approach of "Old School/New School" this piece rises as a collaborative masterpiece in the college season. Though the language is not updated, which would often ruin the poetry of the piece, contemporary music and dance, particularly of the hip-hop genre, is leavened into the piece. As Dr. Cola acknowledges that the process was largely one of learning, running in both directions from New and Old schools, this learning has not failed to produce a product that rewards the audience.
Further, for the opening night performance of March 27th, the piece was accompanied by a reception (and I do not know a dramaturg who will turn down free food) with panel discussion regarding For Colored Girls' continued relevance and place in the African-American dramatic canon. For this discussion alone, it was worth braving the cramped, stuffy interior of Masquer's Chinese Theatre. Indeed, given the fact that the program is staged by an educational institution, I find it dismaying that this is not done more often. One of the prime purposes of drama in education, according to scholars as various as Thomas Gressler and Robert Corrigan, is to teach individuals a deeper understanding of themselves and their situation. By placing Shange's work in the broader context, and reflecting upon how it affected and still affects the panelists, an excellent opportunity was created for the students to explore their own past and the history of the African American. It is a communal experience and an attempt to tap into the communal history.
Anyone reading the script to Colored Girls will find themselves somewhat confused by
Shange's unconventional punctuation, yet the purpose is to break up the standard narrative rhythm into Shange's poetry. One thing that was disappointing was that the rhythm and verve of Shange's writing was not always embodied in voice or movement by the actors. Notable exceptions to this are a recitation by Dr. Cola, the director, herself and much of the material from Lady in Purple (Amber Jones). Here one can find Shange's writing used to its full extent to create the beat of the life of a black woman.
Notable in this production is the inclusion of the male roles in the play, as opposed to the women playing an entire ensemble. While the latter is the more traditional approach, Dr. Cola elected to cast and include male actors in those very roles. Doing so, I feel, was the wiser thing to do in this case on a few different grounds. Firstly, changing between roles quickly is a form of acting that requires a definite amount of talent for the actor involved, and it is a task which student actors are generally not capable of performing effectively (certain counterexamples, such as Will Mobley's performance of the Artful Dodger in SCAD's production of Oliver Twist notwithstanding). Further, from a less practical standpoint, there is the fact that African American men are a very real, very physical part of the lives of African American women. Including the men in the space physically helps to reflect this.
Clive Barnes of The New York Times wrote that this piece could have made him feel guilty about being white and male, and yet it didn't. Coming from a very similar standpoint, I must agree. Instead, the AASU Masquers have managed to construct and perform a canticle. A canticle that sings the praises of humanity, and makes it possible for WASPs to have black sisters.
This choreopoem, as it is labeled, by Ntozake Shange, has lost none of its bite or relevance despite roughly twenty years of age upon its back. Particularly following Dr. Cola's approach of "Old School/New School" this piece rises as a collaborative masterpiece in the college season. Though the language is not updated, which would often ruin the poetry of the piece, contemporary music and dance, particularly of the hip-hop genre, is leavened into the piece. As Dr. Cola acknowledges that the process was largely one of learning, running in both directions from New and Old schools, this learning has not failed to produce a product that rewards the audience.
Further, for the opening night performance of March 27th, the piece was accompanied by a reception (and I do not know a dramaturg who will turn down free food) with panel discussion regarding For Colored Girls' continued relevance and place in the African-American dramatic canon. For this discussion alone, it was worth braving the cramped, stuffy interior of Masquer's Chinese Theatre. Indeed, given the fact that the program is staged by an educational institution, I find it dismaying that this is not done more often. One of the prime purposes of drama in education, according to scholars as various as Thomas Gressler and Robert Corrigan, is to teach individuals a deeper understanding of themselves and their situation. By placing Shange's work in the broader context, and reflecting upon how it affected and still affects the panelists, an excellent opportunity was created for the students to explore their own past and the history of the African American. It is a communal experience and an attempt to tap into the communal history.
Anyone reading the script to Colored Girls will find themselves somewhat confused by
Shange's unconventional punctuation, yet the purpose is to break up the standard narrative rhythm into Shange's poetry. One thing that was disappointing was that the rhythm and verve of Shange's writing was not always embodied in voice or movement by the actors. Notable exceptions to this are a recitation by Dr. Cola, the director, herself and much of the material from Lady in Purple (Amber Jones). Here one can find Shange's writing used to its full extent to create the beat of the life of a black woman.
Notable in this production is the inclusion of the male roles in the play, as opposed to the women playing an entire ensemble. While the latter is the more traditional approach, Dr. Cola elected to cast and include male actors in those very roles. Doing so, I feel, was the wiser thing to do in this case on a few different grounds. Firstly, changing between roles quickly is a form of acting that requires a definite amount of talent for the actor involved, and it is a task which student actors are generally not capable of performing effectively (certain counterexamples, such as Will Mobley's performance of the Artful Dodger in SCAD's production of Oliver Twist notwithstanding). Further, from a less practical standpoint, there is the fact that African American men are a very real, very physical part of the lives of African American women. Including the men in the space physically helps to reflect this.
Clive Barnes of The New York Times wrote that this piece could have made him feel guilty about being white and male, and yet it didn't. Coming from a very similar standpoint, I must agree. Instead, the AASU Masquers have managed to construct and perform a canticle. A canticle that sings the praises of humanity, and makes it possible for WASPs to have black sisters.
Subscribe to:
Posts (Atom)