Hey,
Centre College's cast is meeting once a week for Sunday dinner at director Patrick Kagan-Moore's house. I believe rehearsals begin officially in January, but they wanted to start the discussion before break. They have met twice and I am thrilled to hear that the cast if feeling the same enthusiasm as was generated out of Ashland. I am also excited by the different questions that are being asked about the play.
What is exciting for both schools so far is that these characters feel like their students. The real life issues that the play confronts - the actors confront in their daily lives. That enhances the enthusiasm about the investigation of the play. I was concerned that the questions would remain similar as the first go, and I was anxious to see how Lindsay would confront the rep edition of that part of the process. However, with new artists come new questions. Or they may be asking the same types of questions but with a different point of view. It is really valuable exploration. It truly give Lindsay a three hundred and sixty degree view of the world she is creating.
It was great to talk with Matt Hallock, Chairman of the department at Centre and to hear about the exploration the company is doing on the play. Some of the questions they were asking were how is the world changed? Or is the world of the characters changed at the end. Does the cycle continue? If Freddie killed himself because he is gay, what is Brianna's sexuality? What are the politics around 'outing' someone in that community? The great thing is that everyone is invested in the text and the characters' journeys. They are asking those questions from their point of interest in the world.
We also had a wonderful discussion about the difference of when a writer has a character light a fuse and leaves the room before the explosion and when the character stays to add gasoline to the fire. Both are interesting choices - but it was observed that the playwright is ready to alter the world forever at that moment, and those are the moments to explore about what is being changed.
There is also a discussion about what is left for each of these characters in their hometown at the end of the play. Will they return? I'm a believer in what happens in the play afterwards is up to the audience because I can't control what happens next in that world. However, what I liked about the discussion with Matt today was the realization that the characters are growing up. That they are confronted with mortality, responsibility for their life choices, and that they now are becoming the adults that they view their parents. I appreciate even more that the play takes place in Pete's house, that his parents have left town, and it is now his house. Highlighting that they are now the parents. That the elements of the story are very specific to this generation but that the theme of growing up and maturation is constant for each generation and eventually we all have to face it.
I also take personal joy in the fact that they meet on Sundays because Centre College Football plays on Saturday. Congratulations to the team, and quarter back Heath Haden (plays Trevor), for going 10-0 this season. The only other time the school had that record was in 1921!
Excited for the journey.
Talk with you soon.
Padraic
Tuesday, November 25, 2014
Friday, November 7, 2014
women work harder
Hey,
I hate generalizations. Especially about people because it feels like an inhalation of the individual. So, I'll say this at the start, many men work very hard. Most days I think I do. However, I want to share what I have noticed during my last two directing jobs. It was subtle. No one pointed it out. And this by no means is a scientific study. I noticed that the women in the casts were all off book before the men. No matter the size of the role. The women learned their lines sooner.
I am currently working at a University. I'm directing a play with nine cast members. Five men. Four women. (yes, less roles for women.) We are half way through our rehearsal process. I realized the other day that only one guy, who is in only two of the nine scenes, was not carrying his script. The four other men in the play were still carrying their scripts. None of the women had scripts in their hands. Each of the cast members were all in the same theater department. They were all getting the same training. What's the difference?
When I pointed this out to the students, the assistant stage manager said she was well aware that she had to work harder because she's a woman. She realized that she was going to have to work harder when she was eight or nine years old because there were less opportunities for girls.
Oh, and there are four stage managers supporting this production. They are all women.
There has been a lot of awareness lately brought to the issue that female playwrights are not produced equally to male playwrights. You don't need a study to see this, you just need to look at what your local theater is producing and you'll most likely be able to recognize the disparity. If you are looking for it. Until the last couple of years I wasn't looking for it.
I can't exactly put my finger on what changed. I know that there was a study a few years back about this issue that proved it as a fact. A fact that I didn't care to accept. My feelings as a theater director and writer were that it is a hard profession for all of us. And it is. However, it is harder for women. I know that I witnessed a theater company I am a member of reject a play, by a female writer, I submitted to work on at our annual retreat. The reason for the rejection was valid. I didn't question it. However, I later learned that the only plays by non-members that were accepted were all from men. Another thing that could've made this issue grounded in my awareness is my girlfriend's corporate job. She is a V.P. of a global corporation. She works with what would be considered a small team of 'equals'. She is the only female on the team. She is paid less and she is the one that is asked to do anything that would be considered administrative.
Oh, and while I am directing on the MainStage of the university there is a student production in rehearsal. The director of that production is male. I was told that he didn't take a directing class. He didn't assist anyone. He hasn't stage managed a production. He decided he wanted to direct and was given the opportunity. I imagine a female student would be able to do the same. If ...
Talk with you soon.
Padraic
I hate generalizations. Especially about people because it feels like an inhalation of the individual. So, I'll say this at the start, many men work very hard. Most days I think I do. However, I want to share what I have noticed during my last two directing jobs. It was subtle. No one pointed it out. And this by no means is a scientific study. I noticed that the women in the casts were all off book before the men. No matter the size of the role. The women learned their lines sooner.
I am currently working at a University. I'm directing a play with nine cast members. Five men. Four women. (yes, less roles for women.) We are half way through our rehearsal process. I realized the other day that only one guy, who is in only two of the nine scenes, was not carrying his script. The four other men in the play were still carrying their scripts. None of the women had scripts in their hands. Each of the cast members were all in the same theater department. They were all getting the same training. What's the difference?
When I pointed this out to the students, the assistant stage manager said she was well aware that she had to work harder because she's a woman. She realized that she was going to have to work harder when she was eight or nine years old because there were less opportunities for girls.
Oh, and there are four stage managers supporting this production. They are all women.
There has been a lot of awareness lately brought to the issue that female playwrights are not produced equally to male playwrights. You don't need a study to see this, you just need to look at what your local theater is producing and you'll most likely be able to recognize the disparity. If you are looking for it. Until the last couple of years I wasn't looking for it.
I can't exactly put my finger on what changed. I know that there was a study a few years back about this issue that proved it as a fact. A fact that I didn't care to accept. My feelings as a theater director and writer were that it is a hard profession for all of us. And it is. However, it is harder for women. I know that I witnessed a theater company I am a member of reject a play, by a female writer, I submitted to work on at our annual retreat. The reason for the rejection was valid. I didn't question it. However, I later learned that the only plays by non-members that were accepted were all from men. Another thing that could've made this issue grounded in my awareness is my girlfriend's corporate job. She is a V.P. of a global corporation. She works with what would be considered a small team of 'equals'. She is the only female on the team. She is paid less and she is the one that is asked to do anything that would be considered administrative.
Oh, and while I am directing on the MainStage of the university there is a student production in rehearsal. The director of that production is male. I was told that he didn't take a directing class. He didn't assist anyone. He hasn't stage managed a production. He decided he wanted to direct and was given the opportunity. I imagine a female student would be able to do the same. If ...
Talk with you soon.
Padraic
Tuesday, November 4, 2014
Ashland - Night two
Hey,
The second show was as good as the first! It really is incredibly valuable to be able to see a play fully mounted. Reading a play, you can tell if you're engage, you can tell where the jokes are, you can tell if you went on a journey. And in production the challenges of making all of those things work become clear and ironed out. However, the value of seeing the play the second time was seeing these living characters and their situation become real - and in that reality comes awareness of things you would like to know more about or struggles that can be intensified.
During our time at Ashland we were very engaged with the campus community. We met with a class of theater majors and spoke openly about play development and our careers in theater. We were interviewed on the campus radio station, and we did a Q & A session with the audience.
During each discussion on the play Lindsay was asked about her inspiration. She spoke about how she was interested in exploring about how we learn about major events through social media, events like the death of a friend. And what does that change us as a society. That is the impetuous for event of the play. That exploration is clearly happening. One of the questions asked by the students in class to Lindsay was about her point of view on the subject. That is probably the main opportunity seeing the production gives the playwright.
Next week I will meet with Lindsay and talk with her about her take aways from seeing the play. The direction and rewrites are obviously her discretion. It is her play. I will share that I saw the foundation of a very important play. At the moment the play is a successful journey of eight friends mourning the death of a friend. It is full. Each character goes through a rich experience. The audience is highly engaged. That is success unto itself. Besides a few nip and tucks along the way to tighten the script the opportunity is there for Lindsay to clarify or challenge her point of view about the changing world the millennial are living in.
Things that were clear through the production of the play is that characters want to be seen for who they truly are. The first action is Pete cleaning up his house before guests arrive. Creating a certain image. Amber asks "Am I that invisible?" more than once. Trevor and Freddy's relationship is secret and Trevor has wanted for years to let people know. Becky tells Conner that they've seen each other recently because they're Facebook friends. And it most strongly resonates when Becky announces that all of them that claim to be close friends of Freddy's didn't really know him. The theme of being seen ripples through out.
Along the idea of being seen is the need for human contact. This is seen in Amber desire to be at Pete's house with friends that really knew Freddy knew him. She doesn't seem to get comfortable until Trevor shows up and they receive the first physical contact between two characters, a hug. Trevor shares his relationship with Freddy with an unlikely Becky and that actions seems possible because of the simple act of putting her hand compassionately on his arm. The climax of act one is all of the mourning friends celebrating their friend in a dance. The healing pile of an embrace of the group of friends at the end is what allows them to all move forward. The idea of how social media doesn't replace the need for human interaction is clear in the physical life of the play.
Lindsay also shared at a dinner conversation with the cast that she started the idea of one particular character. Pete. The one who stayed in his hometown. Pete in this time of mourning is clearly questioning his choice of staying home. The idea of what it costs to stay and what is lost to move forward was an active struggle that he is going through that seems to lift the play beyond the event of the day. But that the suicide of his friend could ignite.
There is clearly the theme of sexuality and acceptance is in the play. Amber and Pete point out a character we see is possibly gay. Trevor and Freddy's relationship is secret. Meg, Freddy's sister, is in active denial that her brother was gay. It was interesting that once this secret came out about Freddy's sexuality his friends didn't seem to judge him. Only his older sister did. It struck me seeing the play that maybe this generation doesn't have an issue with sexuality as the ones before it have. Maybe. It was interesting statement to be made about the generation.
I mention these elements in the play because as you watch the life of the play unfold in front of you fully achieved in production certain ideas stand out. Certain threads that may want to be explored. And I'm excited as a producer of this event to see the shaping of the point of view of this world. To see which ideas get developed further. That is the value of the three shows.
My strongest take away from the two days though was the students' commitment to these characters. They voiced a strong desire to remain in contact with the actors who play them next. As a resource, a sounding board, a voyeur, a friend. They are protective of the characters and they are excited to see them grow. Listening to them talk was like listening to proud parents. I"m grateful the collaboration between students will continue from production to production. Also, during a dinner conversation with the cast each of them were given a chance to say what questions or interests they have for the future of the play and each one of them had a specific thought to share. It was wonderful to see young artists have such confident voices in the development process. The entire two days confirmed for me that this program is a great opportunity for all artists involved.
Talk with you soon.
Padraic
The second show was as good as the first! It really is incredibly valuable to be able to see a play fully mounted. Reading a play, you can tell if you're engage, you can tell where the jokes are, you can tell if you went on a journey. And in production the challenges of making all of those things work become clear and ironed out. However, the value of seeing the play the second time was seeing these living characters and their situation become real - and in that reality comes awareness of things you would like to know more about or struggles that can be intensified.
During our time at Ashland we were very engaged with the campus community. We met with a class of theater majors and spoke openly about play development and our careers in theater. We were interviewed on the campus radio station, and we did a Q & A session with the audience.
During each discussion on the play Lindsay was asked about her inspiration. She spoke about how she was interested in exploring about how we learn about major events through social media, events like the death of a friend. And what does that change us as a society. That is the impetuous for event of the play. That exploration is clearly happening. One of the questions asked by the students in class to Lindsay was about her point of view on the subject. That is probably the main opportunity seeing the production gives the playwright.
Next week I will meet with Lindsay and talk with her about her take aways from seeing the play. The direction and rewrites are obviously her discretion. It is her play. I will share that I saw the foundation of a very important play. At the moment the play is a successful journey of eight friends mourning the death of a friend. It is full. Each character goes through a rich experience. The audience is highly engaged. That is success unto itself. Besides a few nip and tucks along the way to tighten the script the opportunity is there for Lindsay to clarify or challenge her point of view about the changing world the millennial are living in.
Things that were clear through the production of the play is that characters want to be seen for who they truly are. The first action is Pete cleaning up his house before guests arrive. Creating a certain image. Amber asks "Am I that invisible?" more than once. Trevor and Freddy's relationship is secret and Trevor has wanted for years to let people know. Becky tells Conner that they've seen each other recently because they're Facebook friends. And it most strongly resonates when Becky announces that all of them that claim to be close friends of Freddy's didn't really know him. The theme of being seen ripples through out.
Along the idea of being seen is the need for human contact. This is seen in Amber desire to be at Pete's house with friends that really knew Freddy knew him. She doesn't seem to get comfortable until Trevor shows up and they receive the first physical contact between two characters, a hug. Trevor shares his relationship with Freddy with an unlikely Becky and that actions seems possible because of the simple act of putting her hand compassionately on his arm. The climax of act one is all of the mourning friends celebrating their friend in a dance. The healing pile of an embrace of the group of friends at the end is what allows them to all move forward. The idea of how social media doesn't replace the need for human interaction is clear in the physical life of the play.
Lindsay also shared at a dinner conversation with the cast that she started the idea of one particular character. Pete. The one who stayed in his hometown. Pete in this time of mourning is clearly questioning his choice of staying home. The idea of what it costs to stay and what is lost to move forward was an active struggle that he is going through that seems to lift the play beyond the event of the day. But that the suicide of his friend could ignite.
There is clearly the theme of sexuality and acceptance is in the play. Amber and Pete point out a character we see is possibly gay. Trevor and Freddy's relationship is secret. Meg, Freddy's sister, is in active denial that her brother was gay. It was interesting that once this secret came out about Freddy's sexuality his friends didn't seem to judge him. Only his older sister did. It struck me seeing the play that maybe this generation doesn't have an issue with sexuality as the ones before it have. Maybe. It was interesting statement to be made about the generation.
I mention these elements in the play because as you watch the life of the play unfold in front of you fully achieved in production certain ideas stand out. Certain threads that may want to be explored. And I'm excited as a producer of this event to see the shaping of the point of view of this world. To see which ideas get developed further. That is the value of the three shows.
My strongest take away from the two days though was the students' commitment to these characters. They voiced a strong desire to remain in contact with the actors who play them next. As a resource, a sounding board, a voyeur, a friend. They are protective of the characters and they are excited to see them grow. Listening to them talk was like listening to proud parents. I"m grateful the collaboration between students will continue from production to production. Also, during a dinner conversation with the cast each of them were given a chance to say what questions or interests they have for the future of the play and each one of them had a specific thought to share. It was wonderful to see young artists have such confident voices in the development process. The entire two days confirmed for me that this program is a great opportunity for all artists involved.
Talk with you soon.
Padraic
Sunday, November 2, 2014
Ashland - night one.
Hey,
When we arrived on campus, it was incredibly exciting to see the college's newspaper article about the production and the project on the front page and director, Scott Hudson, was their spotlighted professor on the back page. There was a lot of excitement about the play and that was a thrill. However, the real thrill was in watching the cast bring the play to life. WOW! The cast, director and university as a whole did an amazing job.
It is clear that each of the actors has forged a strong connection with their characters and with one another in the ensemble to communicate the long-term relationships that the play requires. Each actor did a great job living moment to moment throughout the play. Seeing each moment filled with specific behavior is a great opportunity for the playwright to fully experience the world they have created. Lindsay was given that opportunity through the actors' excellent work. They are a tight ensemble.
Each actor truly caught the essence of their character. Upon entering they were immediately recognizable. There was one moment of revelation for Lindsay and I, and that was when Conner entered. Conner is a challenging part. He has the least clearly defined need and journey at the moment. There are elements in the script that inspire behavior and help to define him. But he seems hard to put your finger on. Then Mason Adams, who played Conner, entered and the character became immediately three dimensional and his essence was clear. There was something wonderfully off kilter about Mason' portrayal. Conner became confident and yet recognizably off balance at the same time. It was that odd mixture that made Mason's embodiment of the character so rich. He also seemed to have an understanding that what was driving Conner was a need that was being revealed to him in the moment. Watching this character accept things and move forward with a new focus was truly enlightening. Lindsay and I both saw who the character was or at least one way he could be portrayed.
Also, there was excellent staging that helped to tell the story. One of the final moments ,when the group of friends form a pile with one another - lending support, while the new comer, Brianna, sits alone of the couch, fully embodied the relationships beautifully. The production served the text very well and made everything work. Lindsay, however, did identify places where she wants to cut and expand some of the text. One of the great successes of the production is that it invited the audience into the characters' struggles and it revealed things about each that we are invested in and want to learn more about. I am grateful we are able to see the play a second time tomorrow. It will provide another opportunity to see structurally what elements want to be focused on in order to strengthen Lindsay's story. I look forward to seeing the play tomorrow and talking with Lindsay about what we learn.
My favorite part of tonight was meeting everyone involved.
Thank you Ashland!
Talk with you soon.
Padraic
When we arrived on campus, it was incredibly exciting to see the college's newspaper article about the production and the project on the front page and director, Scott Hudson, was their spotlighted professor on the back page. There was a lot of excitement about the play and that was a thrill. However, the real thrill was in watching the cast bring the play to life. WOW! The cast, director and university as a whole did an amazing job.
It is clear that each of the actors has forged a strong connection with their characters and with one another in the ensemble to communicate the long-term relationships that the play requires. Each actor did a great job living moment to moment throughout the play. Seeing each moment filled with specific behavior is a great opportunity for the playwright to fully experience the world they have created. Lindsay was given that opportunity through the actors' excellent work. They are a tight ensemble.
 |
| Meg, Amber, Conner, Brianna, Conner |
 |
| Conner and Amber outside, Pete and Becky inside |
My favorite part of tonight was meeting everyone involved.
 |
| The company |
Talk with you soon.
Padraic
Friday, October 31, 2014
Centre College has a cast - post by Mariele Fluegeman class of '15
Hey,
Lindsay and I are preparing to watch the first performance of In the Event of My Death at Ashland University in Ohio. I am excited to see the play fully realized in production and to meet the students who have worked so hard and shared themselves with us through the process. Prior to seeing the first show I receive an email report with Centre College's casting information. Seeing the names of the cast is a thrilling reminder that the 'opening' night of the production in Ashland is a major milestone, however, it is one step in the development process of this play. Lindsay has a second ensemble of highly thoughtful artists ready to invest in her work.
Here is a report on the audition process from Mariele Fluegeman, class of '15, who will be the dramaturge for the production at Centre. We had the pleasure of working with Mariele during the workshop and I am grateful to have her voice continue to be part of the process.
Here is Mariele's report about the audition process:
It’s been months since that August weekend in New York when I first got to know all of the beautifully flawed characters of In the Event of My Death, but reading the latest draft was an open-armed return to their messy lives. To me, the magic of the play lies in the hopelessly disconnected people who become intimately and powerfully connected to the lives of those who read for and about them. They are in many ways the millennials—a nebulous term often used by previous generations to analyze and distance themselves from us in a seemingly inaccessible mix of Snapchat and hook ups—and yet a term that describes the immediacy of life my friends and peers experience everyday. This potential connection is what Patrick Kagan-Moore was searching for when we sat down in the audition room. We didn’t look for actors, per se—we looked for people whose own lives somehow plugged into these characters’ lives and lit up the room. It was a daunting task for those auditioning, I think, for this reason. Patrick went after them, trying to strip through the layers of audition nerves and preconceptions of how acting should be—and we saw sparks. Many of them found something in that room that was deeply personal and echoed in the lives of the characters in surprising and new ways. We have a cast now—a cast I think is uniquely prepared to bare themselves and challenge themselves, each other, and their characters to grow and change in this next stage of the play’s development.
I love her description of 'milennials' - and her understanding of the world of the play. Her voice, and director Patrick Kagan-Moore, will be wonderful for Lindsay as she steps into the next serious phase of development.
Here is the cast for Centre College's production:
As we prepare to see the opening at Ashland, who working with has been an incredibly experience, seeing the faces of the new cast is a great reminder that this project's purpose is the development of many artists and that it is an opportunity to build community through the development of a play. We welcome the new cast to the community. Excited to hear about your thoughts on the play and to have you join us on the journey.
Thank you Mariele for sharing the audition process with us.
Talk with you soon.
Padraic
Lindsay and I are preparing to watch the first performance of In the Event of My Death at Ashland University in Ohio. I am excited to see the play fully realized in production and to meet the students who have worked so hard and shared themselves with us through the process. Prior to seeing the first show I receive an email report with Centre College's casting information. Seeing the names of the cast is a thrilling reminder that the 'opening' night of the production in Ashland is a major milestone, however, it is one step in the development process of this play. Lindsay has a second ensemble of highly thoughtful artists ready to invest in her work.
Here is a report on the audition process from Mariele Fluegeman, class of '15, who will be the dramaturge for the production at Centre. We had the pleasure of working with Mariele during the workshop and I am grateful to have her voice continue to be part of the process.
Here is Mariele's report about the audition process:
It’s been months since that August weekend in New York when I first got to know all of the beautifully flawed characters of In the Event of My Death, but reading the latest draft was an open-armed return to their messy lives. To me, the magic of the play lies in the hopelessly disconnected people who become intimately and powerfully connected to the lives of those who read for and about them. They are in many ways the millennials—a nebulous term often used by previous generations to analyze and distance themselves from us in a seemingly inaccessible mix of Snapchat and hook ups—and yet a term that describes the immediacy of life my friends and peers experience everyday. This potential connection is what Patrick Kagan-Moore was searching for when we sat down in the audition room. We didn’t look for actors, per se—we looked for people whose own lives somehow plugged into these characters’ lives and lit up the room. It was a daunting task for those auditioning, I think, for this reason. Patrick went after them, trying to strip through the layers of audition nerves and preconceptions of how acting should be—and we saw sparks. Many of them found something in that room that was deeply personal and echoed in the lives of the characters in surprising and new ways. We have a cast now—a cast I think is uniquely prepared to bare themselves and challenge themselves, each other, and their characters to grow and change in this next stage of the play’s development.
I love her description of 'milennials' - and her understanding of the world of the play. Her voice, and director Patrick Kagan-Moore, will be wonderful for Lindsay as she steps into the next serious phase of development.
Here is the cast for Centre College's production:
As we prepare to see the opening at Ashland, who working with has been an incredibly experience, seeing the faces of the new cast is a great reminder that this project's purpose is the development of many artists and that it is an opportunity to build community through the development of a play. We welcome the new cast to the community. Excited to hear about your thoughts on the play and to have you join us on the journey.
Thank you Mariele for sharing the audition process with us.
Talk with you soon.
Padraic
Sunday, October 26, 2014
Live streaming - sharing our work
Hey,
The college collaboration play "In the Event of My Death" is having its first performance Thursday, October 30th, at 7:30PM E.S.T. at Ashland University. The school's journalism department will be live streaming the production.
I don't know if the other two schools will be able to do this...or if we will find another way to share the experience of presenting the plays but I am excited to share the play as well as the progress of development through the three productions.
The link for the live stream is: Ashland Production of 'In the Event of My Death"
The live streaming of theatrical events is becoming more popular. I know HowlRound.Com has been live streaming readings, discussions, and conferences of late. I am a firm believer that theater is about being in the room for the event. It is a shared experience by those in the room. However, the idea of sharing the process is important. Especially in this case where we can create an opportunity to allow people to bare witness the development process but also participate through sharing their thoughts on what they saw.
The idea of creating an opportunity for the development process to be extended through three productions seemed monumental in what it would offer the playwright. I knew it would be valuable to the students. I did not recognize how valuable it would be. They have a voice in shaping new work. Something that is rare in an educational environment. Also, the characters are close to their age and the play deals directly with issues they confront every day. It is personal to them. It is important. And it is their world. The witness the student's commitment to the play and growth through the work has been an incredibly rewarding experience.
This weekend the production headed into tech for the show. A few days before that they invited the student crew members into rehearsal to watch the show. The audience of their peers were exhilarated. They can't wait to share this with their community. One member shared on the cast Facebook page about how honest and familiar the play felt. She shared about how her sister had died suddenly and the play had moments that were very familiar and important for her to witness. She wrote, "There is a moment near the end of the play where the characters gather around Trevor and Kate and just support one another in the quiet. I distinctly remember a similar moment on the day I went home and sat on the floor with my head in my mother's lap just holding each other. Those are the moments that lead to healing."
Ashland's Department Chair is also working with the County Mental Health & recovery Board to put together a list of resources for those concerned about suicide. I am grateful for the impact the play is having with the community, the dialogue it is creating, and the identifiable value that art. These moments are very valuable. The process is clearly offering may than an opportunity for the playwright to develop as an artist. It is creating a conversation with a wider community about the topic of the play as well as the art itself.
I'm currently directing at SUNY Brockport, in Upstate New York, and one of the students in the cast told me recently he wished there was more access to seeing specific productions of plays. He can't get to the Lincoln Center Library, and he wished he could see the original production of new plays. It would be a better way of understanding the excitement about certain plays people are talking about, besides waiting for the one or two that might be produced at a Regional Theater that is a half an hour away from campus. I understand the monetary reasons for not making plays available on video. I also understand that theater is a live event experienced by those in the room. I am grateful that Ashland journalism department will at a minimum link up one other campus to the experience of this play.
I hope you'll tune in and share your thoughts.
Talk with you soon.
Padraic
The college collaboration play "In the Event of My Death" is having its first performance Thursday, October 30th, at 7:30PM E.S.T. at Ashland University. The school's journalism department will be live streaming the production.
The link for the live stream is: Ashland Production of 'In the Event of My Death"
The live streaming of theatrical events is becoming more popular. I know HowlRound.Com has been live streaming readings, discussions, and conferences of late. I am a firm believer that theater is about being in the room for the event. It is a shared experience by those in the room. However, the idea of sharing the process is important. Especially in this case where we can create an opportunity to allow people to bare witness the development process but also participate through sharing their thoughts on what they saw.
The idea of creating an opportunity for the development process to be extended through three productions seemed monumental in what it would offer the playwright. I knew it would be valuable to the students. I did not recognize how valuable it would be. They have a voice in shaping new work. Something that is rare in an educational environment. Also, the characters are close to their age and the play deals directly with issues they confront every day. It is personal to them. It is important. And it is their world. The witness the student's commitment to the play and growth through the work has been an incredibly rewarding experience.
This weekend the production headed into tech for the show. A few days before that they invited the student crew members into rehearsal to watch the show. The audience of their peers were exhilarated. They can't wait to share this with their community. One member shared on the cast Facebook page about how honest and familiar the play felt. She shared about how her sister had died suddenly and the play had moments that were very familiar and important for her to witness. She wrote, "There is a moment near the end of the play where the characters gather around Trevor and Kate and just support one another in the quiet. I distinctly remember a similar moment on the day I went home and sat on the floor with my head in my mother's lap just holding each other. Those are the moments that lead to healing."
Ashland's Department Chair is also working with the County Mental Health & recovery Board to put together a list of resources for those concerned about suicide. I am grateful for the impact the play is having with the community, the dialogue it is creating, and the identifiable value that art. These moments are very valuable. The process is clearly offering may than an opportunity for the playwright to develop as an artist. It is creating a conversation with a wider community about the topic of the play as well as the art itself.
I'm currently directing at SUNY Brockport, in Upstate New York, and one of the students in the cast told me recently he wished there was more access to seeing specific productions of plays. He can't get to the Lincoln Center Library, and he wished he could see the original production of new plays. It would be a better way of understanding the excitement about certain plays people are talking about, besides waiting for the one or two that might be produced at a Regional Theater that is a half an hour away from campus. I understand the monetary reasons for not making plays available on video. I also understand that theater is a live event experienced by those in the room. I am grateful that Ashland journalism department will at a minimum link up one other campus to the experience of this play.
I hope you'll tune in and share your thoughts.
Talk with you soon.
Padraic
Sunday, October 12, 2014
Post by Eryn Tramel (Becky) - discoveries in and out of the rehearsal room.
Hey,
Ashland University's cast has created a FB page to share about their process. I was struck by the honest and enthusiastic observations of Eryn Tramel who plays Becky. Great to hear from the artists in process directly.
Eryn Tramel (Becky)
Let me start off by saying that the cast and management for this production have been a dream to work with. I have never worked on a show where everyone worked together as a team so well. For that I feel truly blessed. I consistently leave rehearsal feeling better about not only my work but my confidence as a person as well. This is only possible with a kick as support system like this cast has provided.
Ashland University's cast has created a FB page to share about their process. I was struck by the honest and enthusiastic observations of Eryn Tramel who plays Becky. Great to hear from the artists in process directly.
Eryn Tramel (Becky)
Let me start off by saying that the cast and management for this production have been a dream to work with. I have never worked on a show where everyone worked together as a team so well. For that I feel truly blessed. I consistently leave rehearsal feeling better about not only my work but my confidence as a person as well. This is only possible with a kick as support system like this cast has provided.
Secondly It has been thrilling to collaborate with Lindsay Joy and Padraic Lillis. I hope that I can maybe get in contact with the actress who played Becky at the workshop in NYC as well as the Beckys at the other schools. Becky is arguably one of the most complicated characters I have ever experienced but for that she will forever hold a special place in my heart.
Okay Im done with the mushy gushy for now heres some real talk...
As we detail in rehearsal I have been able to relate a lot of what Becky is feeling to recent experiences in my personal life. Becky is me in many ways. We both follow the GSD method of life (we Get Shit Done). We don't play games, ever. When want to do something WE WILL DO IT. I like to describe it as "Alpha Female". The cast likes to describe it as me being "Becky Mutha Fuckin' Farrell". We also want nothing more than to just be loved. Sometimes this comes off as clingy but it comes from love. We want you to know we are always here for you, and we want you to return the favor. My biggest fear is abandonment, and in this scenario, so is Becky's.
We also are both making an effort to become more selfless. I have always struggled with being self centered and making everything about me. Even the little things. This profession does not help me out any either, it is a very vain thing we actors do. We go to auditions and interviews bragging about ourselves and making ourselves look better so that casting directors will like us. But this is not and excuse to how we should approach every day relationships. This struggle keeps me active throughout the piece.
After the initial shock of going from a long haired brunette to a short haired blonde wore off I started to evaluate how people treated me based on the look alone. I have noticed that people do not take me as seriously in my everyday life. The fact that people truly do judge people based on how they look is something that I have really taken notice of these past few weeks. I did not realize how truly judgmental I actually am in my everyday life. But now that I realize this about me I can see the humanity in why Becky was the way she was in High School, because the majority of the people in this world are like that, but are unwilling to own up to it.
Scott has a very interesting way of getting me to tap into the emotional life of Becky's circumstance. Its almost as if he has the instruction booklet on what buttons to push to get me to react in certain ways. I'm not really sure how he knows so well what sets me off but it works, so I'm not complaining. It becomes very natural for me to become emotionally attached to this character.
The biggest struggle I have right now is not playing the problem but sticking to the action. Lets face it Becky has 99 problems and the bitch is one. This is especially hard in the scene where Trevor and Amber are on the porch and Peter and I are arguing in the living room. I give in to the fear that I will never be able to mend things and the abandonment will kick it so much that I forget not to get defensive about it. My action is to bow out, but as an Alpha Female that is easier said than done.
I keep a journal solely for this play and Becky. After every rehearsal I throw my spotify playlist on and just write about what happened in rehearsal that day. My last entry described how I was able to tap into my jealous side as we worked to detail my blow up scene. Jealousy is one of my biggest flaws which makes it fun to portray on stage, almost like its okay to feel that way for a few minutes. Its especially fun because Kate is Ariel McCleary, My roommate and one of my closest friends. We get to hate each other for 3 hours a day its exhilarating because we know its not real. After the prior rehearsal Alyssa Angie who plays Meg came up to me after rehearsing the scene where we get into a fight and apologized profusely for yelling at me. Its almost as if all the fighting brings everyone closer together.
So I guess if you made it this far thank you for reading and hearing me out. It may be a little premature just yet but I truly am not looking forward to this ending. This cast and show mean the world to me. And I wouldn't change any part of it for the world. I fear for closing night. I don't know how I am going to keep my shit together.
Thank you Eryn for writing. Thank you cast and crew of Ashland for letting us be part of your process. Thank you all for reading.
Talk with you soon.
Padraic
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