Why do people still love Star Wars?

From Joanna, Communications Manager

It's been over 30 years since the first Star Wars movie was released. With Carrie Fisher at the Rep (and discussing the juicy details of filming Star Wars, as well as reciting some particularly notable lines in her show Wishful Drinking), we've been asking ourselves, "Why do people still love Star Wars?" (and by Star Wars, we mean the original trilogy).

Some theories:

• Sexy Han Solo.
• A female character that is pretty much a badass, even if she has astronomically weird hair.
• A good, clear story or good vs evil.
• A really bad guy, voiced by James Earl Jones nonetheless.
• The Force.
• Special effects that at the time were totally groundbreaking.
• It's not as geeky at Star Trek.
• Escapism.
• Quotable lines galore.
• Millions of YouTube parodies, including this one and this one.
• Light sabers.

Here's an article just posted on Slate: Why does Star Wars still take over the minds of small boys?

Breakin' Hearts and Boozin' it Up

From Joanna, Communications Manager

I just e-mailed Breakin' Hearts and Takin' Names Production Designer L.B. for some interesting morsels about designing the show, storyteller Kevin Kling's latest. His response?

1. We’re using a large chunk of one of the Seafarer walls for the main bar wall in Breakin’ Hearts.
2. We’re collecting paper coasters from bars all around Seattle and Minneapolis to hang on the walls.

I'm sensing a bar theme.

Speaking of...did you know you can now take your drinks into both of our theatres? AND we have credit card machines at the bar now (available for your charging pleasure pre show).

For a full interview with L.B. about designing the show, click here.

For our bar menu, click here.

Directors announced

From Joanna, Communications Manager

I just got word that three more directors for the coming season have been confirmed: Andrea Allen, the Rep's own very talented Education and Audience Development Director will direct Speech and Debate, a wild comedy about teenage life. Braden Abraham who is currently helming Breakin' Hearts & Takin' Names and who directed Betrayal will take on Opus. And Wilson Milam, who directed this season's The Seafarer, will be returning to direct another testosterone-fueled play, Glengarry Glen Ross.

For more info on the season, click here.

Carrie Fisher Likes Shiny Things

From Kate, Technical Production Intern

Things have definitely slowed down here in production. Betrayal and The Seafarer are up and running and the next two shows are not technically intense; seeing as Wishful Drinking is coming on a truck and Breakin’ Hearts and Takin’ Names does not seem to have a very large set. Although today, I got to make a quick model of the Carrie Fisher set, so that we have something to look at instead of drawings.

I've also been making some artwork from the walls of The Road to Mecca set. The walls were covered in glitter, and apparently someone got word that Carrie Fisher loves shiny things, so we made parts of the walls into artwork for her dressing room. Random, I know.

2009-2010 Season Announcement

We're happy to announce the 2009-10 Seattle Rep season! The season consists of seven plays plus August: Osage County, presented in partnership with Seattle Theatre Group and Broadway Across America at The Paramount.

Here are the selections:

Alfred Hitchcock's The 39 Steps
Adapted by Patrick Barlow, based on an original concept by Simon Corble and Nobby Dimon, based on the book by John Buchan, directed by Maria Aitken
September 25-October 18, 2009
In the Bagley Wright Theatre

Four actors play 150 characters in this thrilling adventure comedy—straight from Broadway—based on Alfred Hitchcock's classic film.

Opus
by Michael Hollinger
October 30-December 6, 2009
In the Leo K. Theatre

A passionate, music-filled glimpse into the break-up and make-up of a renowned string quartet.

Equivocation
by Bill Cain, directed by Bill Rauch
November 18-December 13, 2009
In the Bagley Wright Theatre

Seattle Rep and the Oregon Shakespeare Festival bring you this exciting new play—woven with threads of King Lear and Macbeth—direct from Ashland.

Speech and Debate
by Stephen Karam
January 15-February 21, 2010
In the Leo K. Theatre

A ragtag bunch of misfits starts an after-school Speech and Debate team to expose a possible scandal—and sparks more debate than their high school ever bargained for.

Glengarry Glen Ross
by David Mamet
February 5-28, 2010
In the Bagley Wright Theatre

A gripping comedy-drama about a group of tough-talking Chicago real estate agents who will do anything to win a high-stakes sales competition.

Fences
by August Wilson, directed by Timothy Bond
March 26-April 18, 2010
In the Bagley Wright Theatre

In 1950s Pittsburgh, a garbage collector who once dreamt of becoming a professional baseball player struggles to let his son pursue his own dreams of playing football.

An Iliad
created by Denis O’Hare and Lisa Peterson, directed by Lisa Peterson
April 9-May 16, 2010
In the Leo K. Theatre

Tony Award-winning actor Denis O’Hare (Take Me Out on Broadway) takes you on an unforgettable journey through The Iliad, one of history’s most famous and exciting tales.

PLUS: AT THE PARAMOUNT THEATRE
August: Osage County
by Tracy Letts, directed by Anna D. Shapiro
October 27-November 1, 2009
Seattle Rep partners with Seattle Theatre Group and Broadway Across America for this special bonus show—part of your subscription, playing at The Paramount!

Call Me Crazy

From Kiki, Audience Development Intern

Last Friday night was the second time that I watched The Seafarer on our Bagley stage. You see, I had to watch it again because something had been bugging me from my first viewing. The character Richard just really reminded me of someone but I couldn't quite put my finger on it. Then, during the second act it hit me:

=

Admit it, that's pretty dead on.

The Brogue

From Joanna, Communications Manager

The Irish accents in The Seafarer aren't your typical Irish brogue, and that might be confusing (it certainly baffled the Seattle Weekly's reviewer). Here's an excerpt from a conversation with the show's dialect coach, Deb Hecht, on why The Seafarer won't have you thinking, "Lucky Charms."

Seattle Rep: Are there special challenges in The Seafarer that make this project especially interesting for you?

Deb Hecht: Yes. It’s actually a more unusual Irish accent than I’ve ever done before, and that we’re used to hearing. I think that when we think of an Irish accent, we think of something that’s a little—oh, I don’t want to say “Lucky Charms”—but sounds that are actually more associated with the west coast of Ireland. Those sounds are very different from the city of Dublin, and The Seafarer is in a very particular neighborhood, Baldoyle, which is on the north side of Dublin. It has a slightly different sound. It’s not as tight as the city of Dublin is itself. It’s a challenge. Some of it is quite close to American speech in a lot of ways, but it’s just different enough. I was saying to one of the actors that I feel like I’m standing on one of those things that clowns stand on–those Rola-Bolas—because it feels neither fish nor fowl. It’s not American, but it’s not the Irish we’re used to doing. It’s more relaxed than Dublin, so finding this can be tricky.

Continue reading the interview here.

The Seafarer Set Built—In Time Lapse!

Ednotes - The Seafarer

From Drew, Arts Administration Intern

In a seedy backlot in Baldoyle, Ireland, Ed Boyd pitches Conor McPherson's The Seafarer, now playing in The Rep's Bagley Wright Theater through March 28.

Ednotes - Betrayal

From Drew Dahl, Arts Management Intern

Ed Boyd, Lead Telemarketer for the Seattle Rep pitches Betrayal, the new show on our Leo K. stage . . . backwards.

In the trenches

From Joanna, Communications Manager

A few notes from the trenches:

Betrayal opening night is tonight. The play spans 9 years in 75 minutes. Our costume crews are busy, busy backstage with all the fabulous 1960s and 70s costume quick changes.

The Seafarer starts in previews tomorrow. There are a lot of bad Irish accents happening (in the marketing department, that is...the ones on stage are impeccable and you can read an interview with dialect coach Deb Hecht here). The other day we were trying to remember how those old Irish Spring soap commercials went. If only I had had a video camera on our Assistant IT Director Heather while she was whistling.

The two-story Seafarer set is amazing. We're in the process of recording a time lapse video of the building of it...on the way soon.

Interning...on Betrayal

From Becca, Literary Intern

It’s opening night for Betrayal, the third and final show that I get to work on this season. Here are some highlights from my experience on the show:

-One of the scenes takes place in a restaurant. During down time, the actors practiced their napkin-folding skills and created the always entertaining “napkin chicken.” It’s really amazing the kinds of things actors know how to do to keep things interesting.

-There are projections in the show of one of the actors playfully lifting a little girl in the air. The day we filmed, our young star (I think she was 3) got camera shy. It took about an hour of coaxing and the promise of hot chocolate to get the footage we needed. It of course looks wonderful on stage.

-The amount of liquid that the actors have to consume on stage is astonishing. I think one of them has to drink 2 beers, 4 scotches, and about a bottle of wine during the show. Of course it is all just really colored water (except for the beer which is O’Doul’s) but it’s amazing how much they have to drink. At least they are more hydrated than they have ever been in their lives.

The Emerging Critics Get Real

From Kiki, Audience Development Intern

Emerging Critics is an innovative education program that allows high school students to connect with theatre through critical writing. And eat a lot of Pagliacci Pizza. The program features a writing workshop staring local critic celebrities and then the students attend a matinee performance of one of our Bagley shows. Here are what the students had to say about The Road to Mecca:

"The glittering sets, subtle lighting shifts and audience-beguiling acting blended in harmony to the final standing ovation. Anyone who cares about the pursuit of creativity and the well-being of both old and young will enjoy this outstanding play." -Riley Peter-Contesse

"When you hear of the pain and suffering [Miss Helen] has endured, you begin to empathize. Moreover, when she is describing her lovely Mecca, you get a nice warm feeling. Sort of like going to your happy place." -ReeceAnn Buendia

"To appreciate the history and eloquence of The Road to Mecca entails an acquired taste belonging to those who value the performance of intimate conflict." -Amir Shabaneh

"I found the acting performance by Dee Maaske as Miss Helen very good. She impressivley kept character throughtout the performance...and I found [her] to be the highlight of the show." -Austin Hebert

"The message of elderly Helen [comes through] strongly with an excellent performance by Maaske, as the walls around her glitter and shine as bright as the outcast widow does." -Joe Johnson

The Night Watcher heads to New York

From Joanna, Communications Manager

We just got word that Charlayne Woodard's one-woman show The Night Watcher, which played at Seattle Rep to sold-out crowds in September and October, has been picked up for a run at Primary Stages in New York. Congrats to Charlayne!

Read the full scoop at Broadwayworld.com.

Photo: Charlayne Woodard, by Chris Bennion.

Playwriting Boot Camp

From Joanna, Communications Manager

Tonight is our Woodinville High School Playwriting Project. If you're looking for creative inspiration and faith that the youth in our country are imaginative and talented, you should check out tonight's free performance. Riffing off a given theme, eight playwrights from two high schools went through the Rep's "Playwriting Boot Camp." You can see the results—performed by students and directed by Seattle Rep teaching artists—tonight in our Leo K. Theatre!

This year's theme is "spilt milk." To the high school playwrights, this translates into plays involving a co-ed bathroom, a night of speed dating, a bank heist with lingerie, and a wacky psychiatrist.

Roosevelt High School performed Jan. 16, and tonight Woodinville High School performs right here at the Rep on our Leo K. Stage. The show starts at 7:30 pm. It is free (although donations will be accepted at the door!), but reservations are required. Just call 206-443-2222 to reserve your seats.

Celebrating color, life and artistic freedom

From Leigh Silverman, director of The Road to Mecca

When thinking about how to bring The Road to Mecca to the stage the first thing to consider was the set. The set is like another character. I wanted to honor the real Owl House (which you can see on the internet) and at the same time translate it to the stage in an exciting way. Our set – the main rooms of Helen’s house - is a literal and metaphorical representation of her soul – the soul of a radical, brave, inspired totally wild artist – willing to live on the outskirts of societal norms and sacrifice everything for her vision.

An example of her unconventional ways: Helen would grind glass in a coffee grinder (by hand!) and then put it on her walls. She was all about color, enormous mosaics and a compulsive use of color, light and candles. The first time Rachel, the set designer, showed me a sample of the glitter walls that we were going to use I was delighted, and I am so happy to work on a play that celebrates creativity, color, life and artistic freedom.

Mecca Opening Night=Cocktails

From Joanna, Communications Manager

Happy opening! You know it's an opening night around here because our IT Director comes to work in a suit. You know you work at a non-profit theatre when someone showing up in a suit signals a special day. And today is special because I hear we're having tea cocktails and little cakes for the opening night party tonight. Yes that's girly, and I am a girl and I love it.

The Road to Mecca is gorgeous, so beautiful and personal. I saw it last night by myself, and I'm glad I went alone so I could just have room to take it all in. It's a quiet play in that even though there are some intense emotions on stage, it has a sense of being really gentle. Is this making any sense? I guess I'm still soaking it in.

I can say that I am so jealous of our Associate Artistic Director Braden who just got back from a trip to South Africa. After doing research for The Road to Mecca (which takes place in a tiny town in the South African desert called The Great Karoo), I am so fascinated by the country. If Braden took pictures, I'll try to get some to post here (although I don't think he made it to The Owl House, the house that the play takes place in).

I have a blog from The Road to Mecca director, Leigh Silverman that I'm going to post in a second. We also got some photos of Leigh hanging out with set designer Rachel Hauck in our green room (photo by Miryam Gordon). Check it out:

Marya Sea Kaminski on the World of Mecca

From Marya Sea Kaminski, actress in The Road to Mecca

I spent some time in the blue room yesterday - the little alcove upstage that serves as Elsa's bedroom when she makes her visits to Miss Helen. We were teching (perfecting) the lights for one of the many big speeches in the play, and the actors were holding onstage. I happened to be in the blue room at that moment and sat down on the chenille comforter over the bed and had a small breath of a chance to take a good look around.

Candles with glaciers of wax drippings at their bases. A collection of thorny seashells across the upstage window, under the beaded mosaics of noonday suns. Figurines, mermaids, beads, glitter. So many tiny pieces placed so carefully by hand. "Elsa loves sleeping in this room," I thought, "I bet she dreams of the ocean and small treasures washed up on the shore when she falls asleep in this room."

Sometimes, when a show goes into technical rehearsals, I stop being able to actually see things for awhile. All of my focus is set on a rotating collection of balls to juggle - intention (why does she open her mouth in this moment?), listening (like I haven't already heard these words dozens of times), stage business (maybe if I loosen the buckle on my shoe by one knotch I'll be able to get it off faster during that first beat of dialogue).

Now that we've got a few previews under our belts, I can actually breathe on stage a little. And take a good look around. It's been a long time since I played on a set as inhabited as our world for The Road to Mecca. There are sweeping, gorgeous, glittering aspects to the set, which will be obvious (and maybe thrilling) at first glance, but the real life of this set is in the details. It feels like someplace I have lived in my life - with dishes in the sink and dust in the corners and small treasures stashed on shelves and pinned up on the walls. It is so complete.

It is so complete that it makes our jobs easier, as actors. This play is so much about relationships, and listening, and being present; living in such a meticulously detailed world allows that fiction to work on us, to envelope us even. Yes, there is a whole houseful of audience outside that fourth wall, but in here it is just us, and the tiny dusty details of our lives, and the crisis of this moment.

—Marya

Building Walls

From Dana Perreault, Technical Director

Note: Dana agreed to blog about a specific part of building The Road to Mecca set. The following is his insight on creating walls that literally shine.

Our work to obtain a wall application that would sparkle under candle light yet would be sedate under the regular stage light was tricky. We started by looking into what Miss Helen actually used for material and how she applied this material to her walls.

The thought of actual glass ground up and glued on the wall was vetoed for two reasons.
One was that we didn’t want the glass to flake off the walls and end up on the floor because there was a large possibility of actors having bare feet during the show. Second was the fact that it didn’t sparkle as well as desired when lit with the theatrical lighting.

Our paint shop experimented making samples using glitter, Mylar and lighting gels that would be painted silver on one side. These items proved to shine as bright as we needed, as well as provide the designer with the desired wall color. Now we needed to figure out how dense and in what order these items would be applied.

After figuring this part out, the lighting designer suggested that we should look into building fiber-optics into the wall, in order to “help” it shine.

When finished there was 20,000 feet of fiber-optic strand run through the walls which were then connected to three fiber-optic illuminators.

Once all of the walls were assembled, the paint department could come in and start adding toning glazes to help unify the parts.

Photo by Cindy Farruggia. Ten pounds of glitter in various color tones and sizes was used on the walls.

Mecca Set Building

From Joanna, Communications Manager

The Road to Mecca director Leigh Silverman calls the Mecca set a "fourth character in the play." Here's a picture of set designer Rachel Hauck's set model. The finished product took 400 lbs of cork (to look like sand) and 20,000 feet of fiber optic cable for some very magical lighting effect. Click here for a full slide show of photos of the set building in our scene shop.

Photo by Cindy Farruggia.