Directed by Griff Braley and featuring the talents of Deirdre Manning, Mary Fraser and Cliff Blake, this is a play that… well, it’s a bit trippy to explain, but it’s a play that examines the choices we make and whether or not it’s truly possible to go back and alter our timelines. Fate is a huge theme, and yes there’s a fair bit of “time traveling”, but what makes it so effective to me is that it’s really about the crushing hope of that first love.
Oh, and it is set in Dublin and uses James Joyce’s novel Ulysses as the lens through which to view the story. Characters quote the novel, reference is a hundred times, and though I’ve never read Ulysses I have to imagine Steven Dietz has modeled his characters off of Joyce’s. The date in the play is even June 16, which if you happen to be an English lit nerd, is the date in which the action of Ulysses take place.
After the novel became a smash, that date has become known as “Bloomsday” and has become a giant festival celebrating Joyce and his exaltation of Ireland and the city of Dublin. (The name comes from the central characters of the book – Leo and Molly Bloom). While you can find parades all over the world, it’s the one in Dublin that is the biggest and where folks dress up in Edwardian clothing and walk the same route that Leo Bloom does in the novel, ducking in and out of shops and pubs.
Sounds right up my alley and while I am aware that Ulysses is a “doorstop of a book”, I’d like to take a crack at it. This play, Bloomsday, has enlightened me to what is often hailed at the greatest novel of the 20th century; quite the reputation! For now, however, I will be content and privileged to read/perform this intimate (and yet heavy) little play.
Speaking of work that gets seen by hundreds upon hundreds of people (assuming you’ve read my previous post), my touring stage adaptation of Frankenstein is once again on the road for the Hampstead Stage Company.
As you remember from last year, I was charged to write this play by my bestie Jay Pastucha (Artistic Director) as they were trying to integrate more material for high schools/ young adults. The feedback was really great and with that jolt of confident (and a bigger budget), Jay and I were inspired to revamp the script and add… wait for it… a third character! And what’s more, cast a woman! What an insane concept, right?
Jokes aside, we found that to tell a one-act version of Frankenstein with two people, for children, was a little restricting in our own creativity. We resolved, therefore, to actually write in the character of Elizabeth, rather than have her represented by hard-to-hear voice overs. To use a monster metaphor, there is just so much more meat on the bones, with characters, intentions and scenes fleshed out to a point that I can comfortably be proud of as a playwright.
Currently the show is being toured throughout New England and the Midwest, but not just to schools. Hampstead Stage is great in that they are willing to perform for anyone anywhere. Productions that I’m excited about were staged at the Heartwood Regional Theatre Company in Newcastle, Maine and FrankenFest in Indianapolis.
Praise to Jay and managing director, Anna Lynn Robbins, for believing in the show enough to take a risk on improving the show. In a world controlled by bottom lines, it is a beautiful thing to make art for art’s sake on such a scale. So if you’re looking for a short yet explosive adaptation of Frankenstein, let me know! I don’t know if it will hit the road again next year on tour, but it won’t be the last you’ll see of Victor and the Monster (oh, and Liz now too).
This summer I’ve been back in Maine at the Heartwood Regional Theater Company, rehearsing Shakespeare’s The Tempest. We open this Friday!
I get to play King Alonso of Naples of Milan, who with his nobleman, must battle storms, harpies and lingering melancholy while they search for Ferdinand – the young heir to the throne. Little does Alonso know that his old arch-rival, Prospero, is is full control of all these maladies.
Not only is the show truly delightful to be a part of – with all it’s heartbreak, love and fantasy – but it’s just great being back in Damariscotta so soon after Our Town! Griff Braley is directing again and this time the cast features so many old and dear faces: Diana Jurand, Jay Pastucha, Deirdre Manning, Jason Osorio and Patrick Sylvester! I wonder if so many UCF alums have ever been in a show together after college? Of course the cast is more stacked than that with Helena Farhi, Steve Shema, Steven Czajkowski, Jahmeel Powers and Sebastian LaPointe.
So here we are about to tell this magical story, the last of old Billy Shakes, while the sea beats on not eight miles from here, against the timeless rocks.
“Our Town” opens Friday, April 29 at the Poe Theater in Newcastle. Heartwood’s production of the play, under the direction of Griff Braley, strives to bring the production directly into the audience. It has an inclusive quality that welcomes the attendees into the story.
Thornton Wilder began his 1938 play “Our Town” with some of the most famous stage direction in American theater: “No curtain. No scenery.” He could have added “no props” as, nearly without exception, all props are imagined in each production of this timeless classic.
In “Our Town,” Wilder highlights the importance of communication and human connection, literally bringing his audience into contact with his characters by breaking the fourth wall and defying the theatrical convention of separating the actors from the audience.
“Our Town” insists on a lack of artifice, both in pared-down staging and in the person of the Stage Manager, who speaks directly to the audience much as an interlocutor does. Its emotional transparency – no hidden meanings, no brooding silences – and its spare, realistic dialogue are its greatest assets.
Its evocation of life in a small New Hampshire town in the early 1900s seems idyllic: the only deviant in this righteously decent community is a drunken choirmaster.
Even Wilder’s formal innovations have been picked up by others: his portrayal of a bride’s inner panic was brilliantly exploited by Stephen Sondheim in a number in “Company” called “Getting Married Today.”
“Our Town” is really every town at any time. The story is simply told: a boy and a girl in a small New Hampshire town and the people of that town go through an ordinary day in the first act. It all revolves around Emily and George, the children of the town’s newspaper editor and the town’s doctor, and how they go through life, and death, in their small town.
The cast is perfectly suited, both in talent and in appearance, to their parts in this ode to the quieter life we all need to revisit at times. Braley and his crew have brought Grover’s Corners to life, a tribute to the dedication of the actors as well as the determination of the director.
Grace Experience captures all of Emily’s smarts and exuberance, her joyousness and openness, and her pained acceptance of a new reality.
It’s a smaller moment, but there’s a scene where a teenage Emily stares out her window at the moon, while George, across the way, does the same. The actors are perched atop stepladders, and Experience stares out into space with such palpable yearning and intensity, marveling at the beauty of the world, that the audience can’t help but absorb her wonder.
Vincent Hannam, as George, is a find. He persuasively plays a dreamy, naive adolescent living in 1900s rural New England, without resorting to condescension. He is uncertain and awkward and utterly charming.
The final scene, with Hannam leaning on Experience’s gravestone, is heartbreaking with his understated grief.
The “Ice cream soda” scene has the Stage Manager (Stephen Shore) doubling as the shopkeeper. (Shore, Experience, and Hannam made a field trip to Waltz’s Soda Fountain in downtown Damariscotta on Sunday to see how the drinks are made.)
Kathleen Creamer, who served the three, was impressed at the dedication to be realistic. “They watched every move I made,” she said, “and then watched each other carefully.” The lesson in making an imaginary ice cream soda looks real with no props at all; drinking from invisible straws from absent glasses must have taken as the three did an admirable job at preview.
As Julia Gibbs, Allison Eddyblouin catches her character’s insecurities and anxiety, her pride in being a small-town wife and mother, and her frustration that she is probably doomed never to achieve her fondest wish, to see Paris.
Garrett Martin, as Doc Gibbs, epitomizes the man’s decency and integrity, and also his obtuseness where his wife is concerned.
As Charles Webb, the newspaper editor, Steven Hufnagel strikes the right notes of mildly jaundiced skepticism, acerbic humor, and, in his scenes with Experience, the kind of paternal affection and wisdom that make their scenes very affecting.
Mary Boothby, in the role of Myrtle Webb, Emily’s mother, has a no-nonsense, pragmatic humor and generosity. Anyone who has ever lived in a small town will know her, and that her gruffness is a shield for a soft heart.
The two mothers, Eddyblouin and Boothby, are perhaps the most credible characters onstage. They never “act,” they simply offer up these hardworking women with matter-of-fact ease.
Stephen Wallace, as the dyspeptic Simon Stimson, has some lines of pointed dialogue but conveys, in a way that no dialogue could, that there is often a heavy price to be paid for so much small-town intimacy, so much judgment, so much knowledge.
As the Stage Manager, Shore has a comforting gravitas, a self-deprecating manner, and an easy way of letting important lines sit lightly before they sink in. Once in awhile, a resemblance to Hal Holbrook appeared. He is the glue that holds “Our Town” together and Shore’s charm extended into the audience.
In the smaller roles of Howie Newsome, the milkman; and Mrs. Louella Soames, the town gossip; Mike Rowe and Susan Goodwillie Steadman, respectively, make vivid impressions. Sam Bailey, Nick Buck, Lainey Catalino, Elizabeth Chasse, Kent Cooper, Jonah Diaute, Thalia Eddyblouin, Andrew Lyndaker, Nick Miaoulis, Isobel Petersen, Scott Petersen, John Reinhardt, and Riley Stevenson ably round out Wilder’s assortment of townspeople.
In the opening of act three, as the Stage Manager looks over the cemetery, he says, “Now there are some things we all know, but we don’t take’m out and look at’m very often. We all know that something is eternal … everybody knows in their bones that something is eternal, and that something has to do with human beings. There’s something way down deep that’s eternal about every human being.” There is something eternal and appealing about this production of “Our Town.”
“Our Town” opens Friday, April 29 at 7:30 p.m. The show runs April 29 and 30 and May 5-7 at 7:30 p.m. and May 1 at 3 p.m. Student tickets are $10, adult tickets $30. On Thursday, May 5, adult tickets are $25. Reservations are suggested. To make a reservation, call 563-1373.
From the Wiscasset Newspaper, publishedApril 13, 2016
By Joy Braley, Heartwood executive director
HEARTWOOD PRESENTS “OUR TOWN” – IN OUR TIME
“Our Town,” by Thornton Wilder, opened in 1938 in NJ, went on to enjoy Broadway success, won the Pulitzer Prize for Drama … and has remained in performance on the global scene, ever since. Heartwood Theater opens their version of this long running classic on April 29th, running through May 7th.
Heartwood’s approach to this incredible script is to bring its relevance straight into our time, staging it in a contemporary fashion. Director Griff Braley notes, “Rather than recreating Wilder’s play in its period, we’ll strive to illuminate the central tenets by staging the play in modern dress. Our goal is to re-experience the tremendous moment in American theater, which occurred with the opening of Wilder’s play, in 1938.”
This story of small town America, narrated by the stage manager, who directly addresses the audience, brings in guest lecturers and even fills in to play some of the roles, focuses on the simplest, ordinary moments of each extraordinary life.
Stripped of artifice, “Our Town” quietly, deftly argues for: a community of core values, in the face of a rapidly evolving world; the best of our humanity over the worst; and the faith to live in the mystery, without answers to some of our deepest questions.
The large cast merges a trio of strong, young professional actors playing the three major roles, with a talented cross section of local players and age appropriately cast students.
Stephen Shore, from NYC, returns for his third Heartwood production, taking on the weighty role of Stage Manager. Previous Heartwood roles include Jim in the second, musical version of “The Legend of Jim Cullen” and Le Bret, Cyrano’s sidekick, in “Cyrano de Bergerac.”
Grace Experience, also from NYC, played the captivating Blackbird, in “The Legend of Jim Cullen” and returns to Heartwood’s “Our Town” as Emily Webb.
Leaving the warm temperatures of Florida to round out the visiting actor trio is Vincent Hannam, playing opposite Miss Experience, in the role of George Gibbs.
Audience accustomed to the magical black box feel of the Poe Theater, will find a keen simplicity, as this story is told with no set (but not without the use of carefully crafted, narrative lighting).
Both script and presentation focus on the essence and beauty of our daily lives.
Produced by Special Arrangement with Samuel French.
Today finds me not in the usual place at all, not any where near the usual place in fact. Right now I am on a bus in New Hampshire, traveling to Portland, ME where I will then catch another bus to a little coastal town named Damariscotta (also in Maine) where I will meet the company of Heartwood Regional Theater and dive into rehearsals for Our Town.
I will be playing George Gibbs in one of the most iconic plays of the American theatre, so I suppose it definitely counts as a “dream role”. I say dream role though and yet this play was never really on my bucket list until recently. Of course I had read it in high school and even saw a production in college but I was never struck by the poignancy of the piece until much later. Perhaps as I grew older, and while I’ll admit twenty-five (tomorrow!) may not seem so advanced, I get what the Stage Manager is saying about all of us being alive for just the briefest of moments.
This is a point of view I could not have expressed ten years ago when I was a freshman in high school and that’s why I love this play so much, that’s why the play is everlasting. It evolves with you, meaning something new to you each time you read it, with every passing year. If there’s one thing I’ll look forward to getting older about, it’ll be finding an entirely new meaning in Wilder’s words. At twenty-five it’s George Gibbs but one day it’ll be Mr. Webb and then in more time, perhaps the Stage Manager who will speak to where I’m at in life’s journey.
This certainly promises to be a grand experience, getting to explore both coastal Maine and Grover’s Corners. I’ll let you know what happens.