From Jerry Manning, Producing Artistic Director
In early September—two days after I was appointed Producing Artistic Director— it became clear that a planned production of Samuel Beckett’s Waiting for Godot was not going happen. Skittish outside producers and wavering directors derailed the play. What were we going to produce in its stead?
The Road to Mecca immediately sprang to mind.
In the late 1980s into the early 1990s it seemed that South African writer Athol Fugard had a new play every season. My Children! My Africa! and Valley Song were mounted by companies around the country. Fugard’s work always carried strong political content—most specifically about the oppression of apartheid and the effects that the South African social system exacted on both white and black people. His plays told simple, personal stories of people struggling with racial segregation.
The Road to Mecca is set in South Africa during the time of apartheid, but in this play Fugard deals with a myriad of themes, with race only a tangential focus. How does one define independence? What constitutes art and who determines such? What role does religion play in our lives, and at what point does religion undermine our self-expressiveness? What moral obligations exist between young and old folks?
The generational themes struck me particularly as I re-read The Road to Mecca. Every year the Rep takes on as many as a dozen interns, recent graduates from some of the country’s best schools. I asked one of the new interns to pull some information on Athol Fugard and apartheid—I was met with blank stares. People now in their early 20s have no recollection of it. No recollection of Robbins Island and the Krugerrand. No real knowledge of Athol Fugard’s work. We thought it time to change that.
I am pleased to welcome back to Seattle Rep Leigh Silverman who staged Blue Door here two seasons ago. I am also delighted to welcome back to this theatre Marya Sea Kaminski (last seen here as Rachel Corrie), Terry Moore, and Dee Maaske who last appeared at the Rep in The Caucasian Chalk Circle. And I am pleased to re-introduce Athol Fugard to this community.
The Road to Mecca is currently in rehearsals and opens Jan. 15.
Harold Pinter dies
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Labels:
Betrayal,
Harold Pinter
From Joanna, Communications Manager
If you haven't heard, playwright Harold Pinter passed away on Christmas Eve at the age of 78 after a long battle with cancer. He might be one of the only playwrights in history to have spawned his own adjective—"Pinter-esque". He's best known for delving into complicated interpersonal relationships with unflinchingly sparse and meticulous language (and sometimes the absence of language, i.e. "The Pinter Pause.")
From an Associated Press article, which ran in the Seattle Times:
"Pinter restored theater to its basic elements: an enclosed space and unpredictable dialogue, where people are at the mercy of each other and pretense crumbles," the Nobel Academy said. "With a minimum of plot, drama emerges from the power struggle and hide-and-seek of interlocution."
His characters' internal fears and longings, their guilt and difficult sexual drives were set against the neat lives they constructed in order to try to survive. Usually enclosed in one room, the acts usually illustrated the characters' lives as a sort of grim game with actions that often contradicted words. Gradually, the layers were peeled back.
We'll be staging his Betrayal here in February.
If you haven't heard, playwright Harold Pinter passed away on Christmas Eve at the age of 78 after a long battle with cancer. He might be one of the only playwrights in history to have spawned his own adjective—"Pinter-esque". He's best known for delving into complicated interpersonal relationships with unflinchingly sparse and meticulous language (and sometimes the absence of language, i.e. "The Pinter Pause.")
From an Associated Press article, which ran in the Seattle Times:
"Pinter restored theater to its basic elements: an enclosed space and unpredictable dialogue, where people are at the mercy of each other and pretense crumbles," the Nobel Academy said. "With a minimum of plot, drama emerges from the power struggle and hide-and-seek of interlocution."
His characters' internal fears and longings, their guilt and difficult sexual drives were set against the neat lives they constructed in order to try to survive. Usually enclosed in one room, the acts usually illustrated the characters' lives as a sort of grim game with actions that often contradicted words. Gradually, the layers were peeled back.
We'll be staging his Betrayal here in February.
Life at the Sycamores: Xylophone, Ballet Dancing and more
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Labels:
Annette Toutonghi,
Brad Farwell,
You Can't Take It With You
From Rebecca, Artistic/Literary Intern
Pat your head and rub your belly. Now dance on your toes and deliver a monologue. Play the xylophone, wrestle…and could you sing, too?
The members of You Can't Take It With You's Sycamore family have wacky hobbies, and the actors playing these eccentric characters spent long hours becoming proficient in a crazy array of skills. Director Warner Shook would often pat his head and rub his belly during rehearsals saying, "I know it's hard. But you gotta do it."
Xylophone 101
Brad Farwell plays Ed Carmichael, an aspiring xylophone player and amateur printer. Before rehearsals began, Brad had no experience playing the xylophone (even though he has had to learn guitar, piano, harmonica and tambourine for other shows). To prepare Brad for the role, the Rep hired a percussion consultant to teach him "Xylophone 101."
Brad learned the songs that he needed to know for the show and repeatedly played scales to get accustomed to the instrument. To get more practice time in, the Rep arranged for Brad take a glockenspiel (an instrument similar to a xylophone) home with him to practice. Even during breaks in rehearsal, the cast could hear Brad practicing the xylophone in a dressing room down the hall. When asked if he would keep up with his new talent after the show, Brad responded, "Probably not. My dog hates it. She runs under the bed and howls."
Ballet Dancing
Unlike her character Essie Carmichael, who has been practicing ballet for eight years, Annette Toutonghi has never been a ballerina. Even though Essie is a terrible dancer, Annette needed to be familiar with ballet movements. In order to get the vocabulary of a dancer and some basic skills, she started taking lessons months before rehearsals even began. Working in classes and private lessons, Annette’s teacher eventually told her that she could wear toe shoes, a must for Essie's character. She even took twice a week during the rehearsal process. Despite all the practice, Annette says she's far from losing the spirit of her skill-challenged character, "I'm in no danger of being too good," she says.
And More
Wrestling, ballroom dancing, and singing are also on the long list of activities that the cast of You Can't Take It With You has had to tackle. On the surface the Sycamores might seem simply weird and, from an actor's perspective, a huge pain. But as Brad points out, they are just "enjoying life."
Pictured: Brad Farwell and Annette Toutonghi, photo by Chris Bennion.
Pat your head and rub your belly. Now dance on your toes and deliver a monologue. Play the xylophone, wrestle…and could you sing, too?
The members of You Can't Take It With You's Sycamore family have wacky hobbies, and the actors playing these eccentric characters spent long hours becoming proficient in a crazy array of skills. Director Warner Shook would often pat his head and rub his belly during rehearsals saying, "I know it's hard. But you gotta do it."Xylophone 101
Brad Farwell plays Ed Carmichael, an aspiring xylophone player and amateur printer. Before rehearsals began, Brad had no experience playing the xylophone (even though he has had to learn guitar, piano, harmonica and tambourine for other shows). To prepare Brad for the role, the Rep hired a percussion consultant to teach him "Xylophone 101."
Brad learned the songs that he needed to know for the show and repeatedly played scales to get accustomed to the instrument. To get more practice time in, the Rep arranged for Brad take a glockenspiel (an instrument similar to a xylophone) home with him to practice. Even during breaks in rehearsal, the cast could hear Brad practicing the xylophone in a dressing room down the hall. When asked if he would keep up with his new talent after the show, Brad responded, "Probably not. My dog hates it. She runs under the bed and howls."
Ballet Dancing
Unlike her character Essie Carmichael, who has been practicing ballet for eight years, Annette Toutonghi has never been a ballerina. Even though Essie is a terrible dancer, Annette needed to be familiar with ballet movements. In order to get the vocabulary of a dancer and some basic skills, she started taking lessons months before rehearsals even began. Working in classes and private lessons, Annette’s teacher eventually told her that she could wear toe shoes, a must for Essie's character. She even took twice a week during the rehearsal process. Despite all the practice, Annette says she's far from losing the spirit of her skill-challenged character, "I'm in no danger of being too good," she says.
And More
Wrestling, ballroom dancing, and singing are also on the long list of activities that the cast of You Can't Take It With You has had to tackle. On the surface the Sycamores might seem simply weird and, from an actor's perspective, a huge pain. But as Brad points out, they are just "enjoying life."
Pictured: Brad Farwell and Annette Toutonghi, photo by Chris Bennion.
"Baseball Been Bery, Bery Good To Me"
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From Kiki, Audience Development Intern
Lately I've been moonlighting as a Seattle Rep Lobby Manager to help supplement my rather stark financial situation. I didn't mean to buy so much at H&M, it just kind of happened. Layering is my weakness.
If you've been to see a show at the Rep recently, you've most likely seen me working. I'm the one in clogs and arm warmers. Most of the time I'm interacting directly with our patrons giving them directions, answering questions or bring sexy back to the Concierge Desk. But every now and then I also get to interact with the actors in our shows. For example I always made a point to watch the Musketeers exit the theatre after their dashing, dangle-from-a-rope-OH!-don't-land-on-a-patron entrance at the top of the show. Who didn't love that part?
For You Can't Take it With You there are always actors milling about backstage, waiting for their appearance in Act II or their staggered entrances here and there. There are 18 of them after all. Well one Sunday I was in the green room heating up my microwavable Zesty Chicken dinner inbetween our matinee and evening performance. A lot of the actors had also gathered to eat a bite of dinner and chat. One of the actors, I won't say who for fear I'll be hit with a law suit, was excited to tell everyone that they bought "Bull Durham, only the greatest baseball movie ever." I know, I was shocked too. It was all I could do to smile and nod my head as I proceeded out of the green room with my scaulding hot black tray full of soupy chicken and imitation-carrots.
Hear me out, I like the movie Bull Durham as much as the next baseball enthusiast. But as a permanent benchwarmer myself, I've seen my fair share of baseball movies, especially starring Kevin Costner, and I just don't think that Bull Durham is the grand slam. (You're not even ready for all of the baseball puns that I'll be using.) At least he picked one that is probably in the top 10. The actor could have sighted Hardball starring Keanu Reeves or Mr. Baseball with Tom Selleck and then I would have had to control my gag reflex. Just because you're a Matrix boy or because you have a gigantic mustache does not mean that you should be making bad baseball flicks. Angels in the Outfield and Sandlot are pretty standard childhood fare and will probably be around "Foooooooorrrrrrrrreeeeeeevvvvvveeeeeerrrr" but they don't really capture America's favorite pasttime. And I don't even want to talk about monkeys playing baseball. Ed is just bad.
Let's get down to the real scoreboard. What about A League of Their Own? If you honestly can tell me that you don't know what I'm talking about if I say, "There's no crying in baseball" then it's time to retire your glove. That movie is classic. Or perhaps you think baseball movies should be more schtick and less heart. Then look at Major League. Ridiculous and nominated for Best Foreign Film by the Japanese Acadamy. Now that's a double play. But overall, in my heart of hearts, I think that the actual best baseball movie ever is Field of Dreams. I know, I know but she's from Iowa, of course she'd say that. Well, get over it. This movie quintessentially depicts what baseball is: playing it for the love of the game, in a cornfield, with Mufasa. Done and done.
I suppose I could have told the actor all of my opinions on baseball movies, but those programs aren't going to restock themselves. So let's just keep this between us.
Ednotes - You Can't Take It With You
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Labels:
Ednotes,
You Can't Take It With You
From Drew Dahl, Arts Administration Intern
Enjoy Ed Boyd, Lead Telemarketer for the Rep, as he makes his 1936 pitch for You Can't Take It With You. Then stop in to see our production of the American classic in the Bagley Wright Theatre.
Enjoy Ed Boyd, Lead Telemarketer for the Rep, as he makes his 1936 pitch for You Can't Take It With You. Then stop in to see our production of the American classic in the Bagley Wright Theatre.
Audience Responses - boom
From Drew Dahl, Arts Management Intern
What did you think of boom? Below are some clips of what audience members had to say about the show in the Rep's brand new Talk-it-out Booth (previously the Rep Confessional).
What did you think of boom? Below are some clips of what audience members had to say about the show in the Rep's brand new Talk-it-out Booth (previously the Rep Confessional).
Geek of the Week
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Labels:
Buffy the Vampire Slayer,
geek,
muppets,
renaissance faire,
Seattle P-I,
Star Trek
From Joanna, Communications Manager
Seattle Rep's Assistant IT Director and resident tech goddess Heather (left) is Seattle P-I's Geek of the Week! I knew she liked Buffy, but this Q&A reveals the depths of her delightful geekiness: Star Trek, muppets, something called a 'Prelate Wizard," and years of making her own Ren faire costumes.
Read her full Q&A here: http://seattlepi.nwsource.com/tech/geekoftheweek/?geekID=10
Seattle Rep's Assistant IT Director and resident tech goddess Heather (left) is Seattle P-I's Geek of the Week! I knew she liked Buffy, but this Q&A reveals the depths of her delightful geekiness: Star Trek, muppets, something called a 'Prelate Wizard," and years of making her own Ren faire costumes.
Read her full Q&A here: http://seattlepi.nwsource.com/tech/geekoftheweek/?geekID=10
Ednotes - boom
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Labels:
boom,
Ed Boyd,
Ednotes,
surveillance cameras
From Drew, Arts Management Intern
More Ednotes from Ed Boyd, Lead Telemarketer for Seattle Rep. This round, boom.
More Ednotes from Ed Boyd, Lead Telemarketer for Seattle Rep. This round, boom.
A staff meeting at the Stranger
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Labels:
boom,
Seattle P-I,
The Stranger
From Joanna, Communications Manager
Maybe my favorite press quote ever...The Seattle P-I (yeah, the P-I) wrote this about boom.
"Putting these collections of contemporary anxieties together steeps a wild brew of rampant hostility, wit, gay sensitivity and harsh feminine snark in a confined space. The end of the world, it turns out, looks like a staff meeting at The Stranger."
The rest of the review is here: http://seattlepi.nwsource.com/theater/388728_boom21q.html
Maybe my favorite press quote ever...The Seattle P-I (yeah, the P-I) wrote this about boom.
"Putting these collections of contemporary anxieties together steeps a wild brew of rampant hostility, wit, gay sensitivity and harsh feminine snark in a confined space. The end of the world, it turns out, looks like a staff meeting at The Stranger."
The rest of the review is here: http://seattlepi.nwsource.com/theater/388728_boom21q.html
Crazy Family Photo Contest
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Labels:
new year's eve,
photo contest,
You Can't Take It With You
From Joanna, Communications Manager
We bet you aren't as crazy as the families in You Can't Take It With You, but we’d love for you to prove us wrong! We’re holding a contest to find the craziest family photo. Just for entering, we’ll send you a Seattle Rep photo frame magnet (they're cool, seriously).
E-mail crazyfamily@seattlerep.org to submit your photo and a description of what makes your family so wacky (submission deadline: Dec. 7).
We’ll post photos online for judging, and the winner will receive four tickets to our special New Year’s Eve performance of You Can’t Take it With You and after-party with champagne, a midnight buffet, dancing and Space Needle fireworks (value: $250).
We bet you aren't as crazy as the families in You Can't Take It With You, but we’d love for you to prove us wrong! We’re holding a contest to find the craziest family photo. Just for entering, we’ll send you a Seattle Rep photo frame magnet (they're cool, seriously).
E-mail crazyfamily@seattlerep.org to submit your photo and a description of what makes your family so wacky (submission deadline: Dec. 7).
We’ll post photos online for judging, and the winner will receive four tickets to our special New Year’s Eve performance of You Can’t Take it With You and after-party with champagne, a midnight buffet, dancing and Space Needle fireworks (value: $250).
Karaoke with Sarah Rudinoff tomorrow
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Labels:
boom,
Nick Garrison,
Sarah Rudinoff
The lovely actor/songstress/funny woman Sarah Rudinoff (at right, in last season's Murderers) is hosting a karaoke hour before the performance of boom tomorrow night. Come sing! Rumor is there will be songs from Hedwig available in honor of Nick Garrison (who stars in boom and played Hedwig at Re-Bar).Festivities start at 6:15 p.m. in the Rotunda. $1 PBRs! For tickets to the show, click here.
Seattle Times talks with Peter Sinn Nachtrieb
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Labels:
boom,
Peter Sinn Nachtrieb,
Seattle Times
From Joanna, Communications Manager (who is totally blog happy today)
Misha Berson interviewed boom playwright Peter Sinn Nachtrieb today in the Seattle Times.
For some reason this line from the article "Peter Sinn Nachtrieb loves writing plays, and he loves marine biology" got me singing that song from Napolean Dynamite
:
"I love technology, but not as much as you, you see... But I still love technology... Always and forever."
I have learned a lot about the 34-year-old Nachtrieb lately (who is at the Rep this weekend!), but the Times article revealed that despite the fact that his is an award-winning playwright (he got the American Theatre Critics Association New Play Award), he "still enjoys the occasional gig performing in 'interactive murder mysteries at private parties.'"
The rest of the article is here: http://seattletimes.nwsource.com/html/thearts/2008387904_peter14.html
Peter's web site is here: http://www.peternachtrieb.com You can more fully check out this picture of him in a space suit.
Misha Berson interviewed boom playwright Peter Sinn Nachtrieb today in the Seattle Times.
For some reason this line from the article "Peter Sinn Nachtrieb loves writing plays, and he loves marine biology" got me singing that song from Napolean Dynamite
:"I love technology, but not as much as you, you see... But I still love technology... Always and forever."
I have learned a lot about the 34-year-old Nachtrieb lately (who is at the Rep this weekend!), but the Times article revealed that despite the fact that his is an award-winning playwright (he got the American Theatre Critics Association New Play Award), he "still enjoys the occasional gig performing in 'interactive murder mysteries at private parties.'"
The rest of the article is here: http://seattletimes.nwsource.com/html/thearts/2008387904_peter14.html
Peter's web site is here: http://www.peternachtrieb.com You can more fully check out this picture of him in a space suit.
Joyride
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Labels:
boom,
Jerry Manning,
Seattle P-I
From Joanna, Communications Manager
There's a preview article about boom in the Seattle P-I today. Director Jerry Manning talks about the show and his role as Producing Artistic Director of the Rep, now and beyond.
"I'm the only person who can do this job right now," Manning said without hubris, and is glad to lend his history and credibility to the theater. But he recognizes that long-term survival will require new blood.
When his work is done, he said, "It's time to give the keys to the kids."
Woohoo! Joyride!
Read the full article here: http://seattlepi.nwsource.com/theater/387690_theater14.html
There's a preview article about boom in the Seattle P-I today. Director Jerry Manning talks about the show and his role as Producing Artistic Director of the Rep, now and beyond.
"I'm the only person who can do this job right now," Manning said without hubris, and is glad to lend his history and credibility to the theater. But he recognizes that long-term survival will require new blood.
When his work is done, he said, "It's time to give the keys to the kids."
Woohoo! Joyride!
Read the full article here: http://seattlepi.nwsource.com/theater/387690_theater14.html
Betrayal cast announced
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Labels:
Alex Podulke,
Betrayal,
Braden Abraham,
Cheyenne Casebier,
David Christopher Wells,
John Farrage
From Joanna, Communications Manager
Just got the latest casting news.
Betrayal (by Harold Pinter, under the direction of Braden Abraham) will feature Cheyenne Casebier (Emma), Alex Podulke (Robert), David Christopher Wells (Jerry) and the lovely local actor John Farrage (Waiter). You might have seen Cheyenne wielding a sword (and other weapons) as Milady in The Three Musketeers (right). I don't have pictures of the other actors, but Braden has been telling me all along that the cast will be "young and sexy." Hot!
Betrayal, if you don't know the play, is a twist on a love triangle. Emma is sleeping with her husband's best friend, but the play is played out in reverse, from the end of the affair to the beginning.
The show opens February 19.
Betrayal (by Harold Pinter, under the direction of Braden Abraham) will feature Cheyenne Casebier (Emma), Alex Podulke (Robert), David Christopher Wells (Jerry) and the lovely local actor John Farrage (Waiter). You might have seen Cheyenne wielding a sword (and other weapons) as Milady in The Three Musketeers (right). I don't have pictures of the other actors, but Braden has been telling me all along that the cast will be "young and sexy." Hot!
Betrayal, if you don't know the play, is a twist on a love triangle. Emma is sleeping with her husband's best friend, but the play is played out in reverse, from the end of the affair to the beginning.
The show opens February 19.
Post-election: Is the apocalypse still relevant?
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Labels:
boom,
Jerry Manning,
Peter Sinn Nachtrieb,
Seattle Weekly
From Joanna, Communications Manager
The Seattle Weekly just ran this preview of boom, talking with playwright Peter Sinn Nachtrieb and director Jerry Manning about whether or not audiences want to think about the end of the world now that things are starting to look up (thank you, Obama). I think: yes. This play deals with environmental apocalypse. While we hope President Obama will turn things around on a global warming front, it's still an issue. But more than that, boom is a comedy with a surprisingly optimistic ending and a healthy dose of sex. It's not like the end of the world is a total downer.
A quote from Jerry in the article: "This script avoids what a lot of plays about 'people in the bunker' fall into," says boom's director Jerry Manning, who's a fan of end-of-the-world stories—like that great old Twilight Zone episode with Burgess Meredith in which a meek reader who survives a nuclear war finally gets time for all of his favorite books. "Usually, you can't really sustain suspense with that scenario, and Peter did. There's not a butt-numbing moment in it."
Read the rest of the article here: http://www.seattleweekly.com/2008-11-12/arts/boom-time/
The Seattle Weekly just ran this preview of boom, talking with playwright Peter Sinn Nachtrieb and director Jerry Manning about whether or not audiences want to think about the end of the world now that things are starting to look up (thank you, Obama). I think: yes. This play deals with environmental apocalypse. While we hope President Obama will turn things around on a global warming front, it's still an issue. But more than that, boom is a comedy with a surprisingly optimistic ending and a healthy dose of sex. It's not like the end of the world is a total downer.
A quote from Jerry in the article: "This script avoids what a lot of plays about 'people in the bunker' fall into," says boom's director Jerry Manning, who's a fan of end-of-the-world stories—like that great old Twilight Zone episode with Burgess Meredith in which a meek reader who survives a nuclear war finally gets time for all of his favorite books. "Usually, you can't really sustain suspense with that scenario, and Peter did. There's not a butt-numbing moment in it."
Read the rest of the article here: http://www.seattleweekly.com/2008-11-12/arts/boom-time/
From the Rehearsal Room: I hear voices!
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Labels:
boom,
tech rehearsal
From Hillary, boom Assistant to the Director/Casting Intern
I have the best seat at the house. Back of the main floor, house right. Tech day 2.
Our director is behind me discussing looks with the lighting designer. In the center section, our sound designer is adjusting cues on a computer that somehow connects him with our sound operator in the booth. Down front, our costume designer is talking about some potential changes with her assistant. It’s awesome that I get such a sneak peak as this show’s design team gets boom up on its feet.
But the best view I have is over our stage manager Elisabeth Farwell’s shoulder. I see her script, filled with notes about blocking (where actors move when). I see the funny-looking machine that connects to her headset. While I can’t hear what comes in through her headset, I know she is connected to our deck hand (a crew member who is in charge of moving scenery, props and curtains), our stage management intern (who helps keep up paperwork and round up the actors), the lighting designer, the sound designer, the light-board operator and the sound operator.
That’s a lot of voices to be talking to one ear (I mean that quite literally—her headset covers one of her ears, leaving the other free to hear what’s going on in the room).
Our stage manager is now coordinating what is going on backstage, onstage, and in the booths. By “in the booths,” I mean the cues that the light-board operator executes (i.e. any light changes) and that the sound operator executes (i.e. any pre-recorded sound). It’s amazing to hear her call a sequence of cues- she feels out when the moment is just right (usually a breath or two before we actually want to see/hear the sequence) and then she’s off! It’s a beautiful and amazing thing to listen to: If character and story are one motor of the show, our stage manager is definitely the other.
I have the best seat at the house. Back of the main floor, house right. Tech day 2.
Our director is behind me discussing looks with the lighting designer. In the center section, our sound designer is adjusting cues on a computer that somehow connects him with our sound operator in the booth. Down front, our costume designer is talking about some potential changes with her assistant. It’s awesome that I get such a sneak peak as this show’s design team gets boom up on its feet.
But the best view I have is over our stage manager Elisabeth Farwell’s shoulder. I see her script, filled with notes about blocking (where actors move when). I see the funny-looking machine that connects to her headset. While I can’t hear what comes in through her headset, I know she is connected to our deck hand (a crew member who is in charge of moving scenery, props and curtains), our stage management intern (who helps keep up paperwork and round up the actors), the lighting designer, the sound designer, the light-board operator and the sound operator.
That’s a lot of voices to be talking to one ear (I mean that quite literally—her headset covers one of her ears, leaving the other free to hear what’s going on in the room).
Our stage manager is now coordinating what is going on backstage, onstage, and in the booths. By “in the booths,” I mean the cues that the light-board operator executes (i.e. any light changes) and that the sound operator executes (i.e. any pre-recorded sound). It’s amazing to hear her call a sequence of cues- she feels out when the moment is just right (usually a breath or two before we actually want to see/hear the sequence) and then she’s off! It’s a beautiful and amazing thing to listen to: If character and story are one motor of the show, our stage manager is definitely the other.
The end of the world in four hours
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Labels:
boom,
Jerry Manning
From Joanna, Communications Manager
Boom director Jerry Manning just emerged from tech to check in with life outside of the Leo K.
His inside scoop: "It took four hours to blow up the world."
Boom director Jerry Manning just emerged from tech to check in with life outside of the Leo K.
His inside scoop: "It took four hours to blow up the world."
Free New Play Reading Tonight!
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Labels:
Braden Abraham,
new play,
Northwest Playwrights Alliance,
reading
This season, we're partnering with Northwest Playwrights Alliance on a monthly reading series of new plays. The readings are totally free and feature some of Seattle's finest actors. I just got the cast list from our Literary Manager Braden for tonight's reading, at 7 p.m. in the Leo K. Rehearsal Hall:
The play is GULF VIEW DRIVE by Arlene "Beth" Hutton, directed by Braden Abraham (who directed My Name is Rachel Corrie in 2007 and is directing Betrayal in February).
Cast includes:
Susan Corzatte
Shellie Shulkin
Alex Tavares
Peter Dylan O’Connor
Samara Lehrman
Just come to the box office door, and someone will direct you to our rehearsal space. A list of upcoming readings is here.
The play is GULF VIEW DRIVE by Arlene "Beth" Hutton, directed by Braden Abraham (who directed My Name is Rachel Corrie in 2007 and is directing Betrayal in February).
Cast includes:
Susan Corzatte
Shellie Shulkin
Alex Tavares
Peter Dylan O’Connor
Samara Lehrman
Just come to the box office door, and someone will direct you to our rehearsal space. A list of upcoming readings is here.
From the Rehearsal Room: An octopus + hilarity
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Labels:
aquarium,
boom,
Jerry Manning,
octopus,
Peter Sinn Nachtrieb
From Hillary, boom Assistant to the Director/Casting Intern
Fresh off of The Three Musketeers, I’m now in rehearsal for boom. Halfway through our second week of rehearsal, I feel ready to give you a glimpse into our world.
Our world is bigger than the theatre. To get a taste of the marine biology that plays such an important role in the play, we took a trip to the Seattle Aquarium where we bonded with Roberta (our tour guide) and Emrich (a Great Pacific Octopus). Roberta even gave us a “backstage” tour of the labs in the aquarium’s basement.
Our world is a hysterically funny one. As we work our way through the show, our actors sometimes have to take a moment to laugh and enjoy each other’s performances before getting back into character and continuing.
Our world is an extremely collaborative one. I’m in daily contact with the playwright Peter Sinn Nachtrieb, who is sending us re-writes and thoughts as we share with him our questions and discoveries from rehearsal. Our fearless leader (i.e. director) Jerry Manning encourages everyone in the room to contribute—each actor, each designer, our stage managers, and even me!
From where I’m sitting right now, the view is looking good. I’ll be back with more updates soon.
Fresh off of The Three Musketeers, I’m now in rehearsal for boom. Halfway through our second week of rehearsal, I feel ready to give you a glimpse into our world.
Our world is bigger than the theatre. To get a taste of the marine biology that plays such an important role in the play, we took a trip to the Seattle Aquarium where we bonded with Roberta (our tour guide) and Emrich (a Great Pacific Octopus). Roberta even gave us a “backstage” tour of the labs in the aquarium’s basement.
Our world is a hysterically funny one. As we work our way through the show, our actors sometimes have to take a moment to laugh and enjoy each other’s performances before getting back into character and continuing.
Our world is an extremely collaborative one. I’m in daily contact with the playwright Peter Sinn Nachtrieb, who is sending us re-writes and thoughts as we share with him our questions and discoveries from rehearsal. Our fearless leader (i.e. director) Jerry Manning encourages everyone in the room to contribute—each actor, each designer, our stage managers, and even me!
From where I’m sitting right now, the view is looking good. I’ll be back with more updates soon.
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