Bryce Pinkham will be playing the roles of Brother Vaughn, Pete Davenport and Felix Barclay in The Orphans' Home Cycle
I’ve been thinking a lot about families lately. I guess it should come as no surprise considering our playwright and the content of these plays. I find a delightful irony in our situation here: twenty-two actors who, for the most part, have left their permanent homes and in many cases their own loved ones to bring to life this incredible story about family and the journey to find a home. Furthermore, the entire experience, onstage and off, is having the effect of bringing us all together as a theatrical family. This is not unique to our production of course, it’s part of what we get to do in the theater- form little families for a few months at a time. We eat and drink together, take trips to the movies, play poker, celebrate birthdays, talk politics, grocery shop, bake cookies, ride bikes, take yoga, and sometimes even talk about the plays. Our dressing areas become living rooms where we share stories of our own families, seek professional and personal advice, and build the companionship and camaraderie that we otherwise lack being away from home. For many of us, even pursuing a career in this profession has meant some amount of personal sacrifice to our own families. During one of the many hours of technical rehearsals, I listen as two of the men in our group discuss missing their sons’ recent tours of prospective colleges. I figure it must be hard being absent from family trips such as these and I ask what it’s like having to be away from home so much. “It’s hard,” one concedes, “especially when the kids are young. You want to be able to pull your weight and send money home, but it also hurts to miss things like family summer vacations.” Father number two chimes in “One thing working on these plays makes you realize is that family is the most important thing.” “Did you ever consider doing something else professionally once you had kids?” I inquire. “Yeah, I tried for a year, but I realized acting was the best chance I had to make money for my family.” Father number two is surprised when I tell him I hope to have a family some day. He says he doesn’t run into too many actors my age who are looking forward to that already. He surprises me by asking how many children I want. “It’s important to think about,” he rejoins in response to what must have been a wide-eyed expression of terror on my face, “especially if you are going to be an actor and do this.” His gentle interrogation strikes at the heart of what I find most terrifying about starting a professional stage career.
Considering the difference in earning potential, I find it no wonder that the theater loses many of its finest talents to its younger, more popular artistic siblings, film and television. To be sure, the financial allure of those media is hard to ignore, especially for the domestically inclined actors among us. However, it seems to me as well that what the process of doing a stage play may lack in fiscal incentives it makes up for in espirit de corps. It seems to me that there has always been something inherently familial about the theater. I am reminded of the Italian Commedia families who not only made their living traveling the countryside in search of their next stage, but who literally passed down the portrayal of certain characters to their children. Likewise, it surely must have felt like joining a family to be admitted into Shakespeare’s The Lord Chamberlain’s Men or Moliere’s Troupe du Roi. Be it literal or fostered, the bond forged between actors on the stage often has the strength one associates with family; out there under the lights, we depend entirely on one another, and I find this dependence usually makes its way offstage as well.
Unfortunately, (or fortunately depending on your take,) theater and the process that brings it about mirror life in many ways. Change, both expected and otherwise, is simply always part of the equation. Our families, both biological and artistic, are inevitably affected and transformed by that unapologetic plodder, time. Having recently been caught unawares by this unalterable truth, I have found comfort in the words of none other than our playwright. In the penultimate play of his cycle Horton writes, “A family is a remarkable thing, isn’t it? You belong. And then you don’t. It passes you by.” I believe Horton’s words certainly speak to the families we all come from, but also the ones we form in and around the theater. The transient nature of rehearsing and performing a play (or 9), each night a little different than the next, each moment passed in due time, is part of what appeals to me about the theater. It is this impermanence that television and film will never be able to offer. It is this mortality that calls for us to enjoy every fleeting moment with the plays and with those around us that in turn forms such lasting kinship among us. I am truly beginning to cherish our ad hoc family here and am constantly reminded why I have chosen to be a part of this crazy caste (pun intended). And yet, as Horton reminds me, like an actor’s work in a theater, this family will not always be. That’s just the way it goes. You belong. And then you don’t. I think there’s something beautiful in that.
Friday, October 2, 2009
Friday, September 18, 2009
Behind the Scenes Video -- One Week Until Tech
In addition to our Actor's Diary with Bryce Pinkham, Dramaturg's Diary with Literary Associate Kirsten Bowen, and photos from the rehearsal room, we'd like to give you even more of a glimpse of what goes into putting together a mammoth production like The Orphans' Home Cycle! We gave actor Bryce Pinkham a flipcam, and the result is the video you see below, shot the week before tech rehearsals began at Hartford Stage. Enjoy!
Keep checking back for more ways to find out what's happening with The Orphans' Home Cycle!
Keep checking back for more ways to find out what's happening with The Orphans' Home Cycle!
Wednesday, September 16, 2009
Dramaturg's Diary: Catching Up With Orphans'
Kirsten Bowen is Signature Theatre Company's Literary Associate, and the Signature dramaturg for The Orphans' Home Cycle
Well, when I last posted a “diary entry,” the crack dramaturgy teams of Signature and Hartford were hard at work researching the world of The Orphans’ Home Cycle. Since then, we table-worked and work-shopped all nine plays over the course of three weeks, leading up to a “marathon” reading of all nine plays that brought the entire staffs of Hartford and Signature together (a day which Orphans’ actor Bryce Pinkham reported on in his diary and which was also photographed). Following the marathon reading, which marked the official start date of rehearsals, director Michael Wilson began the complicated process of staging the plays, working sequentially from the first play, Roots in a Parched to Ground, to the last, The Death of Papa.
Meanwhile, back at Signature we’ve been supporting the process by researching questions from the rehearsal room (if Claire is sending a wire at four o’clock in the morning, would she send it from home or would she have to leave the house?) as well as preparing for when we take over hosting the cycle. For me, this includes assembling material for Signature’s elaborate dramaturgical lobby displays, writing and editing our quarterly newsletter, Signature Edition, and for the interns, crafting the three-part video that will honor Horton Foote and run on the television in the Peter Norton Space’s lobby throughout the season.
Periodically throughout the summer various members of the Signature staff and I have been leaving New York very early in the morning, either via train or ZipCar, to attend rehearsals in Hartford. I was most often in rehearsal during the first three weeks when the company was still reading the plays around the table and making initial investigations into the world and their characters. In addition to asking practical questions such as which neighborhood of Houston do Horace’s mother and sister live in, and how were lawyers educated in the late nineteenth century, Michael impressed into the actors the key themes Horton explored in all of his work, and which re-surface throughout The Orphans’ Home Cycle: the search for home and identity, how some people actively choose to remember while others choose to forget, and what makes some of us survivors and thrivers and others doomed to failure and disappointment?
Many of these characters are based on Horton Foote’s family – not only do his father and mother have alter-egos, but so do his grandparents, great-grandparents, and numerous aunts, uncles, and cousins, some of whom have morphed into a character representing a combination of several people (for example, Brother Vaughn, one of Bryce Pinkham’s characters, is a composite of three of Horton’s uncles). Although many events within the cycle did not happen in real life, and these characters were created to stand on their own, separate from their real-life counterparts, we do a lot of digging into Horton’s family history in order to find a model for these people’s histories. His memoir, Farewell, is an invaluable resource, but even more helpful is Horton’s daughter, actor Hallie Foote. Hallie has appeared in the majority of her father’s plays over the past thirty years and is known as the premiere interpreter of his work. Of everyone in the room Hallie’s involvement in The Orphans’ Home Cycle goes back the furthest – not only did she witness her father write them when she was a teenager (and help type the scripts), she created the key role of Elizabeth Vaughn when the plays were first produced on stage at New York’s HB Playwrights’ Foundation in the late 1970s and early 1980s, and in their film adaptations in the 1980s. Now Hallie will play Elizabeth’s mother, Mary Vaughn, among other roles. In addition, since Horton’s passing Hallie has taken on the stewardship of his work and continues to collaborate closely with Michael on bringing the cycle to life.
Another challenge we faced during those early weeks was working on the plays out of sequence. We began with Lily Dale, the third play of the cycle, and for the most part jumped around, working our way towards the larger cast plays as more actors joined us throughout the three-week workshop period. While it was incredibly beneficial to be able to focus in-depth on one play at a time, it was tricky exploring these characters whose journeys had begun several plays ago. We couldn’t help but reference plays that we had not discussed yet, with characters (and actors) whom we hadn’t met.
What’s interesting however, is that although Horton wrote the basis for the first play, Roots in a Parched Ground, in the early 1960s, a decade later when he set out to write The Orphans’ Home Cycle as a whole he also wrote them out of sequence, beginning with 1918 (which is the seventh play and will begin Part Three of our cycle) and ending with The Widow Claire, the fourth play in the sequence (which is the first play of our Part Two: The Story of a Marriage). But despite the fact that Horton didn’t write them in order, all nine plays still follow a very lucid and consistent journey as events and themes of one play reverberate in another, sometimes three plays later. Recently, on a trip to Hartford to watch a run-through of Parts One and Two, I interviewed Michael for Signature Edition, and he commented on the cycle’s seemingly seamless ebb and flow, “Now that we’re at the point in the process when we’re beginning to put the plays together, we’re seeing characters an hour later in another act referring to an event that happened a couple of years ago. Those echoes, both thematically and emotionally, are very, very moving. It’s mind boggling how he created that, especially the way he wrote them out of order. It’s almost like he was a vessel, like he was channeling some kind of divine epic story that was coming though him onto the page.”
Well, when I last posted a “diary entry,” the crack dramaturgy teams of Signature and Hartford were hard at work researching the world of The Orphans’ Home Cycle. Since then, we table-worked and work-shopped all nine plays over the course of three weeks, leading up to a “marathon” reading of all nine plays that brought the entire staffs of Hartford and Signature together (a day which Orphans’ actor Bryce Pinkham reported on in his diary and which was also photographed). Following the marathon reading, which marked the official start date of rehearsals, director Michael Wilson began the complicated process of staging the plays, working sequentially from the first play, Roots in a Parched to Ground, to the last, The Death of Papa.
Meanwhile, back at Signature we’ve been supporting the process by researching questions from the rehearsal room (if Claire is sending a wire at four o’clock in the morning, would she send it from home or would she have to leave the house?) as well as preparing for when we take over hosting the cycle. For me, this includes assembling material for Signature’s elaborate dramaturgical lobby displays, writing and editing our quarterly newsletter, Signature Edition, and for the interns, crafting the three-part video that will honor Horton Foote and run on the television in the Peter Norton Space’s lobby throughout the season.
Periodically throughout the summer various members of the Signature staff and I have been leaving New York very early in the morning, either via train or ZipCar, to attend rehearsals in Hartford. I was most often in rehearsal during the first three weeks when the company was still reading the plays around the table and making initial investigations into the world and their characters. In addition to asking practical questions such as which neighborhood of Houston do Horace’s mother and sister live in, and how were lawyers educated in the late nineteenth century, Michael impressed into the actors the key themes Horton explored in all of his work, and which re-surface throughout The Orphans’ Home Cycle: the search for home and identity, how some people actively choose to remember while others choose to forget, and what makes some of us survivors and thrivers and others doomed to failure and disappointment?
Many of these characters are based on Horton Foote’s family – not only do his father and mother have alter-egos, but so do his grandparents, great-grandparents, and numerous aunts, uncles, and cousins, some of whom have morphed into a character representing a combination of several people (for example, Brother Vaughn, one of Bryce Pinkham’s characters, is a composite of three of Horton’s uncles). Although many events within the cycle did not happen in real life, and these characters were created to stand on their own, separate from their real-life counterparts, we do a lot of digging into Horton’s family history in order to find a model for these people’s histories. His memoir, Farewell, is an invaluable resource, but even more helpful is Horton’s daughter, actor Hallie Foote. Hallie has appeared in the majority of her father’s plays over the past thirty years and is known as the premiere interpreter of his work. Of everyone in the room Hallie’s involvement in The Orphans’ Home Cycle goes back the furthest – not only did she witness her father write them when she was a teenager (and help type the scripts), she created the key role of Elizabeth Vaughn when the plays were first produced on stage at New York’s HB Playwrights’ Foundation in the late 1970s and early 1980s, and in their film adaptations in the 1980s. Now Hallie will play Elizabeth’s mother, Mary Vaughn, among other roles. In addition, since Horton’s passing Hallie has taken on the stewardship of his work and continues to collaborate closely with Michael on bringing the cycle to life.
Another challenge we faced during those early weeks was working on the plays out of sequence. We began with Lily Dale, the third play of the cycle, and for the most part jumped around, working our way towards the larger cast plays as more actors joined us throughout the three-week workshop period. While it was incredibly beneficial to be able to focus in-depth on one play at a time, it was tricky exploring these characters whose journeys had begun several plays ago. We couldn’t help but reference plays that we had not discussed yet, with characters (and actors) whom we hadn’t met.
What’s interesting however, is that although Horton wrote the basis for the first play, Roots in a Parched Ground, in the early 1960s, a decade later when he set out to write The Orphans’ Home Cycle as a whole he also wrote them out of sequence, beginning with 1918 (which is the seventh play and will begin Part Three of our cycle) and ending with The Widow Claire, the fourth play in the sequence (which is the first play of our Part Two: The Story of a Marriage). But despite the fact that Horton didn’t write them in order, all nine plays still follow a very lucid and consistent journey as events and themes of one play reverberate in another, sometimes three plays later. Recently, on a trip to Hartford to watch a run-through of Parts One and Two, I interviewed Michael for Signature Edition, and he commented on the cycle’s seemingly seamless ebb and flow, “Now that we’re at the point in the process when we’re beginning to put the plays together, we’re seeing characters an hour later in another act referring to an event that happened a couple of years ago. Those echoes, both thematically and emotionally, are very, very moving. It’s mind boggling how he created that, especially the way he wrote them out of order. It’s almost like he was a vessel, like he was channeling some kind of divine epic story that was coming though him onto the page.”
Tuesday, September 8, 2009
Actor's Diary: Passion and Patience
Bryce Pinkham will be playing the roles of Brother Vaughn, Pete Davenport and Felix Barclay in The Orphans' Home Cycle
Constantly abandoning his chair to cavort around the rehearsal hall and joke with the company, Michael Wilson has an infectious energy that helps to drain any inherent tension out of the room. With seemingly unending patience he fields all questions and conducts rehearsal with a balance of tender admiration and boyish irreverence. Throughout each day, Michael somehow manages a ‘hey darlin’ or ‘hello sweetheart’ for everyone and succeeds in making every last one of us feel important to this project. In an effort to further understand Michael’s skillful métier as a director, I stir up a discussion among my peers about the inherently delicate relationship between actors and directors. In turn I am treated to several horror stories about directors who failed to win the admiration of their respective casts: “I had this one director tell me I was speaking like a movie extra, and then he asked me if I wouldn’t mind talking like a human being... ”
Pause.
At our best, we actors are empathetic, generous and emotionally sensitive; at our worst we are temperamental, irascible and, well, emotionally sensitive. Direction like that provided in the above anecdote is sure to affect even the steeliest of our kind.
Play.
“…I took the note and walked away because you never questioned this guy. Your goal was just to get onstage and off without getting caught.” It seems to me that a successful director’s efficacy is closely related to his ability to set his or her actors at ease to fearlessly explore ideas and choices. To be sure, a certain amount of actors’ creative forays in our rehearsal room turn out to be dead ends, but an equal number of interpretive risks reward our director, and in turn our company, with a greater illumination of character and story. Recently, one actor is searching for a definitive sound for his character. By his own admission, his first attempt in rehearsal comes off as a bad Colonel Sanders imitation. But Michael is patient. He allows everyone to laugh about it, but then rather than immediately place the kibosh on this actor’s bold interpretation, he encourages further exploration of the idea about the character that lead to this particular vocal choice. Sure enough, within a few rehearsals this actor has honed and specified his vocal proposal and in doing so has opened up a whole new interpretation of his character that is delightfully revelatory. This instance is just one example of Michael’s ability to disarm the tentative actor in all of us for the benefit of our entire endeavor.
Fast Forward.
It is two days before we enter the theater to begin technical rehearsals for our first three acts and we are about to begin our final run-through of Part One in the rehearsal room. Naturally, we are all a bit anxious about moving to the theater in two days; the previously distant specter of a paying audience is suddenly beginning to take shape and loom on the horizon. Anticipating this swell of nerves that inevitably runs through any company at this point in the rehearsal process, Michael gathers us together.
Pause.
A good director knows when to give a good speech.
Play.
“I love marathons. I think they are thrilling events in our theater that remind us what the theater does differently than television and film. They represent the pinnacle of the communal experience between artist and audience. I am deeply proud, honored and thrilled to make this distinctly American marathon happen with you all.” Michael’s rehearsal room valedictory is the perfect example of emotional and practical leadership. He reminds us that we are literally building our strength and endurance for a marathon and that individually we must remain focused, determined and supportive of each other. He also succeeds in unifying us as a company: “We are a family now, and there is not one day I regret being in this room or regret sharing this journey with you all.”
Pause.
I believe we are all extremely excited to get into the theater, though we know not what challenges lie in wait. Regardless, we are comforted in knowing that our leader could not be more committed to us and our endeavor and at the very least, there is one thing he will always allow…
Play.
Constantly abandoning his chair to cavort around the rehearsal hall and joke with the company, Michael Wilson has an infectious energy that helps to drain any inherent tension out of the room. With seemingly unending patience he fields all questions and conducts rehearsal with a balance of tender admiration and boyish irreverence. Throughout each day, Michael somehow manages a ‘hey darlin’ or ‘hello sweetheart’ for everyone and succeeds in making every last one of us feel important to this project. In an effort to further understand Michael’s skillful métier as a director, I stir up a discussion among my peers about the inherently delicate relationship between actors and directors. In turn I am treated to several horror stories about directors who failed to win the admiration of their respective casts: “I had this one director tell me I was speaking like a movie extra, and then he asked me if I wouldn’t mind talking like a human being... ”
Pause.
At our best, we actors are empathetic, generous and emotionally sensitive; at our worst we are temperamental, irascible and, well, emotionally sensitive. Direction like that provided in the above anecdote is sure to affect even the steeliest of our kind.
Play.
“…I took the note and walked away because you never questioned this guy. Your goal was just to get onstage and off without getting caught.” It seems to me that a successful director’s efficacy is closely related to his ability to set his or her actors at ease to fearlessly explore ideas and choices. To be sure, a certain amount of actors’ creative forays in our rehearsal room turn out to be dead ends, but an equal number of interpretive risks reward our director, and in turn our company, with a greater illumination of character and story. Recently, one actor is searching for a definitive sound for his character. By his own admission, his first attempt in rehearsal comes off as a bad Colonel Sanders imitation. But Michael is patient. He allows everyone to laugh about it, but then rather than immediately place the kibosh on this actor’s bold interpretation, he encourages further exploration of the idea about the character that lead to this particular vocal choice. Sure enough, within a few rehearsals this actor has honed and specified his vocal proposal and in doing so has opened up a whole new interpretation of his character that is delightfully revelatory. This instance is just one example of Michael’s ability to disarm the tentative actor in all of us for the benefit of our entire endeavor.
Fast Forward.
It is two days before we enter the theater to begin technical rehearsals for our first three acts and we are about to begin our final run-through of Part One in the rehearsal room. Naturally, we are all a bit anxious about moving to the theater in two days; the previously distant specter of a paying audience is suddenly beginning to take shape and loom on the horizon. Anticipating this swell of nerves that inevitably runs through any company at this point in the rehearsal process, Michael gathers us together.
Pause.
A good director knows when to give a good speech.
Play.
“I love marathons. I think they are thrilling events in our theater that remind us what the theater does differently than television and film. They represent the pinnacle of the communal experience between artist and audience. I am deeply proud, honored and thrilled to make this distinctly American marathon happen with you all.” Michael’s rehearsal room valedictory is the perfect example of emotional and practical leadership. He reminds us that we are literally building our strength and endurance for a marathon and that individually we must remain focused, determined and supportive of each other. He also succeeds in unifying us as a company: “We are a family now, and there is not one day I regret being in this room or regret sharing this journey with you all.”
Pause.
I believe we are all extremely excited to get into the theater, though we know not what challenges lie in wait. Regardless, we are comforted in knowing that our leader could not be more committed to us and our endeavor and at the very least, there is one thing he will always allow…
Play.
Wednesday, September 2, 2009
"Angels in America" Coming to Signature in 2010-2011!
SIGNATURE THEATRE COMPANY’S 2010-2011 SEASON TO FEATURE FIRST NEW YORK REVIVAL OF TONY KUSHNER’S PULITZER AND TONY AWARD-WINNING
ANGELS IN AMERICA
DIRECTED BY MICHAEL GREIF
PRODUCTION MADE POSSIBLE BY MAJOR GRANT
FROM THE ANDREW W. MELLON FOUNDATION
ALL SEATS AVAILABLE FOR $20 THROUGH SIGNATURE TICKET INITIATIVE
ANGELS IN AMERICA
DIRECTED BY MICHAEL GREIF
PRODUCTION MADE POSSIBLE BY MAJOR GRANT
FROM THE ANDREW W. MELLON FOUNDATION
ALL SEATS AVAILABLE FOR $20 THROUGH SIGNATURE TICKET INITIATIVE
Signature Theatre Company (James Houghton, Founding Artistic Director; Erika Mallin, Executive Director) is pleased to announce that the theatre’s 20th Anniversary season in 2010-2011, celebrating author Tony Kushner, will feature the first New York revival of Kushner’s Pulitzer Prize and Tony Award-winning epic work, ANGELS IN AMERICA: A GAY FANTASIA ON NATIONAL THEMES. The production will be directed by Michael Greif with Part One: MILLENNIUM APPROACHES and Part Two: PERESTROIKA presented in repertory. Signature’s Tony Kushner season will also include two more works to be announced.
The production of ANGELS IN AMERICA is made possible by a $750,000 grant from The Andrew W. Mellon Foundation, as part of a $1.25 Million grant to Signature Theatre Company.
“I'm very excited about my Signature season and of course I'm very honored to have been chosen,” Tony Kushner said. “I've spent some of my best nights watching the work Jim Houghton and Signature Theatre Company has produced. It seemed to Jim and me that this is a good moment to bring ANGELS back to New York, and I'm delighted that Michael Greif has agreed to direct it. Michael and I have worked together and known each other for most of our careers. He's a serious, generous, incredibly smart and superbly talented artist; I love his passionate commitment to actors, to plays, to the theater. I think the Signature's the perfect space for the demands of ANGELS, which is both epic and intimate. I can't wait to see how it all turns out!”
Michael Greif commented, “Mounting Tony’s exquisite play in the intimate Signature Theatre will be an extraordinary challenge but will offer even more extraordinary rewards. I know I’ll be aided by an astonishing group of actors and designers anxious to wrestle with this masterpiece. I cherish my continued collaboration with Tony and the Signature.”
“I still remember the thrill of encountering Tony Kushner’s ANGELS IN AMERICA for the first time nearly 20 years ago and being astounded by the sweep and theatricality of this brave and impassioned piece,” said Jim Houghton. “We are privileged to be celebrating Tony’s work in our milestone 20th Anniversary Season and we’re exceedingly grateful to The Mellon Foundation for its unparalleled support and for making this first New York revival of ANGELS IN AMERICA possible.”
ANGELS IN AMERICA was one of the most critically acclaimed and heralded plays of the 1990s and established Tony Kushner as a major new voice in world theatre. Frank Rich, The New York Times, praised it as “the most thrilling American play in years”. The plays were developed in productions in Los Angeles, San Francisco and London, before opening on Broadway in 1993. Part One, Millennium Approaches, opened May 4, 1993 at the Walter Kerr Theatre and Part Two, Perestroika, opened November 23, 1993, also at the Walter Kerr, with the two parts playing in repertory. Both parts of ANGELS IN AMERICA won Tony Awards in 1993 and 1994 for Best Play and Millennium Approaches won the 1993 Pulitzer Prize for Drama. Kushner adapted the plays for an HBO mini-series, directed by Mike Nichols, which premiered in 2003 and won Golden Globe and Emmy Awards for Best Miniseries.
ANGELS IN AMERICA, A GAY FANTASIA ON NATIONAL THEMES is set in late 1985 and early 1986, as the first wave of the AIDS epidemic in America is escalating and Ronald Reagan has been elected to a second term in the White House. The play’s two parts, MILLENNIUM APROACHES and PERESTROIKA, bring together a young gay man with AIDS and his frightened, unfaithful lover; a closeted Mormon lawyer and his valium-addicted wife; the infamous New York lawyer Roy Cohn; an African-American male nurse; a Mormon housewife from Utah; and a steel-winged, prophecy-bearing angel; as well as the ghost of Ethel Rosenberg, an ancient rabbi, the world’s oldest living Bolshevik and a Reagan administration functionary, among many others – all played by a company of eight actors. The lives of these disparate characters intersect, intertwine, collide and are blown apart during a time of heartbreak, reaction and transformation. Ranging from earth to heaven, from the political to the intimate to the visionary and supernatural, ANGELS IN AMERICA is an epic exploration of love, justice, identity and theology, of the difficulty, terror and necessity of change.
Through The Signature Ticket Initiative, which seeks to make great theatre accessible to the broadest possible audience, all regularly-priced single tickets ($65) during the initial announced run are underwritten and will be available for $20. The Signature Ticket Initiative continues through Signature’s 20th Anniversary Season (2010-2011).
The Signature Ticket Initiative is made possible by the lead sponsorship of Time Warner Inc. Generous support for The Signature Ticket Initiative is provided by Margot Adams, in memory of Mason Adams.
Friday, August 21, 2009
Actor's Diary: Off the Page
Bryce Pinkham will be playing the roles of Brother Vaughn, Pete Davenport and Felix Barclay in The Orphans' Home Cycle
“Well that was a cluster$^@&!” quips Michael Wilson, our director, after an initial pass at a particular scene in the first play. So far, we have more questions than answers. The first two of our nine plays have never been given a stage production. As a result we have been spending the majority of rehearsals helping these plays take their first steps off the page. For Michael Wilson and many others in our company, this rehearsal process sadly marks the first time that Horton Foote has not been in the room to lend his insight and clarity to the work. We halt often to interpret and clarify the subtleties in his writing. The majority of this interpretive responsibility lands on our director as well as Horton’s daughter, Hallie. Every few minutes in rehearsal these two huddle to discuss what Horton’s intentions were with a particular scene or storyline. They often consult the book containing Horton’s full-length plays, which we have affectionately begun to refer to as “the Bible,” as well as the Foote family photo albums and scrapbooks that now live in our rehearsal room.
As an actor, it is easy to feel intimidated at this point in the process. Respect and reverence for our playwright’s words can easily turn into a fear of “getting it wrong.” It is easy to forget that at this early stage there is no ‘right’ or ‘wrong’, and that any choice is better than none at all. I am told that when Horton was in the room he was always encouraged by what each particular actor brought to his plays. “It felt like he was in the trenches with us,” one actress tells me, “and he loved nothing better than watching a group of actors take a scene above and beyond where he ever imagined it in his head.” Originally an actor himself, Horton surely would have enjoyed, as I have, watching the veteran actors in our present company begin to take responsibility for more than just their parts.
In a recent rehearsal, one actor stops a scene to raise a question about a particular line: “Our best friend is dying, why am I talking about the weather?” Twenty minutes later, the entire room is engaged in a heated discussion about the subtext of a particular scene that involves two feuding families. As actors begin to side with their characters, the feuding Thornton and Robedaux families of Roots in a Parched Ground suddenly come to life: “Everything is going to shit for us! We’re talking about a quaint veneer over total chaos and panic!” I am fascinated as actors not even involved in this particular scene begin to chime in as well: “There is nothing more boring than general bullshit- the stakes are so high in these people’s lives!” Soon, the discussion of our trilogy’s first act has given way to an even greater examination of human truths: “How many people get to the end of their lives and are happy with the way things went?” Audible exhales escape from several around me. I think we all realize we’ve tapped into something essential about Horton’s plays- and all from an initial question about the weather.
Upon reflection, I am reminded of the importance of “speaking up.” Too often I think actors, especially of my generation, are afraid of what one of my teachers would call “disturbing the air” in the room. Yes, our playwright’s words are sacred, but as I learned from watching my more experienced peers today, we as a company must take ownership of what we are saying and not be fearful of disagreement. At the end of our lengthy deliberation, Michael Wilson assures us that we have not wasted our precious rehearsal time: “These are the discussions we must have- they make the play get to the center of your soul.” It’s nice to be reminded that we are not just here to say the words, but that our agency as actors is not only real, but in fact necessary.
“Well that was a cluster$^@&!” quips Michael Wilson, our director, after an initial pass at a particular scene in the first play. So far, we have more questions than answers. The first two of our nine plays have never been given a stage production. As a result we have been spending the majority of rehearsals helping these plays take their first steps off the page. For Michael Wilson and many others in our company, this rehearsal process sadly marks the first time that Horton Foote has not been in the room to lend his insight and clarity to the work. We halt often to interpret and clarify the subtleties in his writing. The majority of this interpretive responsibility lands on our director as well as Horton’s daughter, Hallie. Every few minutes in rehearsal these two huddle to discuss what Horton’s intentions were with a particular scene or storyline. They often consult the book containing Horton’s full-length plays, which we have affectionately begun to refer to as “the Bible,” as well as the Foote family photo albums and scrapbooks that now live in our rehearsal room.
Michael Wilson and Hallie Foote consult the script in rehearsals for Orphans' Home Cycle
As an actor, it is easy to feel intimidated at this point in the process. Respect and reverence for our playwright’s words can easily turn into a fear of “getting it wrong.” It is easy to forget that at this early stage there is no ‘right’ or ‘wrong’, and that any choice is better than none at all. I am told that when Horton was in the room he was always encouraged by what each particular actor brought to his plays. “It felt like he was in the trenches with us,” one actress tells me, “and he loved nothing better than watching a group of actors take a scene above and beyond where he ever imagined it in his head.” Originally an actor himself, Horton surely would have enjoyed, as I have, watching the veteran actors in our present company begin to take responsibility for more than just their parts.
In a recent rehearsal, one actor stops a scene to raise a question about a particular line: “Our best friend is dying, why am I talking about the weather?” Twenty minutes later, the entire room is engaged in a heated discussion about the subtext of a particular scene that involves two feuding families. As actors begin to side with their characters, the feuding Thornton and Robedaux families of Roots in a Parched Ground suddenly come to life: “Everything is going to shit for us! We’re talking about a quaint veneer over total chaos and panic!” I am fascinated as actors not even involved in this particular scene begin to chime in as well: “There is nothing more boring than general bullshit- the stakes are so high in these people’s lives!” Soon, the discussion of our trilogy’s first act has given way to an even greater examination of human truths: “How many people get to the end of their lives and are happy with the way things went?” Audible exhales escape from several around me. I think we all realize we’ve tapped into something essential about Horton’s plays- and all from an initial question about the weather.
Upon reflection, I am reminded of the importance of “speaking up.” Too often I think actors, especially of my generation, are afraid of what one of my teachers would call “disturbing the air” in the room. Yes, our playwright’s words are sacred, but as I learned from watching my more experienced peers today, we as a company must take ownership of what we are saying and not be fearful of disagreement. At the end of our lengthy deliberation, Michael Wilson assures us that we have not wasted our precious rehearsal time: “These are the discussions we must have- they make the play get to the center of your soul.” It’s nice to be reminded that we are not just here to say the words, but that our agency as actors is not only real, but in fact necessary.
Monday, August 17, 2009
Photos: In Rehearsal with Orphans' Home Cycle
The Rehearsal Room
Rehearsing three plays at once is no easy feat, so the cast and crew of Orphans' Home Cycle are hard at work in Hartford getting ready for performances at Hartford Stage beginning September 3rd and Signature Theatre beginning November 5th. Below are some pictures of the team at work.
All photos by Gregory Costanzo.
Maggie Lacey (Elizabeth Robedaux, Inez Thornton) and Director Michael Wilson
Bill Heck (Horace Robedaux)
Michael Wilson and Hallie Foote (Mrs. Vaughn, Mrs. Robedaux, Asa Vaughn, Lola Reeves)
Stephen Plunkett (Terrance Robedaux, Will Kidder, Archie Hall, Steve Tyler)
Pamela Payton-Wright (Ruth Amos, Sarah Vaughn, Aunt Inez, Mrs. Coons)
Stage Manager Cole Bonenberger
Devon Abner (John Howard, Pete Davenport, Roger Culpepper, Bobby Pate)
Bill Heck and Stephen Plunkett
Michael Wilson, Hallie Foote and Hartford Stage Dramaturg Chris Baker
Pamela Payton-Wright and Virgina Kull (Corella Robedaux, Claire Ratliff, Bessie Stillman, Minnie Curtis)
Michael Wilson and Bill Heck
Bryce Pinkham (Pete Davenport, Felix Barclay, Brother Vaughn)
Jasmine Harrison (Gertrude)
Maggie Lacey, Bill Heck, Pamela Payton-Wright and Virginia Kull
Stephen Plunkett, Bryce Pinkham, James DeMarse (Saul Gautier, Mr. Vaughn) and Justin Fuller (Albert Thornton, Ed Corday, Dr. Green, Gordon Kirby)
Bill Heck
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