What a ridiculously quick first rotation! And what a challenging one!
My first few weeks in Ithaca have been consumed by a little play called THE ANT AND THE GRASSHOPPER. And while I like to fancy myself a director whose sense of humor and wit displays at least some sense of sophistication and intelligence, I had to consciously put all that aside to direct a show that was advertised to be enjoyed by anyone over the age of 4.
Let it be said that I have no personal knowledge of what a four-year-old likes or does not like, as I have not had the opportunity to spend much time around anyone at that particular developmental stage. So my first rotation was spent making several assumptions about the mind of a toddler that were potentially way off base. The one thing I did know was that my old standby--irony--was not going to play well to the little tykes.
With only a week and a half of rehearsal, I set about approaching the play as I would any piece of text by Williams or Shakespeare. I decided to focus our collective energies into creating a world of broad strokes and colorful costumes rather than spending any time on subtlety or subtext. And, most importantly, I think, whenever I thought the play was getting boring, I put in a chase scene or a pop song and dance number.
I focused on creating the world out of found objects. I wanted the kids to see this play and know that they could go home and make it themselves. The anthill was a pile of sheets and blankets set up to look like some kind of living room fort. The actors playing ants wore colanders on their rears and helmets on their heads (complete with springs for antennae). The flowers were made of plastic plates and swimming pool noodles. In the end, the design is perhaps the most vividly realized of any show I've conceived.
Add to that a soundtrack complete with David Bowie, the Jackson Five, Mariah Carey and Abba, and I think what ultimately happened was a real theatrical experience for these kids.
Granted there are moments when the play gets too "talky" and the kids start squirming in their seats. But put on a piece of music, and they're suddenly right back in the action, clapping along and shouting out directives to the characters.
The experience was a difficult one for me. But the end result was worth the struggles during the process. Perhaps the big pay-off came when I walked into the theater to see a lone kid on the stage with his teachers. He was blind, and the teachers were letting him feel the set so that he knew what he would be "watching" in a few minutes. They then took him backstage to the actors, where he felt all of the actors' faces while each of them described what he or she was wearing and who his or her character was. That child's life was brightened, I think, in a very simple way. And it made me remember what was at the core of the creation of theater to begin with.
I can't wait to see what happens in Rotation 2!
Best,
Kerry
Thursday, June 14, 2007
Wednesday, June 13, 2007
The First Rotation Comes to an End!
Well I think we have officially postponed starting this blog long enough, and now as we end our first rotation we have run out of excuses. So here goes - I'll be the brave one to break the ice.
Today marks the opening of our first round of plays. We do four rounds throughout the summer, with each of the four of us directing in three of the rotations. This first cycle I was the Lab Producer, meaning I spent the time supporting my fellow directors and overseeing the lab company while Kerry, Mikey and Tamara directed their shows. Kerry's kids show, The Ant and the Grasshopper opened this morning at 10am to 370 hyperactive children, but nonetheless proved a wonderful success. Tamara's production of Naomi Iizuka's Language of Angels was the next up at 5:30 this evening, and then Mikey's adaptation Juliet and her Romeo opened to a fuller-than-full house at 10pm. All in all a day of a LOT of theater for the Hangar (the mainstage, show, Doubt, still played at 8pm, as did a second performance of Ant at 12pm). It's amazing how much good theater we all are able to cram into one day.
Also amazing is how unbelievably fast everything happens around here. Our first day of this rotation was something like eleven days ago. The actors arrived just over two weeks ago. We spent the first couple days gettting to know them, teaching them "master classes" (no complaints from us on this whole "master" business), and holding auditions. After three days of this we arrived at the longest day of our entire lives, in which the four of us, with the help of Kevin Moriarty, had to cast the 26 members of the Lab Company in the season. All 26 had to be in 4 shows, one of which had to be a kids play...AND each actor had to have at least one large role and one small role. The five of us literally sat in a room for eight and a half hours working and reworking the various lists. At the end of the day, bruised and bleeding, we emerged from our secret lair and ran as fast as we could to our absolute favorite location in Ithaca. A place we like to call...Applebee's...and sucked down as many margaritas as humanly possible. The next morning, with hangovers from the casting as well as the tequila, we began rehearsals.
(note: yes, you have heard right, ithaca is one of the sleeper culinary hits in the northeast, and yet somehow - and i'm naming kerry whigham as the major culpable party - applebee's has become "our place". i've tried to protest, but to no avail. so, if you can't beat em...try the fiesta lime chicken).
I'll let the others write about their individual rehearsal processes, but what I will say is that it's been a true pleasure to watch my fellow directors create three incredibly unique and really excellent pieces of theater. I was a little uncertain about this whole lab producer gig, but it's given me such a great opportunity to observe these three passionate, talented directors. I have taken something away from each of them. From Mikey, I've been reminded of how important it is to find a personal message in your work, no matter how risky or controversial - and that pushing out of your comfort zone is a constant struggle, but a necessary and rewarding one. From Tamara I've learned what a gift great casting is, and how to constantly push (or allow) the actors to live in the characters without pretense or condescension. And from Kerry - that a strong concept can really revolutionize a show, even when it's a play for 7-year-olds, and that sometimes the things that appear simplest can be the most intimidating, but even then if you allow yourself to feel the fear, that you can push through it and really exceed your expectations.
So all in all, the first quarter of the summer has been a smashing success (she said modestly). We have some real standout designers and a brave, talented company of actors. On Saturday we begin rehearsals for the next rotation - when I will be directing Metamorphoses by Mary Zimmerman. Today I found out we can rig up a swing in the Wedge, and a hammock (no, i'm not using any water, so we're thinking outside the box) so I couldn't be happier. See you at the end of Rotation 2 with a few more gray hairs, even less sleep, and maybe a bit of newfound wisdom.
Kate Pines
Today marks the opening of our first round of plays. We do four rounds throughout the summer, with each of the four of us directing in three of the rotations. This first cycle I was the Lab Producer, meaning I spent the time supporting my fellow directors and overseeing the lab company while Kerry, Mikey and Tamara directed their shows. Kerry's kids show, The Ant and the Grasshopper opened this morning at 10am to 370 hyperactive children, but nonetheless proved a wonderful success. Tamara's production of Naomi Iizuka's Language of Angels was the next up at 5:30 this evening, and then Mikey's adaptation Juliet and her Romeo opened to a fuller-than-full house at 10pm. All in all a day of a LOT of theater for the Hangar (the mainstage, show, Doubt, still played at 8pm, as did a second performance of Ant at 12pm). It's amazing how much good theater we all are able to cram into one day.
Also amazing is how unbelievably fast everything happens around here. Our first day of this rotation was something like eleven days ago. The actors arrived just over two weeks ago. We spent the first couple days gettting to know them, teaching them "master classes" (no complaints from us on this whole "master" business), and holding auditions. After three days of this we arrived at the longest day of our entire lives, in which the four of us, with the help of Kevin Moriarty, had to cast the 26 members of the Lab Company in the season. All 26 had to be in 4 shows, one of which had to be a kids play...AND each actor had to have at least one large role and one small role. The five of us literally sat in a room for eight and a half hours working and reworking the various lists. At the end of the day, bruised and bleeding, we emerged from our secret lair and ran as fast as we could to our absolute favorite location in Ithaca. A place we like to call...Applebee's...and sucked down as many margaritas as humanly possible. The next morning, with hangovers from the casting as well as the tequila, we began rehearsals.
(note: yes, you have heard right, ithaca is one of the sleeper culinary hits in the northeast, and yet somehow - and i'm naming kerry whigham as the major culpable party - applebee's has become "our place". i've tried to protest, but to no avail. so, if you can't beat em...try the fiesta lime chicken).
I'll let the others write about their individual rehearsal processes, but what I will say is that it's been a true pleasure to watch my fellow directors create three incredibly unique and really excellent pieces of theater. I was a little uncertain about this whole lab producer gig, but it's given me such a great opportunity to observe these three passionate, talented directors. I have taken something away from each of them. From Mikey, I've been reminded of how important it is to find a personal message in your work, no matter how risky or controversial - and that pushing out of your comfort zone is a constant struggle, but a necessary and rewarding one. From Tamara I've learned what a gift great casting is, and how to constantly push (or allow) the actors to live in the characters without pretense or condescension. And from Kerry - that a strong concept can really revolutionize a show, even when it's a play for 7-year-olds, and that sometimes the things that appear simplest can be the most intimidating, but even then if you allow yourself to feel the fear, that you can push through it and really exceed your expectations.
So all in all, the first quarter of the summer has been a smashing success (she said modestly). We have some real standout designers and a brave, talented company of actors. On Saturday we begin rehearsals for the next rotation - when I will be directing Metamorphoses by Mary Zimmerman. Today I found out we can rig up a swing in the Wedge, and a hammock (no, i'm not using any water, so we're thinking outside the box) so I couldn't be happier. See you at the end of Rotation 2 with a few more gray hairs, even less sleep, and maybe a bit of newfound wisdom.
Kate Pines
Wednesday, May 30, 2007
The Summer Directors
Welcome to the Directors Project blog for the 2007 Summer Program!
The Drama League Directors Project is dedicated to helping directors in the beginning stages of their professional lives develop their directing skills and build full-time careers in the world of American Theatre. This summer, four young directors are up in Ithaca, New York, at the Hangar Theater. While they are there they will each rotate through directing a new play, a children's play, and a play of their choice at the Wedge theatre space, as well as serving as producer for their colleagues on one of their four rotations. They will work with actors, designers, and playwrights from the Hangar Lab Company, and generally eat, sleep, and breathe directing from now until August 13th. This blog is an opportunity for them to share their adventures during this intensive program. We hope you, and they, enjoy the ride.
This year's summer directors are:
Tamara Fisch
Michael Perlman
Kate Pines
Kerry Whigham
The Drama League Directors Project is dedicated to helping directors in the beginning stages of their professional lives develop their directing skills and build full-time careers in the world of American Theatre. This summer, four young directors are up in Ithaca, New York, at the Hangar Theater. While they are there they will each rotate through directing a new play, a children's play, and a play of their choice at the Wedge theatre space, as well as serving as producer for their colleagues on one of their four rotations. They will work with actors, designers, and playwrights from the Hangar Lab Company, and generally eat, sleep, and breathe directing from now until August 13th. This blog is an opportunity for them to share their adventures during this intensive program. We hope you, and they, enjoy the ride.
This year's summer directors are:
Tamara Fisch
Michael Perlman
Kate Pines
Kerry Whigham
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