We blocked the first half of scene 11, where The Girls psych themselves up to compete against another team that has boys doing tricks à la Newsies. Director Lee repeated an element from earlier in the show, an almost throwaway to cover a scene transition; in the context of scene 11, it’s absitively chilling and dark. My vocal reaction to the team was “Holy fuck.” Director Lee is pleased.
And we’re back in the theater!
About six weeks ago, I signed on as an assistant stage manager for Silver Spring Stage’s production of Dance Nation, by Clare Barron. This was my way of easing back into theater after the long hiatus that started in late winter 2020. I figured that the Stage would find someone else to call the show—I had too many planned conflicts during the rehearsal period to commit as stage manager. Well, it turns out that finding a stage manager on shortish notice for a show in March is even harder than finding a substitute WATCH judge for that interval. So after some schedule negotiating, I agreed to SM the show. I’m only slightly boggled.
My last stage management gig was Incorruptible, also for the Stage, with Leta directing, 15 years ago now. Hmm, I wrote up some lessons learned from that project. I should try to implement some of them.
Dance Nation is a highly theatrical show, with wild dynamic levels in the text, adults playing tweens, and surrealist moments. My only familiarity with Barron’s work was a production of Baby Screams Miracle at Woolly Mammoth seven years ago. A number of the cast are young, in training at Studio Theatre—some fresh blood for the Stage as it jumps into the 21st century repertory.
Director Lee had been out of town for most of December, so we did table work via Zoom, and that worked out rather well, as far as I can tell. We had our first in-person meeting with the cast yesterday evening, mostly facilitated by intimacy director Julia. We set some shared guidelines for rehearsal, including “Land the plane,” that is, “Listen to yourself and when you’ve made your point, stop.”
I had already set up my prompt script, but the scripts package from Samuel French came with a pre-punched 8-1/2 by 11 script and binder for me. I feel like a big boy now.
I was saddened to learn of Steven’s passing. He was such a gentle, dear man. We had the very good fortune that he was living in Reston at the time of our production, as he was pastor of a local Unitarian congregation. He was able to meet with us and thus to deepen our understanding of the people of that rugged, remote place in Wyoming. And I rather think that he was good-natured about my borrowing of some of his physical mannerisms.
So we closed the show yesterday afternoon, and I’m pleased, overall, with the way it went. (There’s always something that you wish could have been better. Like I wish that I’d had a coach to help me fine-tune the brief bit of stage combat.)
Every so often I use music as a way to get into the world of a character. (My friend Lisa suggested this trick a long time ago.) Now, the little Bobby McFerrin riff that Roger used as transition music at the top of Act 2 was all I needed to help me find Tom Driscoll. But for the well-meaning, somewhat feckless, gentle parish priest Rev. Jim in Act 1, I needed a complete playlist. Some of this music I already had on hand, and some was newly-purchased. Here it is, Jim’s Jam, all songs pre-1959 as far as I can tell:
- Perry Como, “Accentuate the Positive”
- Lawrence Welk orchestra, “Bubbles in the Wine”
- Patsy Cline, “Walkin’ after Midnight”
- Glenn Miller orchestra, “(I’ve Got a Gal in) Kalamazoo”
- Mel Tormé, “Moonlight in Vermont”
- Lawrence Welk orchestra, “Beer Barrel Polka”
- Perry Como, “May the Good Lord Bless and Keep You”
- Mantovani orchestra, “Charmaine”
- Patti Page, “Old Cape Cod”
- Glenn Miller orchestra, “A String of Pearls”
- Perry Como, “He’s Got the Whole World in His Hands”
- Lawrence Welk orchestra, “Village Tavern Polka”
Mantovani’s version of a 1926 waltz by Rapée and Pollack is most everyone’s idea of soul-evacuating elevator music. (I remember an ironic modern dance troupe performance from about 20 years ago, set on this song, that consisted of the entire company queueing up as if at the DMV.) But for Jim, the lush, pillowy arrangement is pure bliss, his idea of what God’s grace must feel like. Is that a zither in the mix in the last chords? Plus, you can do t’ai chi stretches to it.
Jim and Judy danced to Glenn Miller when they were courting.
The Lawrence Welk recordings, all from the pre-TV days, are astonishing. Joyful, energetic, inventive, not slick at all—nothing like the bland music I heard when I was a kid in my grandfather’s living room watching the TV show. I used to worry that I was turning into my mother. Now I should worry that I’m turning into her father.
Steve LaRocque has some generous things to say about our production of Clybourne Park. And the kicker:
A note on the language: polite early on, it gets very rough in the clinches.
Dry tech today, so I was off seeing other shows and catching up on the e-mail pile. Our company publicist circulated a questionnaire that she will use to write a preview piece for one of the local online theater mags. Some of Lennie’s questions and my answers:
1. What drew you to Clybourne Park as a director/actor?
When I first saw this show at Woolly Mammoth Theatre Company six years ago, I wrote : ‘Have you ever had this experience? A play finishes its first act, and as the house lights come up for intermission, you think, “that act was so polished and well-constructed that it could stand by itself; I could go home now and be happy.” That’s how we felt at the act break…’ That’s how strong this material is.
3. In his 2011 review of Woolly Mammoth’s second production of Clybourne, Peter Marks of the Washington Post said that “the play rummages, if you will, in the eternally unfinished basement of American race relations. It is a play about people thinking they don’t sound exactly the way they do.” Your thoughts on that? Actors, how does his second sentence apply to your character(s)?
It is ever a challenge (probably greater than the one I describe in my answer to #6 below) to separate what you know, as a person, that your character sounds like from what you know and feel is going on inside that character. It is a tempting trap to put quotation marks around what your character says and does, to telegraph to the audience, “I, the actor, am not this uninformed/foolish/nasty/hateful person that I am playing.” And I think that everyone in our cast has done a good job of stepping around that trap.
4. Another review quote — when Clybourne opened on Broadway in 2012, Ben Brantley of the New York Times said, “This play probably will be topical for many years to come. That’s bad news for America, but good news for theatergoers, as ‘Clybourne Park’ proves itself more vital and relevant than ever on a big Broadway stage.” That was two years after its Off Broadway premiere. Flash forward to now, four years after the Broadway premiere. Is Clybourne again — or still — “more vital and relevant than ever”? Why?
You betcha. One of the smart things that Bruce Norris does, via the echoes down the half century from 1959 to 2009, is to call out our propensity to slap a label on something (or someone) and think that we have understood it. The character Bev, in 1959, refers with some discomfort to a young man in her community; he has what today we would call Down Syndrome, but Bev has only the word “mongoloid.” In the second act, Kathy (played by the same actor), speaks briefly, thoughtfully about a niece with Asperger’s Syndrome. Will not audiences of 2059 hear Kathy’s words and find her just as benighted?
5. What’s the importance of the specific link to A Raisin in the Sun?
Well, perhaps it is a recognition of the potency of Langston Hughes’s poem, “Harlem,” from which the image is drawn: “What happens to a dream deferred?/Does it dry up/like a raisin in the sun?” That such a simple eleven-line poem could spark Lorraine Hansberry’s full-length stage play, a musical adaptation, and now Bruce Norris’s answer play, is astonishing.
6. As an actor or director, what’s been your biggest challenge with this show? Creating two characters? Recreating the house during
intermission? Something else?
Simple mechanics: falling down, safely, in such a way that I can fall down again the next night.
Reston Community Players is planning a commemorative booklet of reflections and remembrances to celebrate its 50-year mark. I offered the following story, told by many people since the event. This is my version:
I was a supernumerary in our production of Macbeth in the winter 1993 time slot, directed by Jan Belcher. I filled in the background for the battle scenes; I was a servant opening doors and setting tables; I supported the Bloody Captain during his speech; that sort of thing.
Jan was bluntly opposed to the tradition/superstition that the name of the play not be spoken within the confines of a theater, and she broke the taboo loud and clear on load-in day. Perhaps she was justified: the show went on to weather its share of mishaps and technical delays, but no more than usual.
Except for one night.
The first scene with the witches featured a dead body made of styrofoam, hung as on a gibbet. The three weird sisters (Maggie Geuting among them) did a dance around it, and at the end of scene, performed a wash-up move, cueing the flyman to take the corpse out.
But on this night, the corpse missed its spike and sailed all the way up to the top of the flyspace. We heard a loud bang as it crashed into the grid.
OK, nothing to see here; the play continued.
Lady Macbeth (Penny Cupina) came on for the letter scene. Halfway through the scene, one of the plastic corpse’s legs detached and fell to the deck, with a small crash but no ceremony. The stage manager said, “David, there’s a leg on stage. Can you help us out?” “Uh — sure thing.”
I came on to execute my next assigned gate-attendant maneuver, perhaps a little early. I strode over to the chunk of loose set dressing, scooped it up, and tried my best to hold it upstage of my body.
The gates being opened, Macbeth (Tel Monks) and his entourage entered as I skedaddled off stage and disposed of the artificial limb — to everyone’s relief.
We finished our last tech run tonight; tomorrow we see a preview audience. The show is snugging up nicely, and (I think) we are ready for an audience to bounce some funny off. Nick has been mixing Italian bird song (from Xeno-canto, per my recommendation) into the sound design; John’s set, with clay tile roof details and lots of hiding places for eavesdropping, looks great.
Harvey has posted pictures from last night’s run; here’s a cute one of me (Verges) looking for a gratuity from Lou (Leonato). My costume fits and looks good; I’m wearing new tights and a pair of beat-up Reeboks that, as far as I can remember, I last wore, on stage or otherwise, in Rosencrantz and Guildenstern Are Dead.
We’re still fine-tuning some business—the binding of Borachio is not quite as safe as we would like—and the timing of a couple entrances. Since Verges is one of the watchmen, any time the garden gate needs to be opened or closed, that ends up being my job.
Tech rehearsals this week for Rewrite have been clean. Folks from the other three shows on the night have been watching the runs, and they seem to think the show is hilarious. This is one of my favorite costumes on the comfy scale: sweatshirt, baggy khakis, and boat shoes; Linus and Dan get to wear the sight gags. My third show for the Stage where most of my action is to sit and type gibberish—easy peasy. There’s one passage where the blocking still feels awkward, but it’s very short. I really like the way Tom Moran (the playwright) has crafted the Author’s texts (the Author is a mediocre-at-best novelist and we hear his first drafts): the Author’s “writing” is flabby and free-wheeling at the same time, and I hope that audiences will find it funny.
Another generous review of August: Osage County, this time from Katie Elizabeth Quinn.
When I was a sprout, I was taught to supple up the bindings of my new hardback schoolbooks the way that Malorie Brooke reminds us. And I did it, when my teachers were watching. But I don’t think I’ve done it on my own since sixth grade.
Mind you, the practice or lack thereof doesn’t explain why all our scripts of August: Osage County from Dramatists have fallen apart.
Genie Baskir gives the thumbs-up for August: Osage County at ShowBizRadio.
The entire talented ensemble replicates the bond of a family and they move around each other with a familiarity borne of generations of bloodline. …[Technical elements are] so ordinary and banal as to reinforce the idea that we really are all spying on the neighbors…
To illustrate my point about Deon’s word choices, here’s a word cloud of his entire text, common words omitted and one possessive collapsed.
The body copy for David Seigel’s preview of August: Osage County is correct in the online edition; there was a kerfluffle with the print version, as betrayed by the semantic URL. It’s all good: get the show dates and the box office web address right, and spell my name correctly, and I’m happy.