I didn't drop off the face of the planet, I've just been in Hawaii. Go ahead, hate me. It was 80 degrees and sunny. But, surprise, surprise, Seattle is not. Which, I guess, means it's a good time to head to the theater. So, before I head out for the night, I just wanted to catch you up on a few things.
1. Back Home Again: A John Denver Holiday Concert closes on Monday, Christmas Eve. I saw it last Sunday, and it is actually quite charming. You should know that it's a full-on concert, not a theatre piece, with a mix of Christmas songs and John Denver classics, and Mr. Denver won't be there. Because, he's you know, not living. But the music is great, many of the musicians used to play with John, there's a little twang, fiddle, and boot stomping, and it's the perfect sort of uplifting holiday entertainment to bring your family to. I know, I brought my parents and they loved it. And I even bought them tickets. You can get yours here.
2. We're gearing up in a big way for The Breach, a fascinating new piece by three playwrights responding to Hurricane Katrina with three different stories. We have some great actors already on board, including John Aylward (of ER and West Wing fame).
We also have a ton of great programming lined up to deepen our understanding of what happened in New Orleans during Katrina and what is still happening. Times-Picayune journalist and author Chris Rose is coming to speak, Elliot Bay Bookstore is hosting a reading, The 5-Spot, with a New Orleans-themed menu, will be offering diners discounts to the show, we'll be selling art from NOLA-based artists in the lobby (proceeds going right back to them), and plenty more. I'll keep you updated, and there will be a calendar on our website, but you heard it first, as they say.
3. It's still raining. Ugh.
The Latest
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Labels:
Chris Rose,
Elliot Bay Bookstore,
Hurricane Katrina,
John Aylward,
John Denver,
New Orleans,
The Breach,
Times-Picayune
John Denver Sing-a-Long
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Labels:
Christmas,
Dan Wheetman,
downtown,
Fire on the Mountain,
Jess Smith,
John Denver,
music,
Seattle Rep,
Shopping,
singing,
video,
Westlake
Last Friday our Education Associate Jess and I went downtown to see if shoppers at Westlake Center 1. Like John Denver and 2. Would sing his songs for us on camera (because, you know, we're opening Back Home Again: A John Denver Holiday Concert tonight. The results? Seattle likes John Denver AND they like to sing (you can be the judge of whether or not they can sing).
By the way, we got a sneak peek of the music (performed by former members of John's band, including Dan Wheetman who co-wrote Fire on the Mountain, which we did last season). It was awesome. I didn't even think I liked John Denver, and surprise! It almost brought me to tears. Take me home, country roads.
By the way, we got a sneak peek of the music (performed by former members of John's band, including Dan Wheetman who co-wrote Fire on the Mountain, which we did last season). It was awesome. I didn't even think I liked John Denver, and surprise! It almost brought me to tears. Take me home, country roads.
Paying what you can
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Labels:
cheap theatre tickets,
KEXP,
Maktub,
Pay What You Can,
Seattle Art Museum,
Seattle Rep,
Seattle theater,
Seattle Times
There was an article in today's Seattle Times about paying what you can for arts—case in point, Radiohead's new album. They also mentioned Seattle Rep's Pay What You Can nights (something other theaters in town also employ).
Seattle Repertory implemented a pay-what-you-will night for the usually light Halloween, and it sold out. Like many theaters, it holds one such night per performance, totaling around a half-dozen a year. The minimum cost is $1, but customers pay on average $5. But each show, there's always somebody who is willing to pay the full price of $40, because that's what they decide the show is worth, said Christy Carlson, the ticketing services manager.
The article also mentions KEXP, the band Maktub, SAM and more.
I've seen first hand the huge lines that form on the days that we offer Pay What You Can performances (usually the first Monday preview of a Bagley show). People love cheap tickets, but more than that, they love getting to decide what the experience is worth for them.
Wouldn't it be nice if everything was like that? Oh, yes Apartment Manager, this month I'll be giving you $50 because that's really what this place is worth.
Seattle Repertory implemented a pay-what-you-will night for the usually light Halloween, and it sold out. Like many theaters, it holds one such night per performance, totaling around a half-dozen a year. The minimum cost is $1, but customers pay on average $5. But each show, there's always somebody who is willing to pay the full price of $40, because that's what they decide the show is worth, said Christy Carlson, the ticketing services manager.
The article also mentions KEXP, the band Maktub, SAM and more.
I've seen first hand the huge lines that form on the days that we offer Pay What You Can performances (usually the first Monday preview of a Bagley show). People love cheap tickets, but more than that, they love getting to decide what the experience is worth for them.
Wouldn't it be nice if everything was like that? Oh, yes Apartment Manager, this month I'll be giving you $50 because that's really what this place is worth.
Friends and Neighbors
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Labels:
CHAC,
Intiman,
Jennifer Zeyl,
Marya Sea Kaminski,
mid-size theater,
Seattle,
Seattle Shakespeare Company,
Sheila Daneils,
theater
In news from "across the lawn," Sheila Daniels was just named the Intiman's new associate director. Sheila is a fantastic director (anyone see Pericles at Seattle Shakes recently? Or Crime and Punishment at CHAC?). Plus she's just awesome, in general.
It's definitely a good thing for Seattle theatre and seems like a real effort by Intiman to bridge the gap between the few remaining mid-size theatres in town and the big houses. Bringing in artists from the "trenches" like Marya Sea Kaminski and Jen Zeyl as we did for My Name is Rachel Corrie proved to be a very good thing for everyone involved—the energy and vision around that show was palpable. And that was just for one production. I don't know about you, but I'm psyched to see what Sheila will do as a full member of their artistic team.
You can read the full scoop in the Seattle Times
It's definitely a good thing for Seattle theatre and seems like a real effort by Intiman to bridge the gap between the few remaining mid-size theatres in town and the big houses. Bringing in artists from the "trenches" like Marya Sea Kaminski and Jen Zeyl as we did for My Name is Rachel Corrie proved to be a very good thing for everyone involved—the energy and vision around that show was palpable. And that was just for one production. I don't know about you, but I'm psyched to see what Sheila will do as a full member of their artistic team.
You can read the full scoop in the Seattle Times
One more thing...
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Labels:
Cuban cooking,
Eduardo Machado,
Seattle P-I,
Seattle Times,
The Cook
Oh wait, one more thing and then really, I'm leaving. I saw The Cook on Friday, and it is one of my favorite plays I've ever seen at the Rep. I know you may be inclined to not believe me since I am biased, but here's the P-I's review and here's the Times.
If nothing else, know tickets are going fast, and if you want to see it, you should get your tickets now. It's the perfect show to bring your family, you know the ones who are in town and smothering your existence crammed in your house.
If nothing else, know tickets are going fast, and if you want to see it, you should get your tickets now. It's the perfect show to bring your family, you know the ones who are in town and smothering your existence crammed in your house.
Feeling Blue
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Labels:
acting,
Birdie Blue,
Cheryl West,
Chicago,
Chuck Smith,
directing,
Goodman Theatre,
Seattle Rep,
single parents
If you can't tell, I'm spending a good amount of time behind the camera lately. So, my last duty before heading off to three days of cooking, eating and eating some more, is sharing with you our latest behind-the-scenes video feature.
Check out One Minute With...Chuck Smith, director of Birdie Blue. I haven't seen the show yet because last night, while everyone else was watching the opening performance, I was in the kitchen swirling up gallons of the specialty cocktail, Sock It To Me Cider. The cider was great, so I think it was worth the price.
I can say the general feeling after the show was: "Wow." Great, acting and a really touching, heart-wrenching story. We survey our preview audiences, and one person said, "You must see this play. The actors are unforgettable in their roles. The story is touching and rings true. This play would touch anyone's heart and change their view of contemporary life."
So there you have it.
Check out One Minute With...Chuck Smith, director of Birdie Blue. I haven't seen the show yet because last night, while everyone else was watching the opening performance, I was in the kitchen swirling up gallons of the specialty cocktail, Sock It To Me Cider. The cider was great, so I think it was worth the price.
I can say the general feeling after the show was: "Wow." Great, acting and a really touching, heart-wrenching story. We survey our preview audiences, and one person said, "You must see this play. The actors are unforgettable in their roles. The story is touching and rings true. This play would touch anyone's heart and change their view of contemporary life."
So there you have it.
Feeding Our Interns
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Labels:
feeding,
food,
interns,
internship,
mid-size theater,
ritual,
Seattle Rep,
Thanksgiving
Seattle Rep has a great internship program. I know because I, along with about 10 other staffers came up through the illustrious ranks. You learn a ton and are treated as a bonafide member of the staff, not just some coffee monkey. And I also know living on a meager stipend means learning the fine art of food scrounging, happy hour searching, and artful begging.
Seattle Rep knows that stipend only goes so far, so come holiday time, every year the staff and volunteers in the Seattle Repertory Organization pitch in to buy food, gift certificates, toilet paper and other sundry items (sometimes beer).
But we make our interns work for their food. Check out the video of yesterday's intern feeding ritual. More information about the less mysterious parts of our internship program is available here.
Seattle Rep knows that stipend only goes so far, so come holiday time, every year the staff and volunteers in the Seattle Repertory Organization pitch in to buy food, gift certificates, toilet paper and other sundry items (sometimes beer).
But we make our interns work for their food. Check out the video of yesterday's intern feeding ritual. More information about the less mysterious parts of our internship program is available here.
The Price is Right
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Labels:
cheap theatre tickets,
Seattle Art Museum,
Seattle Rep,
Seattle Times,
Sheila Farr,
Signature Theatre Company,
theater price
This article came out last week in the Seattle Times. In it art critic Sheila Farr does a check in on the new Seattle Art Museum, noting a decline in admission, possibly tied to an increase in ticket prices. Some people in Seattle have deemed $15 too much for an afternoon of art.
Last year on the other side of the country (and in a different sort of arts venue), Signature Theatre Company in New York did something unthinkable: They made every ticket for every seat $15. People came out in droves, especially young people.
The Rep's $10 ticket for anyone 25 and under is certainly popular, though not close to that level (every one of Signature's productions sold out). It costs $10 to see a movie, but when I ask my under-25 friends if they want to see a play for that price, they quite often balk, "That's a lot for something I don't even know if I'll like."
So where's the line? I'm curious how people decide what's too much for art. I know my measures: trust in the company/venue, knowing people involved, interest in the subject matter. I myself have hesitated to pay $15 for a fringe theater show but now that I'm putting up my own fringe show I have no hesitation in setting a $15 ticket price. All that work...of course it's worth the price of two cocktails.
What do you think? What will you pay for art?
Last year on the other side of the country (and in a different sort of arts venue), Signature Theatre Company in New York did something unthinkable: They made every ticket for every seat $15. People came out in droves, especially young people.
The Rep's $10 ticket for anyone 25 and under is certainly popular, though not close to that level (every one of Signature's productions sold out). It costs $10 to see a movie, but when I ask my under-25 friends if they want to see a play for that price, they quite often balk, "That's a lot for something I don't even know if I'll like."
So where's the line? I'm curious how people decide what's too much for art. I know my measures: trust in the company/venue, knowing people involved, interest in the subject matter. I myself have hesitated to pay $15 for a fringe theater show but now that I'm putting up my own fringe show I have no hesitation in setting a $15 ticket price. All that work...of course it's worth the price of two cocktails.
What do you think? What will you pay for art?
I'm OK with bragging
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Labels:
Cuban food,
Eduardo Machado,
The Cook,
Zabryna Guevara
The press says:
"The Cook is a genius at work: Zabryna Guevara is magic at The Rep"
—Seattle P-I
"The Rep's near-flawless production...favors (Eduardo) Machado's abundant humanism and humor" —Seattle Times
"A touching and heartbreaking tale...Eduardo Machado's beautiful script is powerful and pithy, and captures the soul of Cuba." —BroadwayHour.com
The audience says:
"Ms. Guevara's portrayal was perfect. I loved her grace and emotion and strength."
"A must see! The Cook seduces you with its music, language and smells...DELICIOUS!"
"It was captivating. I love history and enjoyed seeing it come alive."
"My wife and I were riveted. Best show of the season."
Tickets are going like hot cakes (yum, hot cakes). Buy them here.
"The Cook is a genius at work: Zabryna Guevara is magic at The Rep"
—Seattle P-I
"The Rep's near-flawless production...favors (Eduardo) Machado's abundant humanism and humor" —Seattle Times
"A touching and heartbreaking tale...Eduardo Machado's beautiful script is powerful and pithy, and captures the soul of Cuba." —BroadwayHour.com
The audience says:
"Ms. Guevara's portrayal was perfect. I loved her grace and emotion and strength."
"A must see! The Cook seduces you with its music, language and smells...DELICIOUS!"
"It was captivating. I love history and enjoyed seeing it come alive."
"My wife and I were riveted. Best show of the season."
Tickets are going like hot cakes (yum, hot cakes). Buy them here.
Tastes like Cuba
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Labels:
Cuban cooking,
Eduardo Machado,
Michael Domitrovich,
Morros y Cristianos,
Tastes LIke Cuba
Since we've entered the age of technology and are now using video to show you what's going on behind the scenes and in the brains of our artists, I have been tapped to be official videographer. Needless to say, I am learning as I go. But the cool thing about making these videos is that I get to hang out with the awesome people who write, direct, act in and design the work that's on our stages. And sometimes they even cook for me.
On Friday I shot Eduardo Machado, the playwright of The Cook, and Michael Domitrovich, co-author of Eduardo's memoir/cookbook, making a traditional Cuban dish called Morros y Cristianos. I wish I could have left the footage unedited because what's not in the video is Michael talking about his first cooking experiment (blueberry muffins—his mom made the muffins, he put in the blueberries), Eduardo pretending to be downing vodka, and the two of them discussing how you might make this meal for breakfast.
Both of them were so incredibly funny and kind, and their food smelled amazing, even for a vegetarian like me (by the way, Michael said you can substitute the bacon for a 1/3 cup of olive oil).
On Friday I shot Eduardo Machado, the playwright of The Cook, and Michael Domitrovich, co-author of Eduardo's memoir/cookbook, making a traditional Cuban dish called Morros y Cristianos. I wish I could have left the footage unedited because what's not in the video is Michael talking about his first cooking experiment (blueberry muffins—his mom made the muffins, he put in the blueberries), Eduardo pretending to be downing vodka, and the two of them discussing how you might make this meal for breakfast.
Both of them were so incredibly funny and kind, and their food smelled amazing, even for a vegetarian like me (by the way, Michael said you can substitute the bacon for a 1/3 cup of olive oil).
Cuba, via the kitchen
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Labels:
Cuba,
Cuban cooking,
Eduardo Machado,
Miami,
The Cook
From Joanna Horowitz, Communications Associate
Just got back from a conference in Miami, where I had the realization that just I was just 230 miles from Cuba. I knew that fact, but being in Miami drove it home. Miami is so influenced by that culture: everywhere I went the language, food and spirit of Cuba were present (just trivially...fried plantains and mojitos—yes, please).
This was so interesting to me because tonight we're opening The Cook, Eduardo Machado's play about a woman named Gladys who survives three decades of Cuba revolution by cooking. Since I've been out of town, I haven't seen the show yet, so I'd love to hear your thoughts if you have...please comment!
Just got back from a conference in Miami, where I had the realization that just I was just 230 miles from Cuba. I knew that fact, but being in Miami drove it home. Miami is so influenced by that culture: everywhere I went the language, food and spirit of Cuba were present (just trivially...fried plantains and mojitos—yes, please).
This was so interesting to me because tonight we're opening The Cook, Eduardo Machado's play about a woman named Gladys who survives three decades of Cuba revolution by cooking. Since I've been out of town, I haven't seen the show yet, so I'd love to hear your thoughts if you have...please comment!
The Riddle Key Luxury Senior Retirement Living Center and Golf Course
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Labels:
condos,
Murderers,
real estate,
Sarah Rudinoff
As promised...
Murdering, Cooking, Blue Hats
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Labels:
Birdie Blue,
Chuck Smith,
Cuban cooking,
Murderers,
Paseo,
Sarah Rudinoff,
The Cook
From Joanna Horowitz, Communications Associate
This is going to have to be fast because it is crazy in my world. So, in brief:
Murderers is awesome and tickets are going faster than a downhill golf cart (what? is that cheesy?). It plays until Nov. 4, so get on it. In two seconds I am going to post a video spoofing Sarah Rudinoff's character Minka Lupino, a murdering condo saleswoman.
Had a meet and greet for Birdie Blue today and met the director, Chuck Smith who's in residency here but lives in Chicago and works at the renouned Goodman Theatre. In addition to hearing the design concept (a set that will really play up on the imagination-sparking elements of the play and awesome costumes that will ground things in reality), we also got introduced to Chuck's blue fisherman's cap, which he wears when he's working. "If you see me without this hat," he said, "I'm not working."
It's going to start smelling really good around here because we're about to go into previews for The Cook which features, among other things, some delicious Cuban food prepared on stage. Word on the street is you might smell garlic chicken and a lot of citrus wafting from the stage. Personally, I am going to hit up Paseo in Fremont before seeing the show to avoid awkward stomach grumbling.
OK, must go. Be back in a second with that video.
This is going to have to be fast because it is crazy in my world. So, in brief:
Murderers is awesome and tickets are going faster than a downhill golf cart (what? is that cheesy?). It plays until Nov. 4, so get on it. In two seconds I am going to post a video spoofing Sarah Rudinoff's character Minka Lupino, a murdering condo saleswoman.
Had a meet and greet for Birdie Blue today and met the director, Chuck Smith who's in residency here but lives in Chicago and works at the renouned Goodman Theatre. In addition to hearing the design concept (a set that will really play up on the imagination-sparking elements of the play and awesome costumes that will ground things in reality), we also got introduced to Chuck's blue fisherman's cap, which he wears when he's working. "If you see me without this hat," he said, "I'm not working."
It's going to start smelling really good around here because we're about to go into previews for The Cook which features, among other things, some delicious Cuban food prepared on stage. Word on the street is you might smell garlic chicken and a lot of citrus wafting from the stage. Personally, I am going to hit up Paseo in Fremont before seeing the show to avoid awkward stomach grumbling.
OK, must go. Be back in a second with that video.
You're killing me!
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Labels:
Jeffrey Hatcher,
Murderer,
Murderers,
Sarah Rudinoff
From Joanna Horowitz, Communications Associate
Saw Murderers last night. There were a lot of things I loved about the show. Sarah Rudinoff for one (who has been blogging for us). Her comic timing is brilliant. I guess she wasn't a Stranger Genius for nothing. I've convinced her to star in a little film we're making on Friday, so keep an eye out here for that. Also awesome about the show? The funniest "turn your cellphones speech off" I think I've ever heard. I won't ruin the joke, but hopefully you'll enjoy it as much as I did.
Speaking of clever, sometimes we do things in the Communications department for our own weird enjoyment. We did end up using these pictures for for the cover of our student theatre zine OffBook, but mostly we sat in the office chuckling morbidly. Here are my favorites. The rest are here.
Saw Murderers last night. There were a lot of things I loved about the show. Sarah Rudinoff for one (who has been blogging for us). Her comic timing is brilliant. I guess she wasn't a Stranger Genius for nothing. I've convinced her to star in a little film we're making on Friday, so keep an eye out here for that. Also awesome about the show? The funniest "turn your cellphones speech off" I think I've ever heard. I won't ruin the joke, but hopefully you'll enjoy it as much as I did.
Speaking of clever, sometimes we do things in the Communications department for our own weird enjoyment. We did end up using these pictures for for the cover of our student theatre zine OffBook, but mostly we sat in the office chuckling morbidly. Here are my favorites. The rest are here.
20 Buck Chuck
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Labels:
Charles Leggett,
Charles Shaw,
Seattle Rep,
tickets,
Twelfe Night
If you can't read the fine print, starting tomorrow you can buy $20 tickets to any performance in any seat for the extension week of Twelfe Night, in honor of Live Theatre Week. Go to www.seattlerep.org or call the box office at 206-443-2222 for tickets.
Not that I should have to sell you on cheap tickets, but this show is awesome. Shameless lack of modesty:
The critics say:
"Where they strut and gambol, one is happy to follow… David Esbjornson gives this many-faceted comedy a postmodern look, a fine verbal cogency and rigor. " Seattle Times
"...hilarity dances across the stage...fantastic performances." BroadwayHour.com
The audience says:
"It was fantastic... Loved this version of it."
"Magnificent, you must see it."
"The funniest Shakespeare play we've ever seen."
New things are exciting
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Labels:
behind the scenes,
Jess Smith,
Seattle Rep,
video
From Joanna Horowitz, Communications Associate
For one, don't freak out. The blog looks different, but it's all the same, you know, in its heart. We're trying out a new look that looks more like the Seattle Rep homepage. Thoughts?
For two, we just made our first "behind-the-scenes" video. I'd like to share it with you now.
For one, don't freak out. The blog looks different, but it's all the same, you know, in its heart. We're trying out a new look that looks more like the Seattle Rep homepage. Thoughts?
For two, we just made our first "behind-the-scenes" video. I'd like to share it with you now.
Rehearsal: An Actor's Blog, Pt. 2
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Labels:
Murderers,
Rufus Wainwright,
Sarah Rudinoff,
solo performance,
Steven Dietz
From actor Sarah Rudinoff, playing Minka Lupino in Murderers.
I felt bad about forgetting to blog—I was asked to write my thought on rehearsals when I wanted to and then I realized...I forgot to. Funny to add blogging to the to do list. Rehearsals have been going well. We all miss each other because we are not acting together. The three of us have a moment in the beginning together and of course we get a few moments to rehearse it and all we want to do is visit and bond as we wait for the music cue that gets us onstage. Our most amazing stage manager, Cris Reynolds (who is one of the best and really is that most incredible mix of den mother, organizer, ship captain and artist) gives us some leeway to futz around and give pecks on the cheek and talk and make jokes—she knows we need this strange ape like actor grooming ritual with each other. It's funny but true to think that many of us got into this craft, this life, for the pleasure of connecting with people and this camaraderie and community that is created. When I have done a solo show—especially when I have toured a solo show and don't even know any of the crew and stage managemen—I have sat in my dressing room (or the pool table room, or someone's strange office) and joked with myself in the mirror "Have a great show! No you have a great show. Break a leg! I think I will." I think we are all secretly looking forward to our 12-hour-a-day tech rehearsals that start this Sunday because we will all be together for a week and get to see each other.
I had a trip planned to L.A. when I got cast in the show, and I was allowed to go on a shortened version last weekend. It included seeing Rufus Wainwright doing Judy Garland at the Hollywood Bowl, very fun. I got back and had had 2 1/2 days less of rehearsal that everyone else and everyone was off book but me!! I felt ahead before I left and then....I am one page away from this 17 page monologue being in my bones and I am going to memorize the last page before we do a run of the show for an invited crowd at the Rep today. I love these invited crowd days because people come from everywhere in the building to watch, and it is incredible to see how many people work in the building. When you see everyone gather you realize what it takes to run a huge theatre—painters, props masters (who are doing the most fun version of these "cheesy paperbacks" I have on stage), costumes, admin, education, marketing. It is pretty wonderful.
Rehearsals have been very focused and I adore Steven. He doesn't want to just listen to the sound of his voice or pontificate (I have a creeeping suspicion that I am this kind of director actually). He is one of those great directors that understands if he lets you find it then you can recreate it each night in a fresh way, because your brain synapses and nerves and hunches and body language and thoughts and all these little, almost imperceptible, things lead you there. If you are just "following directions" the performance can feel empty and your mind is filled with "then Steven said to go here, then here, then I am supposed to do this," rather then a life lived on stage. He puts these perfect questions in your mind that you have to answer about the character and he supports you in finding the answers—really lovely.
Yesterday we told each other our monologues, just sitting there talking to each other using the text. Great exercise in scale as well as really seeing if you can look someone in the eye and talk to them like it was the first time you were saying these words. Mark and Joan were wonderful, really taking this opportunity to break it apart. Joan is from NYC and is a member of the Actor's Studio (I googled her and then talked to her about it a bit) and you can really tell she is in her element in an exercise like this where you have to just drop it down into the belly and be real with it. We all had tears in our eyes as she was telling certain parts of the story and then she is also incredible funny—I think hearing an older woman swearing and saying exactly what she thinks is so refreshing. Outside of my own living granny who is the most real and amazing woman who doesn't put on airs or play the granny part whatsoever, you rarely see older women in our culture (TV and film come to mind...) who can be raunchy in language and very direct and jealous and sexy. Love that Joan.
Well, I will try to remember to blog more. I think I will bring the computer during tech. Ah...tech. I always tell young actors when they ask me if they should go to LA or how it is working on camera, "If you like tech, you'll love film and television!" It seems like one big lighting set up—I am sure it gets better when you are Meryl Streep. Everything must be better when you are Meryl Streep...that might have to be a song title.
I felt bad about forgetting to blog—I was asked to write my thought on rehearsals when I wanted to and then I realized...I forgot to. Funny to add blogging to the to do list. Rehearsals have been going well. We all miss each other because we are not acting together. The three of us have a moment in the beginning together and of course we get a few moments to rehearse it and all we want to do is visit and bond as we wait for the music cue that gets us onstage. Our most amazing stage manager, Cris Reynolds (who is one of the best and really is that most incredible mix of den mother, organizer, ship captain and artist) gives us some leeway to futz around and give pecks on the cheek and talk and make jokes—she knows we need this strange ape like actor grooming ritual with each other. It's funny but true to think that many of us got into this craft, this life, for the pleasure of connecting with people and this camaraderie and community that is created. When I have done a solo show—especially when I have toured a solo show and don't even know any of the crew and stage managemen—I have sat in my dressing room (or the pool table room, or someone's strange office) and joked with myself in the mirror "Have a great show! No you have a great show. Break a leg! I think I will." I think we are all secretly looking forward to our 12-hour-a-day tech rehearsals that start this Sunday because we will all be together for a week and get to see each other.
I had a trip planned to L.A. when I got cast in the show, and I was allowed to go on a shortened version last weekend. It included seeing Rufus Wainwright doing Judy Garland at the Hollywood Bowl, very fun. I got back and had had 2 1/2 days less of rehearsal that everyone else and everyone was off book but me!! I felt ahead before I left and then....I am one page away from this 17 page monologue being in my bones and I am going to memorize the last page before we do a run of the show for an invited crowd at the Rep today. I love these invited crowd days because people come from everywhere in the building to watch, and it is incredible to see how many people work in the building. When you see everyone gather you realize what it takes to run a huge theatre—painters, props masters (who are doing the most fun version of these "cheesy paperbacks" I have on stage), costumes, admin, education, marketing. It is pretty wonderful.
Rehearsals have been very focused and I adore Steven. He doesn't want to just listen to the sound of his voice or pontificate (I have a creeeping suspicion that I am this kind of director actually). He is one of those great directors that understands if he lets you find it then you can recreate it each night in a fresh way, because your brain synapses and nerves and hunches and body language and thoughts and all these little, almost imperceptible, things lead you there. If you are just "following directions" the performance can feel empty and your mind is filled with "then Steven said to go here, then here, then I am supposed to do this," rather then a life lived on stage. He puts these perfect questions in your mind that you have to answer about the character and he supports you in finding the answers—really lovely.
Yesterday we told each other our monologues, just sitting there talking to each other using the text. Great exercise in scale as well as really seeing if you can look someone in the eye and talk to them like it was the first time you were saying these words. Mark and Joan were wonderful, really taking this opportunity to break it apart. Joan is from NYC and is a member of the Actor's Studio (I googled her and then talked to her about it a bit) and you can really tell she is in her element in an exercise like this where you have to just drop it down into the belly and be real with it. We all had tears in our eyes as she was telling certain parts of the story and then she is also incredible funny—I think hearing an older woman swearing and saying exactly what she thinks is so refreshing. Outside of my own living granny who is the most real and amazing woman who doesn't put on airs or play the granny part whatsoever, you rarely see older women in our culture (TV and film come to mind...) who can be raunchy in language and very direct and jealous and sexy. Love that Joan.
Well, I will try to remember to blog more. I think I will bring the computer during tech. Ah...tech. I always tell young actors when they ask me if they should go to LA or how it is working on camera, "If you like tech, you'll love film and television!" It seems like one big lighting set up—I am sure it gets better when you are Meryl Streep. Everything must be better when you are Meryl Streep...that might have to be a song title.
Rehearsal: An Actor's Blog
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Labels:
Broad Perspective,
monologues,
Murderers,
Sarah Rudinoff,
solo performance,
Steven Dietz
From actor Sarah Rudinoff, playing Minka Lupino in Murderers.
I am really excited to be starting rehearsal again. I haven't been in a play since I closed Wonderful Town at the 5th Ave. in May of 05. I took over a year off to get my real estate business off the ground and consistent, and after a lifetime of rehearsal clothes and Mondays off and vocal rest, I was driving around in my car and talking to people in escrow offices and holding the hands of clients and friends as they made this insane purchase or sale...now I am back to the rehearsal room and it certainly feels like the first days of school.
I have done solo shows before and the rehearsal process can be really daunting: no one to really bounce thoughts off of or shoot the shit with except for the director. Lines become not funny at about day 2 or 3...we are already there! You have this relationship with the director that is unlike a big old play with lots of people running around, they are the only ones you are performing to and for, then you realize- why am I performing? Just tell the story. It is a good reminder.
I remember my first solo show, written after I was already booked to tour it with Theater Simple to the Adelaide Festival in Australia, Broad Perspective (a title I had to come up with before I wrote the show...and soon hated...well actually I came up with Broad which I thought was a clever way of saying I was a woman while opening up the possibilities that the show could be about anything and since I hadn't written it yet, I wanted to give myself a long enough rope...) This title was nixed for being, well, too broad. I chose as my director someone who I worshiped but did not know very well- another interesting choice when I look back at it. Kevin Kent was about the smartest most unexpected performer I had seen and I knew he directed shows. So my early 20's self asked him for coffee, proposed the show and off we went. The first days of rehearsal were horrifying- I was a new writer- is he liking my work? Does he think this is funny? Also I was a new solo performer- was he supposed to laugh? Am I interesting enough to be watched and listened to for over an HOUR?! All in the basement of that building downtown by the market that used to house a movie theatre and a theatre space.
All of these thoughts were making me giggle at my younger self as I sat with a director I didn't know, the lovely Steven Dietz, (who is directing Murderers,) and began a process of unearthing a monologue. I must say that doing someone else's 17-page monologue, which I have never done before, is a lot better in some ways- none of the "why did I write that!?" If something is not working I think my mind can take a load off assured that it couldn't possibly be me.
I love the REP and am reminded what a good and gentle soul David Esbjornson is, and it is already a blast getting to be in an intimate cast, but having the enormous cast of Twelfe Night in the green room with us- including one of my nearest and dearest Nick Garrison who has directed me in solo shows, so I think I may be going to that well when I am in the tearing my hair out and why did I become an actor phase. Oh the angst.....
I am really excited to be starting rehearsal again. I haven't been in a play since I closed Wonderful Town at the 5th Ave. in May of 05. I took over a year off to get my real estate business off the ground and consistent, and after a lifetime of rehearsal clothes and Mondays off and vocal rest, I was driving around in my car and talking to people in escrow offices and holding the hands of clients and friends as they made this insane purchase or sale...now I am back to the rehearsal room and it certainly feels like the first days of school.
I have done solo shows before and the rehearsal process can be really daunting: no one to really bounce thoughts off of or shoot the shit with except for the director. Lines become not funny at about day 2 or 3...we are already there! You have this relationship with the director that is unlike a big old play with lots of people running around, they are the only ones you are performing to and for, then you realize- why am I performing? Just tell the story. It is a good reminder.
I remember my first solo show, written after I was already booked to tour it with Theater Simple to the Adelaide Festival in Australia, Broad Perspective (a title I had to come up with before I wrote the show...and soon hated...well actually I came up with Broad which I thought was a clever way of saying I was a woman while opening up the possibilities that the show could be about anything and since I hadn't written it yet, I wanted to give myself a long enough rope...) This title was nixed for being, well, too broad. I chose as my director someone who I worshiped but did not know very well- another interesting choice when I look back at it. Kevin Kent was about the smartest most unexpected performer I had seen and I knew he directed shows. So my early 20's self asked him for coffee, proposed the show and off we went. The first days of rehearsal were horrifying- I was a new writer- is he liking my work? Does he think this is funny? Also I was a new solo performer- was he supposed to laugh? Am I interesting enough to be watched and listened to for over an HOUR?! All in the basement of that building downtown by the market that used to house a movie theatre and a theatre space.
All of these thoughts were making me giggle at my younger self as I sat with a director I didn't know, the lovely Steven Dietz, (who is directing Murderers,) and began a process of unearthing a monologue. I must say that doing someone else's 17-page monologue, which I have never done before, is a lot better in some ways- none of the "why did I write that!?" If something is not working I think my mind can take a load off assured that it couldn't possibly be me.
I love the REP and am reminded what a good and gentle soul David Esbjornson is, and it is already a blast getting to be in an intimate cast, but having the enormous cast of Twelfe Night in the green room with us- including one of my nearest and dearest Nick Garrison who has directed me in solo shows, so I think I may be going to that well when I am in the tearing my hair out and why did I become an actor phase. Oh the angst.....
Mouth Harp
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Labels:
Charles Leggett,
Harmonica,
Twelfe Night,
Twelfth Night
From Joanna Horowitz, Communications Associate
I was downstairs hanging the Twelfe Night lobby display and from the theatre I could hear Charles Legget playing the harmonica on stage. Harmonica is pretty much my favorite instrument, right before banjo, but perhaps after the keytar. I don't know exactly what part the harmonica plays in the show, but it sounded awesome.
I was downstairs hanging the Twelfe Night lobby display and from the theatre I could hear Charles Legget playing the harmonica on stage. Harmonica is pretty much my favorite instrument, right before banjo, but perhaps after the keytar. I don't know exactly what part the harmonica plays in the show, but it sounded awesome.
Magic!
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Labels:
David Esbjornson,
Seattle Rep,
Shakespeare,
Twelfe Night,
Twelfth Night
I have a couple of minutes free, so I am going to pop into Twelfe Night tech. Tech (the technical rehearsals for a show, in which all of the lights, set, costumes, magical effects are put together) at the Rep is open to anyone who works here, but I usually wait until everything is put together before I see the show to, you know, save the theatre magic. But I sacrificed my savoring for you. Feel special.
Ok, so I am here, in the balcony. It appears nothing is happening. I think they're on a break. Just my luck. There are two guys, not actors, standing on stage. One offstage is operating an elevator that is raising and lowering a platform on stage. Ok, that's a little magical. One guy gets on the platform, which is exciting.
The set is spectatcular. It's reminicient of the hull of a ship, but it twists and rolls across the stage to the edge where it splinters off. Everything is blue and green.
Back from break. The stage manager asks the actors to get in position. The house lights go off and the lighting is suddenly a magnificant sunrise. Magic! The actor playing Sebastian does the end of a monologue. Olivia comes on in a giant purple dress. Fabian comes on in a leather skirt, black stockings and tiny black pumps. David, the director, asks Nick, playing Fabian: " How much traction do you have in those little pumps?"
My ten minutes are up. I have concluded: this show is going to be not your usual take on Shakespeare. And I have just remembered that I only have one week to find a dress for our black tie opening night party, so I better go. More soon.
Ok, so I am here, in the balcony. It appears nothing is happening. I think they're on a break. Just my luck. There are two guys, not actors, standing on stage. One offstage is operating an elevator that is raising and lowering a platform on stage. Ok, that's a little magical. One guy gets on the platform, which is exciting.
The set is spectatcular. It's reminicient of the hull of a ship, but it twists and rolls across the stage to the edge where it splinters off. Everything is blue and green.
Back from break. The stage manager asks the actors to get in position. The house lights go off and the lighting is suddenly a magnificant sunrise. Magic! The actor playing Sebastian does the end of a monologue. Olivia comes on in a giant purple dress. Fabian comes on in a leather skirt, black stockings and tiny black pumps. David, the director, asks Nick, playing Fabian: " How much traction do you have in those little pumps?"
My ten minutes are up. I have concluded: this show is going to be not your usual take on Shakespeare. And I have just remembered that I only have one week to find a dress for our black tie opening night party, so I better go. More soon.
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