Starting next Monday, Writers’ Threatre will begin introducing you to cast and crew members from next Season’s exciting productions. Keep checking back here for exclusive insider information.
Michael Halberstam, Jan Tranen, Josh Schmidt and Kevin Gudal
From Page to Stage, an annual joint program between Writers’ Theatre and select North Shore libraries, officially began Tuesday, April 21st. Gathered at the Women’s Library Club for the kick off event were Artistic Director Michael Halberstam, lyricist Jan Tranen, composer Josh Schmidt and Kevin Gudahl, who plays Rev. James Morell in A Minister’s Wife, the world premiere musical based on George Bernard Shaw’s play, Candida.
Featuring about an hour of lively discussion and insightful questions from the audience, the creative team first discussed their history with each other and with the play, Candida.
Michael Halberstam first directed a production of Candida at Writers’ Theatre in 1998, with William Brown, Scott Parkinson, Kristine Thatcher and Karen Wodistch Janes. Josh Schmidt first started sound designing for us in 2001. A few years later, Michael was invited to direct Candida in New York for the Jean Cocteau Repertory Theatre. Writers’ Theatre paid to fly Josh out to New York to compose incidental music for the show in order to lay down the foundations for creating a musical out of the show. Michael met Jan Tranen when he was invited to stage a reading of a musical called Crazy Mary that Jan had written lyrics for. Her gift for words stuck with him and he brought her into the process. Kevin joined the cast in the summer of 2008, having known Michael since their days at the Stratford Shakespeare Festival back in 1990.
From here the conversation exploded into a myriad of fascinating topics. Michael talked about the three main obstacles facing a contemporary audience in understanding Candida and how adapting the play into a musical removes those barriers. Jan and Josh explained how they set about finding where to put songs and then creating the necessary lyrics and music. Kevin discussed his work in rehearsal coming to understand that Josh and Jan’s songs continue the narrative and are not just melodic embellishments to the dialogue.
One audience member asked a great question about the amount of reverence creators have to pay to a classical text when adapting it for a modern audience. Michael explained that the only thing that keeps classics vital is their ability to be reinterpreted for the current climate. Otherwise they become historical footnotes. He cited the fact that during Shakespeare’s time, his plays were not done with period sets or costumes or accents that perfectly represented the setting he was portraying on stage; his actors wore their everyday clothes when they went on. Why should we be purists when the Bard wasn’t?
From Page to Stage events continue through May 30th at select North Shore libraries. For a complete list, please visit: www.writerstheatre.org/fpts
When The Maids by Jean Genet closed on Sunday March 22nd, the cast had been together almost every day for five months. Just before the production ended I caught up with our three actresses —Elizabeth Laidlaw, Helen Sadler and Niki Lindgren—to chat about their experience performing at Writers’ Theatre.
Bobby Kennedy: Helen, you’ve never done a show with a run as long as that of The Maids. How has it been?
Helen Sadler: It’s been a great exercise in building up stamina! It’s a pretty demanding play, physically and mentally, so I found that doing yoga helps me a lot. Luckily, we all get on really well and have created a nice little balanced system where only one of us gets to be “mad” at any given time. And trust me, over 6 months we have taken turns!
BK: Elizabeth and Niki, where have you done a show this long? How is The Maids different?
Elizabeth Laidlaw: The Xena: Live I worked on at About Face ran for a whole season.
Niki Lindgren: I did Second City for a year.
EL: Xena was a much bigger show. We had a couple swings come in and out of the show; a couple left and were replaced by other actors.
NL: For me, what’s different is that at Second City there was still improvisation, so things can change. And the audience was much drunker.
EL: But this is a show that is so inscrutable. Genet doesn’t need you to be sure exactly what’s happening; that’s not the point. For each of the characters, there’s a different reality of what might be going on. They all have their own perception of what’s happening and that perception isn’t locked in the language. It’s mutable. The interesting challenge has been to keep the show strong and consistent and maintain the parameters of the direction, while allowing that fluidity to exist and allowing the show to grow. Because this could turn into a completely different play if we allowed it to. That’s been the challenge for me: to try and grow within the parameters of such a volatile piece of writing.
BK: This is the first time working at Writers’ Theatre for all of you. How has the experience compared to other places you’ve worked?
EL: This is one of the best paying contracts in the city. I bring it up because it’s something I’m grateful for, that Writers’ puts the artists first. And there are companies that don’t do that, where artists are not paid very well but they’re wearing $10,000 costumes, and I think that’s not the answer. You can have a play without costumes; you can’t have a play without actors.
NL: I’ve been thoroughly impressed with the support the organization gives to an actor, financially and artistically. It’s been a really wonderful experience for me to work with a company that’s so professional but still supportive. There’s so much communication. It’s amazing to me. If something’s going on, I feel like I could talk to anyone and it’s addressed right away.
HS: It is empowering to work here because you are given artistic freedom within a really solid and supporting framework. The resources are amazing.
BK: How is getting to Glencoe from the city?
EL: The commute is so much easier. It is easier to get here, driving or public transit, than a lot of the theatres in Chicago. We adore the Metra.
NL: One of the things I love is the half hour of forced time to relax, both before and after. I really looked forward to taking the Metra because I knew I had time to relax and let go of all that’s going on in my crazy brain.
EL: There’s such a perception among Chicagoans that it’s so tough to get up here. No, it’s not! It’s great! It is so much easier to get here than you think. Just roll up to the train stop and be whisked away.
BK: What do you think of the intimate Books On Vernon performance space?
HS: I personally love having the audience right “up in my grill.” It keeps you specific and focused, but natural. You can’t get away with anything or be lazy, which is good! It can get pretty visceral.
EL: You can’t hide from the audience.
NL: And they can’t hide from us.
EL: They don’t know that yet.
BK: What have been your favorite moments so far?
EL: Once Niki hit the cigarette box and one of them blew through the air and landed right in my cleavage. I couldn’t let it stay there or have Niki pull it out. I just had to take care of it right away or I would have laughed.
HS: Rehearsals were great, unlocking the bizarre Genet world together. Jimmy [McDermott] is very collaborative; we had some fun. Good wholesome strange fun.
NL: It was Chinese New Year and I couldn’t be with my family. And I came off stage and everyone had decorated the dressing room and they got a cake with some Chinese words on it. I was really homesick then and that really helped.
BK: What’s coming up next for you ladies?
EL: My theatre company, Lakeside Shakespeare Theatre, starts rehearsals in June. We’re doing The Taming of the Shrew up in Michigan.
HS: I am going straight into rehearsals for another sweet little family drama, Buried Child at Shattered Globe. My mum keeps saying, “When are you going to do a nice British comedy?” She’ll have to wait.
NL: I have secretly been planning how to stalk Helen and Elizabeth. “Oh, you’re at the grocery store; I’m at the grocery store.” Other than that, shed a few pounds, sleep, definitely going to go visit some family.
A Minister’s Wife Blog EntryGeorge Bernard Shaw once said: “Hell is full of musical amateurs.” Well, fortunately, professionalism was leading the way to heaven at Tudor Court last week. Writers’ Theatre has gathered remarkable array of talent to transform George Bernard Shaw’s 1894 play Candida into a scintillating new musical.
A Minister’s Wife Workshop
A Minister’s Wife tells the story of Rev. James Morell, a Christian Socialist minister who believes himself to be happily married to his wife Candida—until that stability is threatened by the amorous advances of the young poet Eugene Marchbanks. Tony Award nominee Austin Pendleton is responsible for adapting the Shaw play. Jan Tranen is the lyricist and the music is composed by Josh Schmidt, whose musical Adding Machine was an off-Broadway hit last year. The production is directed by Writers’ Theatre Artistic Director Michael Halberstam.
During the last workshop in October 2008, the creative team identified a major hurdle still left to be overcome: the inability of a contemporary audience to fully grasp Morell’s status in Victorian England. The audience Shaw wrote for would naturally know what kind of man he was and the good work he was attempting to accomplish. Christian Socialists were some of the most influential activists in the later 19th century. They were able to preach their cause to people all over the political, social and economic spectrums. However, to an American living in 2009 much of the political landscape of Shaw’s play holds no meaning or relevance. Morell is in fact achieving the contemporary equivalent of preaching both to the NRA and the ACLU and inspiring them to a common cause. Without this insight into Morell’s character, he can come off as slightly comical - a windbag even - which diminishes the dramatic potential of the play’s exciting final scene.
The answer to this conundrum came in the form of a new eight minute opening number, entitled “The Sermon.” To start off the show, we are now treated to a rousing oration from Morell on the ills of society and how Socialism is the way to a better future. As a result, both his good intentions and his talent at earnestly winning over his listeners are on display from the beginning of the musical. Furthermore, it holds almost epic scope as an overture, sweeping us thrillingly into the world of the music setting up all of the major themes.
Kevin Gudahl who is playing Morell, performed a heroic feat learning the sizeable song which was only completed days before the workshop began. Some of the cast had participated in a previous workshop this past October and were familiar with most of the material. Those who were new to the process had the difficult task of learning a significant amount of challenging music in only a week, which I am pleased to say they accomplished magnificently.
The October workshop had been mostly consumed by the task of learning music. This time around, Richard Carsey (Musical Director) and Tim Splain (Assistant Musical Director) were able to utilize two rehearsal spaces and accomplish considerably more in half the time. The speed with which our artists were able to learn the new music allowed for deeper exploration of the text this time around. Characters were developed and motivations established as an increased command over the music empowered the cast to focus on scene work. Jan and Austin were able to subtly shape the words on the page as Michael and the cast brought the scenes to life like never before.
The end result of a week of hard work was astounding. An invited read-and-sing through of the piece on Saturday morning was remarkably polished for such a short rehearsal time. “The Sermon” was very well received and the musical as a whole played better than ever before.
But most importantly, the creative team now has in their possession a musical that is ready for the stage. Some changes may occur before everyone regroups in April, but the development of a new musical that began four years ago is nearing readiness for production. Soon enough, A Minister’s Wife will enchant Glencoe audiences. And it will, I am confident, be a heavenly experience.
This week we closed the 2009 Tour of The MLK Project and we are thrilled to say that in the past three years we have toured this production to over 75 schools, reaching more than 20,000 students!
We would like to share some of the student and teacher responses to the 2009 Tour as those are the best indicators of our success:
“This play really introduced me to a deeper meaning of the Civil Rights Movement and the activists. I really love how she became one with each and every character she played. This play inspired me to learn more about the Civil Rights Movement.”
–Student, Marshall Middle School
“A part that stood out to us was when the lady told the kid that he wasn’t good enough to be a doctor. You showed us that you could be whatever you want and nobody can tell you what you should or shouldn’t be.”
-Students, Sheridan Math and Science Academy
“I liked the fact that even though the events that were acted out happened years ago the presenter was thorough and I thought she was there and I felt like I was there!”–Student, Goodlow Elementary
“The combination of story plus the visuals really grabbed my students’ attention, particularly the story of Emmett Till. They were fighting over who got to check out a great book I have on Emmett Till. I now have a waiting list!”
–Teacher, Marshall Middle School
“The students were able to see photographs of topics they discussed in class. It gave them a student view of the topic, through the actor. The students could identify with the main character who was frustrated about doing research, yet discovered the benefit.”
–Teacher, Schiller Elementary
We’ll see you next year! If you are interested in bringing The MLK Project to your school in 2010 contact me, the Interim Director of Education, Nicole Gilman at 847-441-6840.
This has been an exciting year to be touring a show about the Civil Rights Movement to schools. We kicked off the tour on January 19 (Dr. Martin Luther King, Jr. Day) and continue to tour
The MLK Project through the end of February. This year, the election of the first African American President has brought Dr. King’s dream and the Civil Rights Movement back into our national dialogue. Many students see this past election as an important step in our continued fight for civil rights in this country and they enjoy discussing what might be next.
One of the most interesting things about bringing The MLK Project into schools is that you never know which parts of the play are going to be of most interest to students. Some students are most interested in the production and what it takes to rehearse and stage a play, some want to discuss the shooting of Dr. Martin Luther King, Jr., or the poetry and music used in the performance. Each school has a new group of students with their own interests and ideas, which is the most exciting part of working on a touring production.
One particular story that students ALWAYS want to discuss is that of Emmett Till.
There are many students who attend The MLK Project who have never heard about how Emmett Till at the young age of 14 was viciously beaten and murdered for saying hello to a white woman in a store. There are so many reasons that I think this section of the play stands out to students not the least of which is that they are all about the same age as Emmett was when he was murdered.
Recently we were engaged in an incredible post-show discussion after a performance of The MLK Project at a school on Chicago’s far south side when a teacher raised her hand and commented, “I’m actually related to Emmett Till. My father’s first cousin was in the house with Emmett the night that the white men showed up and took him away from the house and killed him. That is something we have always had trouble talking about in my family. Until very recently we did not discuss what happened to Emmett when he was killed that night. I just want to say thank you for sharing this today. It may not be easy but we all need to hear these stories so that we can keep moving forward.”
It is wonderful to think about how far we have come in the past few decades, especially in the light of our recent, historic presidential election. But it is easy to forget how much more work there is to be done. I’m proud to be able to share The MLK Project with students so that we can “keep moving forward.”
Preview week, to me, is one of the hardest weeks of my process. Not only do I need to be available with fresh coffee for the rehearsals, but I also have to begin figuring out my track for the preview performance. However, I continue to work on my check list (one of my favorite jobs) in order to consistently do my specific tasks required during the performance. The biggest job is preparing and doing the scene changes. There are eight!! I make a lot of beds, refresh the wine and food, and round up the supernumeraries, which are in costume and make scene changes onstage possible. I am so grateful for them! If not for their help the changes would be really boring and slow. :) Opening week next week is always a relief. It’s nice to run the show with no new changes and to finally get into a routine.
Well, here we are in week four of the process of putting together The Lion in Winter. I don’t know why, but even after acting professionally for more than 10 years, I always feel like I am reinventing the wheel whenever I construct a character. The obstacle of the week: no empty space.
One of the magical things about theatre is the capacity to engage in an imaginary world. In the rehearsal process, much energy is expended imagining and creating in our minds the playing space. Rehearsals typically take place in a space separate from and usually not resembling the actual performance space. So it is with us upon arriving at 325 Tudor Court. Coming to terms with the actual props is confusing, reconfiguring our kinesthetic relationships is confounding and seeing just how close the audience is going to be is downright terrifying. Fortunately the work we have done so far as an ensemble is strong, so it is no small comfort to look in the eyes of my partner onstage and know that the other person is my anchor.
Something that I have been thinking alot about with this play is the extent to which expression can be achieved through stillness. I performed in Blue Man Group many years ago as a Blue Man and one of the directors was always urging the Blue Men to simply have the experience of the show and let the audience watch us go through it. Only then can we allow the audience to participate viscerally and imaginatively in the story of the show. Coming back to The Lion in Winter, I feel that the combination of this show, our particular director’s aesthetic and the limitations/blessings of our space require a stillness and focus that I have never experienced before.
I am sitting here on a break in our technical rehearsal anxiously anticipating the family style chinese food that one of the actors ordered for the cast. I will try and stretch before getting into a beautiful costume that is almost a quarter of my body weight. I will then warm up my voice and try and clear my head with a cup of coffee, a breath of fresh air and most likely an inspiring note from our director, Rick Snyder. And so I am living the dream….
I’m reading an article in this week’s New Yorker about Mark Rylance, the celebrated English actor and founding artistic director of the Globe Theatre in London. One of his former directors said the following about his work on stage: “He has what all great sportsmen have: he seems to have more time than anyone else.” The gist of this metaphor is that he can take this dense text, move effortlessly through it, and convey so many different ideas at once, without slowing down or confusing the audience. The work in The Lion in Winter requires that kind of layering, if it’s to be shown at it’s best. The character I play, Eleanor, is one that has so much pent-up hurt, regret, and love which the audience absolutely must know is there, but she shows it at her own peril, for it gives away her power, and leaves her even more vulnerable. She must play coolly, with effortless grace and elan, so no one will see how much she desparately needs. Well, that’s the goal. We’ll see if I get there….
It’s always difficult for me to let go of a project - (well….usually it’s difficult!) but this has been an especially hard show to bid it’s fond farewell. In just four short months, I made friendships that I will cherish for life, marvelled at talents that topped the peak of gifts I’ve seen - and I learned such a vast amount about myself as an actor that it will probably be quite some time before I’m able to fully recognize the extent.
For a very long time I harbored a secret sense that contemporary Shakespeare productions were done for the benefit of mostly the artists involved and a thin sliver of intellectual elite audience members who came to see how many lines they could quote in their heads (or aloud!) - but after two incredible seasons on stage with my family at Writers’ Theatre - after journeying through the darkness of one of drama’s most painful tragedies last year and then through the revelations of one of the most complex and uplifting comedies this year, I have seen first-hand that audiences from age 9 - 90 - from the most studied Shakes scholars to the first-time initiates - can be taken away, their thoughts and imaginations lifted to places they’d never imagined before taking their seats. I can’t believe how much I actually missed slathering my face with the clown white make-up last night!
My love and thanks to everyone who gave me such an unforgettable adventure through those crazy woods of Arden!
