A Summer Under the Lights
Shakespeare With Heart 2015: The Tempest (circus themed)
As a professionally trained actor and graduate of The American Academy of Dramatic Arts, I have performed onstage dozens of times both in New York and in Central Florida. But the most rewarding experience I’ve ever had onstage was a decade ago when I participated in Orlando Shakes Shakespeare With Heart camp as a high school student.
It was my first experience with Orlando Shakes and ended up being the very reason I am back working for them as a volunteer today. There is something truly special about working in a judgment-free environment—especially when you are teenager and still shaping yourself as a person. (more…)
All Things Shakespearian
Can’t get enough of the Bard? We can’t either! William Shakespeare’s been dead 400 years, but the legendary playwright is still making headlines. The following news articles will catch you up on what’s happening in the World of Shakespeare:
All the World Is Shakespeare’s Stage
400 years after his death, the Bard’s influence can’t be overstated. Click to read more.
Shakespeare First Folio discovered on Scottish island
A copy of Shakespeare’s First Folio, one of the most sought-after books in the world, has been discovered in a stately home on a Scottish island. Click to read more.
What Twitter, Shakespeare, and monkeys have in common
Twitter and Shakespeare’s Globe Theater have partnered to prove the infinite monkey theorem, which states that monkeys infinitely typing at random could eventually re-create the complete works of William Shakespeare. Click to read more.
Find Vanya’s Roaming Gnome Contest!
Identify the location of Vanya’s Gnome and be entered to win two tickets to Vanya and Sonia and Masha and Spike and a 2016-2017 Season Subscription!
The Garden Gnome from the Vanya set will be traveling around town with week. Identify his location by commenting on the picture on Orlando Shakes Facebook Page to be entered into a contest to win two tickets to Vanya and a 2016-2017 Season Subscription. (more…)
Absurdity and Angst: A Glimpse at the Inspiration Behind “Vanya”
Photo features Benjamin Boucvalt (Spike), Philip Nolen (Vanya), Carol Halstead (Masha), and Anne Hering (Sonia).
Orlando Shakes will be opening Christopher Durang’s newest play, “Vanya and Sonia and Masha and Spike” (Vanya) this April. The Tony Award-winning comedy is a humorous adaptation of themes found in Anton Chekhov’s work. While you don’t need to have read Chekhov to enjoy the production, a little familiarity with the legendary Russian playwright will add to the fun.
Anton Chekhov was born in Russia in 1860. His young life was anything but pleasant. His physically abusive father was declared bankrupt in 1876, but despite the family living in poverty, Chekhov managed to pay his way through school and gain admittance to the First Moscow State Medical University. Working as a medical doctor paid some of the family’s bills, but not enough, so Chekhov looked to writing as a supplement to his income. Sometimes writing under pseudonyms such as “Man without a Spleen,” Chekhov’s satirical writing style gained both popularity and criticism—the latter of which motivated the writer to pursue more artistically ambitious projects. (more…)
Striking a Chord in “The Tempest”
Greg Thornton, Dameka Hayes, Brad Frost, Gracie Winchester, and cast. Photo by Tony Firriolo.
Invoking a particular emotion onstage can be challenging to do with spoken words alone. Sometimes you need to strike a chord or two, which is where New York composer Daniel Levy comes in.
An award-winning composer and musician, as well as a graduate of Miami University and NYU Tisch, Daniel Levy has produced over 40 scores for film and stage. For Orlando Shakespeare Theater’s current production of The Tempest, Daniel worked alongside director Anne Hering to create a beautifully provocative original score for the play.
Orlando Shakes marketing department recently sat down with Daniel to learn more about his enchanting musical work on The Tempest:
Daniel Levy
OST: Can you provide a brief explanation of how you went about creating original music for Orlando Shakes production of The Tempest?
DL: Director Anne Hering explained her vision for the play—what Prospero’s journey was and what the themes or energies were that she wanted to emphasize or explore. Then we invent ways that music can affect or enhance the energy flow in the play, or the flow of information. Text is one form of information. Music is another. Music also has a certain effect on how we perceive time, space, and movement, so there are often these aspects to address too. (more…)
The Writing of Ellen McLaughlin’s Pericles – PART III
John P. Keller as Pericles and Kimmi Johnson as the Goddess Diana. Photo by Tony Firriolo.
The following blog post is the fourth installment from actor John P. Keller, taking on the lead role of Pericles in Orlando Shakes upcoming modern verse production, of his documentation of the controversial project to translate Shakespeare into contemporary modern English.
The Translation, Adaptation, or Re-Writing of Shakespeare’s and Ellen McLaughlin’s Pericles. Part III
The Writer’s Equation and The Actors’ Math.
Part of the joy of acting heightened language is that it is not colloquial, modern, or simplistic. My grad school voice teacher passed on the idea that Shakespeare is: “crazy shit, happening to incredibly articulate people.” Modern Shakespeare actors do not apologize for the complex language—the antique-ness of it, is its value. You are given permission to live as large as life itself in the ways that ancient language allows. As fellow Pericles actor Richard Watson puts it “What we do is not brain surgery or rocket science, but it is oddly complex.”
There is joy for an actor to speak true Shakespeare lines like:
Prithee, speak.
Falseness cannot come from thee, for thou look’st
Modest as Justice and thou seem’st a palace
For the crowned Truth to dwell in. I will believe thee
And make my senses credit thy relation
To points that seem impossible.
Shakespeare’s language may not flow on the page to modern eyes. However, actors get to prove themselves worthy of these plays by using their bodies, breath, and active minds to live out the text for modern ears. When a modern ear hears an ancient piece of literature and understands the action of the play, they delight in their own intelligence, emotion, and creativity. The challenge then to the modern playwright is to find a way to replace or adjust indiscernible words and structures while still keeping the magical voyage of an elevated sentence. This is because at the end of the day the “PlayOn!” project is not creating contemporary plays, but adjusting classical text for contemporary ears. The success and failure of that concept is yet to be determined. (more…)
The Art of Gender-Bending Shakespeare
William Shakespeare’s works were originally performed by an all-male cast, because an acting profession simply was not considered a good one for a woman. Since Shakespeare’s time, the theater community has taken great strides towards diversity and inclusion, and one visionary artist has made it her mission.
Lisa Wolpe is the Founding Producing Artistic Director of the Los Angeles Women’s Shakespeare Company and has been working on cross-gender performance since the 1980’s. Since the Company’s creation in 1993, Lisa Wolpe has played more of the Bard’s male roles than any woman in history, and always to superlative reviews. An activist as well as a celebrated actress and director, Wolpe’s work speaks toward liberation from the “gender box” of expectations.
Lisa Wolpe will be bringing her groundbreaking solo show, Shakespeare and the Alchemy of Gender to Orlando Shakes on Sunday, February 28th, 2016 at 7:30 PM. In preparation for this upcoming production, Lisa Wolpe sat down with Orlando Shakes volunteer Lyndsey Elizabeth for a candid interview about her unique theater style.
OST: Shakespeare and the Alchemy of Gender is performed in a new and groundbreaking style of theater. What kind of preparation went into creating the show?
LW: I spent about five years building what looks like a very simple, one-hour show. I wrote a 133 page thesis for an MFA I earned in Interdisciplinary Art, unpacking my process, which I completed in 2007. I was looking at why I felt such satisfaction in crossing gender onstage, and where that came from in my life experience. After that, it was a slow approach to performing the story I wanted to tell without all of the trappings of a traditional play. At one point this solo show was 2.5 hours long, including 150 slides, some basic costume changes, lots of tips on how to cross gender, and forays into topics including mystical wisdom, sacred geometry, the authorship debate, and the work of my all-female Shakespeare Company. In the last year or two, I have pared the show down to under an hour, in order to tour it internationally, and I decided to make it much simpler and shorter and rely mostly on personal stories from my own life to contextualize why I love to play Shakespeare. Along the way I have of course directed dozens of Shakespeare productions and taught many actors Shakespearean performance techniques, so my insights have continued to grow, but at this point I am not changing the text, and the performance is very simple—no costumes, no set, no special lights—just me and this story I want to tell, which is basically about how I came to understand and love my father so much more—by playing the male roles in Shakespeare.
Lisa Wolpe as Hamlet. Photo by Kevin Sprauge (Shakespeare in LA)
OST: Do you feel that all actors inherently possess both masculine and feminine energy?
LW: I do feel that gender is no longer viewed as a male/female binary, and that most young people (to their own great relief!) accept a much wider gender spectrum of identity onstage and in the world than I’ve seen in my lifetime—one that is mutable, stageable, and performative to some extent—as is the answer to their own chosen personal gender labels. Obviously, some people are drawn to challenge the expectations of gender behavior more strongly than others, and some people have more shape-shifting skills than others, but it is encouraging that more people feel free to explore outside of “the box”, and liberate their internal terrain. (more…)
The Writing of Ellen McLaughlin’s Pericles – PART II
John P. Keller as Pericles. Photo by Luke Evans.
The following blog post is the third installment from actor John P. Keller, taking on the lead role of Pericles in Orlando Shakes upcoming modern verse production, of his documentation of the controversial project to translate Shakespeare into contemporary modern English.
The Translation, Adaptation, or Re-Writing of Shakespeare’s and Ellen McLaughlin’s Pericles. Part II
John P. Keller
It’s ok we are not re-writing Shakespeare we are re-writing… “Wilkins?”
Pericles is my favorite Shakespeare play. Perhaps my actor ego plays into that—always believing I would make a good Pericles (the jury is still out, we don’t open for another few weeks). Perhaps it’s because I love a great action adventure in all forms and this play—and maybe Cymbeline—are the closest Shakespeare comes to an Odyssean epic. This play also has one of the most superbly crafted scenes in all of Shakespeare, the dangerous and redemptive Act V boat scene—a superbly crafted moment of unknown identities which surprises with the continual ebb and flow of possible resolution and furthered conflict.
It is a common scholarly belief, based on empirical data, that Shakespeare is not the primary author of Pericles. It is probable that George Wilkins, sometime around 1607 or 1608, wrote the first two to three acts. His novel with the published titled “The Painful Adventures of Pericles, Prince of Tyre” contains whole passages of mirrored text. Most theater companies that produce Shakespeare’s Pericles Prince of Tyre usually contend with the performative hurdle of a play that is written in two pretty distinct voices. The differences in text and poetic flow found throughout the production as well as the challenges of vast changes in geographies and a bountiful cast of colorful characters makes Pericles a very challenging play to produce.
In my first article, I discussed how many artists responded to the initial announcement of the translation project with a mix of disbelief and disgust. However, if the conversation lasts more than that momentary outburst, it works its way around to discussing which plays might actually benefit with some dramaturgical aid. Shakespeare’s full body of work accounts for 39 plays, but, most of us have only heard of around a dozen or so—and probably only 3-5 are widely known in pop-culture. We can assume the success of these well known plays derive from the beauty of the poetry, the fantastical quality of the story telling, and reverberating psychological truisms. So what about the play’s outside of this revered circle? Well, Pericles is one of these outsider plays. (more…)
The Writing of Ellen McLaughlin’s Pericles – PART I
First day of rehearsal for Orlando Shakes production of “The Adventures of Pericles”
The following blog post is the second installment from actor John P. Keller, taking on the lead role of Pericles in Orlando Shakes upcoming modern verse production, of his documentation of the controversial project to translate Shakespeare into contemporary modern English.
The Translation, Adaptation, or Re-Writing of Shakespeare’s and Ellen McLaughlin’s Pericles
John P. Keller
First Impressions
The first day of rehearsal is a lot like taking your dog for a visit to the local dog park. The metaphor works if you include things like the anticipation of a new place, the excitement of an active play date with some old friends, and the sniffing out of some new faces (or, well… y’know). Then there is that moment—when someone pulls out the tennis ball. Everyone sits on baited breath, attentive—waiting for the game to begin. It’s not altogether dissimilar with the distribution of the show script and the first group read. It’s an act of ceremony.
Once everyone has gone around and said their names and the roles they will attempt to play (I say that with reverence not cynicism), it is the job of the actor who utters the first printed lines to take the play from theoretical to actual, to set a six week rehearsal marathon into motion.
This was how we all began the first day of rehearsal for Orlando Shakes production of The Adventures of Pericles.
Then began a slow series of revelations.
We are working on a revered ancient text…kind of…
We are working on a new play…kind of…
We are working alongside a beloved 400 year old master playwright…kind of…
We are working on something altogether familiar and altogether different…yes.
We are here in a room with a living breathing playwright with her own hopes, fears, opinions, goals, hesitations, and confidences… most definitely.
When working on Shakespeare, I typically find ceremony in the work. William Shakespeare—to actors of Shakespeare’s plays—believe him to be alive in the text. He gives us direction through poetry, enjambed lines, and punctuation. He is both enlightening and utterly frustrating—not to mention annoyingly cajoling and eerily silent.
This last of Shakespeare’s greatest attributes (his death 400 years ago) means that as an actor you can whine about him as much as you like without hurting his feelings. “What was he thinking—drinking—when he wrote this?!”
But when you have a living playwright in the room…not so much. (more…)
What Happens Here…Becomes Public
Orlando Shakes upcoming production of The Adventures of Pericles is presented in partnership with Oregon Shakespeare Festival’s “Play on! 36 playwrights translate Shakespeare.” “Play on!” is a project that consists of 36 playwrights commissioned to translate 39 plays attributed to Shakespeare into contemporary modern English. This project has caused many raised eyebrows in theater and literary communities across the country, with the common thought being, “Why the #$&% would you need to modernize Shakespeare?”
In light of this controversial undertaking, John P. Keller, New York based actor taking on the lead role of Pericles in Orlando Shakes upcoming modern production, offered to document his involvement in the project in a series of blog posts.
John P. Keller
I landed in this room a bit by accident. The kind of accidental series of events that lead a pre-med student to drift out of the science library and into the theater department green room at a small liberal arts college. Truthfully, I think if it were not for the green room I never would have found the theater in the first place. Perhaps I should not admit this, but my love of the theater did not begin as a particular desire to be on stage, but rather the magnetic pull towards the people of the theater.
Artists tend to talk a lot. Conversations—perhaps contrary to popular belief—are not restricted to any particular discipline, philosophical mandate, or body politic. The theater (or perhaps more literally, in my initial experience, the green room) was where the sociologists, psychologists and anthropologists, the historians, the literary geniuses, the scientists, the serious scholars, and the drifting goofballs met to discuss Rumi, Descartes, Shakespeare, Locke, Einstein, Mr. Rodgers, Big Bird, and Parker and Stone—all while exchanging recipes and fart jokes. It was this great sense of gathering that always gave me—the communal conversation—the seriousness of purpose without the over seriousness of self.
Recently, a hot topic lit up green rooms and theater gatherings across the country. The announcement by the Oregon Shakespeare Festival that they would commission 36 living playwrights and dramaturges to translate 39 of the bard’s plays into contemporary English. (more…)
The Real Magic Behind ‘Peter and the Starcatcher’
Orlando Shakespeare Theater’s production of Peter and the Starcatcher is full of starstuff, pixie dust, and about a hundred other wonderful things. But what gives the play its true magic is the spirit of imagination it invokes in its audience.
The following is an excerpt from an interview with Peter and the Starcatcher playwright Rick Elice about the theater style he used to create a magical world for both children and adults:
“When I came on board as playwright, [directors] Roger Rees and Alex Timbers, and Disney’s brilliant dramaturg, Ken Cerniglia, had already hit on a great organizing principle. Act One would take place on board two ships at sea—all cramped quarters, tiny cabins, claustrophobic, dark, wet, sinister. Act Two would take place on a tropical island, with bright sky and big, open spaces. In order to create a simple, stark environment in which to tell a young person’s story in an adult, muscular and surprising way, the directors embraced the style of Story Theater, or Poor Theater—a favorite technique of Alex’s and the trademark of Roger’s great Royal Shakespeare Company triumph, The Life and Adventures of Nicholas Nickleby.
The dozen actors would play everyone and everything— sailors, pirates, orphans, natives, fish, mermaids, birds … even doors, passageways, masts, storms, jungles. They would also narrate action and memory, giving each of them a privileged relationship with the audience. This would encourage the audience to be more than spectators; it would invite them to play along, to participate, to imagine … I aimed to write a play seasoned with the contemporary, irreverent tone of Dave and Ridley’s Peter and the Starcatchers and the stylistic flourishes employed by J. M. Barrie a hundred years earlier for the original Peter Pan— high comedy and low, alliteration, puns, broad physical gags, songs, meta-theatrical anachronisms, sentiment delivered so deftly that the end of the play breaks your heart.
My challenge would be to write this new play in such a way that it merged the two disparate styles … The marriage of classic and modern in the writing brings the Story Theater aspect of the play into sharper focus. And the Story Theater style gave me the freedom to create a vast landscape of far-flung places, physical and emotional. And the wings to take you there.” – Rick Elice, 2014
To read the complete synopsis (with spoilers) of Peter and the Starcatcher, please click here.
Photos by Tony Firriolo features Stephen James Anthony, James Putnam, Kenny Babel, and the cast.
Want to Discover the Next Shakespeare?
Orlando Shakes is proud to present our 13th season of PlayFest! (November 5th through the 8th.)
You may be having these following thoughts: What is a “playfest”? Do you have to dress up? Is it similar to L.A.R.P.I.N.G or a renaissance fair? It’s at the Shakespeare Theater so maybe we’re going back to the Elizabethan age?
Orlando Shakes is a member of the National New Play Network (NNPN), which is an alliance of nonprofit theaters across the country who promote in the development, production, and continued life of new plays.
At PlayFest, we discover new plays and exhibit them to the public. We have a submission 
page on our website and as long as the writers follow the guidelines, we allow anyone to submit a play for our consideration. Our Director of New Play Development, Cynthia White and Artistic Director Jim Helsinger, dig through the good and the bad to unearth seven fantastic plays to be presented over the four-day event.
Ginger Lee McDermott in PlayFest’s Dancing Lessons.
Each of the seven plays is presented as a staged reading at one of our stages. What’s a staged reading? Unlike a full-blown production, no costumes or sets are used during a staged reading. The pieces have directors and actors, and they read from a script. It is an introduction to the work rather than a developed production. Patrons get the chance to sample a wide variety of new works in an intimate, interactive setting.
Over the 13 seasons, we have presented over 125 new plays. Many of the plays shown at PlayFest go on to become full-scale productions. Steven Sachs’s Bakersfield Mist was originally a PlayFest favorite, and went on to be presented on the West End in London and is currently being performed at the Shakes! Then in January, we open another PlayFest gem, Mark St. Germain’s (Relativity, Best of Enemies) Dancing Lessons!
Ellen McLaughlin
Award-winning playwright, Ellen McLaughlin, was chosen to translate Shakespeare’s Pericles into modern verse for Oregon Shakespeare Festival’s new project PlayOn, in which they will “translate” Shakespeare’s entire theatrical cannon. McLaughlin’s translation, The Adventures of Pericles, will be part of our season as a full production from February 24th to March 26th, 2016. McLaughlin will be hosting a free keynote speech on Saturday, February 7th at 7:30 p.m.
We will have a free playwright’s panel on Sunday, November 8th at 3:30 p.m., where we will talk about diversity in the theater. Four out of our seven playwrights are females; females are often underrepresented in theater. The chosen plays explore relationships and navigate through tough topics such as drug addiction, loss, death, and moving on.
While you are not parading around in breeches and cassocks, you’ll still have many laughs and great fun! This is a great opportunity to get the “insider’s scoop” on new plays and playwrights. You may even find you are inspired to dabble in writing one yourself!
We hope you discover the next Shakespeare! (Or at least a talented playwright that moves you.) This program is an excellent way to find new playwrights and give voice to their work. These fresh plays could end up being produced at the Shakes, or even on Broadway! Imagine how different our world would be if Shakespeare had never had a chance to preview his work!
So come and support a new generation of talented playwrights at PlayFest! Tickets are only $8!
This blog post was written by Marketing Intern Cassie Moorhead.
Just Me and My Shadow
The cast of The Frog and Princess with their ASL shadows, 2015. Photo by Landon St. Gordon.
For every Children’s Series production there is a special performance date labeled “ASL,” but what does that even entail? At Orlando Shakes it means you are attending a performance with sign language interpreters, who shadow the actors on stage, creating a unique theater experience for young people who are deaf or hard of hearing. The result is a fun and educational event for everyone, including hearing audiences!
Mandy Longo is the assistant director of Florida Hands and Voices a nonprofit organization that works with children who are hard of hearing or deaf, their families, and the professionals who serve them. She is also the founder of Signing Shadows, who will join the cast of Magic Tree House: A Ghost Tale for Mr. Dickens on November 7 at 2:00 p.m. for a shadow interpreted performance. Marketing Intern Cassie Moorhead sat down with Mandy to learn more about her mission to provide the magic of theater to an underserved community.
Cassie Moorhead: How has sign language been used in the past in the theater?
Mandy Longo: Traditionally, theaters have used traditional interpreting for those who are deaf or hard of hearing. Interpreters stand on each side of the stage and sign the dialogue. Imagine you are in a theater and you could see the actors movements in the middle of the stage, but in order to understand what they are saying you had to look to either side of the stage. You would be constantly looking back and forth trying to keep up. While you may understand the gist of what is going on, you miss a lot of the experience.
The cast of The Frog and The Princess and their ASL shadows sign autographs, 2015. Photo by Landon St. Gordon.
CM: How is shadow interpreting different?
ML: In shadow interpreting the interpreter and actor are one. We stand side by side the actors in all black clothing and become their characters. We learn their blocking, their facial expressions, body language, and everything. The audience members who are deaf or hard of hearing are given the full theatrical experience.
CM: Where did you get the idea for the Signing Shadows?
ML: There is a very famous theater in Los Angeles called the Deaf West, which was founded in 1991. They use shadow signing and are currently working on their first Broadway show, Spring Awakening. I recently saw it and was so inspired by the work they have done. It has given me such inspiration for this show. We have been working with the Shakes since Cinderella, which was four seasons ago. They are the only theater in the area to offer shadow interpreting.
CM: How does the process work of assigning interpreters to actors?
ML: I have a Facebook group for the Signing Shadows and I will post the show, the dates, and see what volunteers are interested and available. I am given the script ahead of time, but the first time I am introduced to the actors is during the “Meet and Greet.” During the read through I listen and observe the actors. I try to match them based on personality and appearance. We only have two male interpreters, so we are not always able to always match by gender.
CM: What is challenging about Magic Tree House: A Ghost Tale for Mr. Dickens?
ML: This show is a musical, which is always more challenging. We have to master the choreography and be in sync. There are around 15 musical numbers in the show. The synchronicity is the most challenging aspect of the show by far. Signing is similar to speaking where one word can have multiple meanings and signs. We rehearse separately and have to agree on which sign to use and make sure we are in sync with one another. This is our biggest show we have done so far, but it will be awesome.
Sophia Grilla in Shakespeare with Heart’s Merchant of Venice, 2014. Photo by Landon St. Gordon.
CM: Who are your volunteers?
ML: Most of our volunteers are interpreters for public schools or teachers. Our shadow signer for Tiny Tim, Sophia Grilla, is only 13 years old. She is so amazing and inspiring. Signing on to a show is a big commitment. We learn the entire show, so there are many rehearsals. We do not jump in and rehearse with the actors until later in the game where they know the show back and forth. We love it even though it involves so much time. It gives our hearts pleasure. The actors have to put in extra hours to teach us their blocking and whatnot, but they are always more than willing and never complain. The Shakes has been amazing, we always feel welcome.
CM: What are the next projects the Signing Shadows will be working on?
ML: We will be performing Elephant and Piggie’s “We’re in a Play!” on April 30, 2016 at 2:00 p.m. We wish more people knew about shadow interpreting and came to see the shows. The deaf and hard of hearing children are given a unique opportunity to socialize. They can meet other deaf and hard of hearing children from other schools and hopefully make new friends. We have schools from Osceola, Orange, Lake, and Seminole County attending the field trip performance.
Come and see the Signing Shadows for yourself! Florida Hands and Voices and Signing Shadows will appear in a special performance of Magic Tree House: A Ghost Tale for Mr. Dickens on November 7 at 2:00 p.m. There will be an additional shadow interpreted performance for schools groups on November 9 at 10:15 a.m., but general admission tickets can also be attained by the public. Tickets are available online or at the Box Office at (407) 447-1700 ext. 1.
An Intern’s Insight: Cassie Moorhead
I vividly remember my first show at the Orlando Shakespeare theatre. My school scheduled a field trip during our Shakespeare lesson in fifth grade, and we saw As You Like It. I was mesmerized watching the actors and how serious they were. I was so enthralled I barely remembered to sneak glances at my crush-of-the-day.
The theater was intimate and from my seat I could see every breath and facial movement. The energy and enthusiasm was contagious. The words themselves were a little over my head, but the actors perfectly conveyed the intended messages to my young ears. They could have been speaking Chinese and I think I would have gotten the gist of it. I loved the make up, the set, the costumes, the lights, the excitement, and I wanted it all.
I was inspired, so I chose theater as my elective throughout middle school and high school. I felt at home with my fellow thespians. Theater people seem to “click” naturally. Whether it is a shared passion or a general thirst for life, theater folks remain my favorite.
After high school I migrated to the University of Central Florida and earned a degree in Psychology. As most graduates will attest, post-grad life is very scary and stressful. I had no idea what I was doing and had zero job prospects. I immediately enrolled in the University of Florida’s online program to earn a master’s degree in Communications. I needed an internship for one of my class credits, and looked high and low before my dad heard through the grapevine that Orlando Shakes has amazing internships.
By some miracle the timing was perfect and I was asked to joining the staff as their Fall Marketing Intern! The staff and crew at the Orlando Shakespeare Theater are absolutely amazing; everyone is genuinely kind and helpful. The plethora of tasks for the day is accomplished with a smile and a laugh!
As the Fall Marketing Intern, I gain hands on experiences in the field. I am not just getting coffee and bagels. I worked on promotional materials for the new show, Bakersfield Mist, which is opening next week. I filmed the current musical, Monty Python’s SPAMALOT, and had to hold my hand over my mouth to stifle my giggles so the camera wouldn’t pick them up. I was even able to give back to the community by volunteering to feed those in need at the Daily Bread. I am looking forward to learning more in the coming weeks, as the magic of theater continues to mesmerize me.
An Interview with Maude Gutman (AKA Anne Hering)
Orlando Shakes favorite Anne Hering is back on the stage this Fall after recent appearances in Bad Dog, A Christmas Carol, Les Misérables, and many others. In Bakersfield Mist (playing October 14 – November 15, 2015), Anne plays Maude Gutman.
Fifty-something and in between jobs, Maude shells out her last few bucks on a thrift store painting which she’s convinced is an original Jackson Pollock worth millions. When Maude invites renowned art expert Lionel Percy (played by Steve Brady) to her trailer park home in Bakersfield to authenticate the painting, cultures and class attitudes collide. Stephen Sachs’ colorful new comic drama asks an important question: Who gets to decide what “art” is?
In a quick interview, Anne tells us how she and her character are alike–and very, very different.
OST: Describe Bakersfield Mist in three words.
AH: Art meets bartender.
OST: Name three ways that you and Maude Gutman are alike.
AH: We swear. We say what we feel. We believe in miracles.
OST: Name three ways that you and Maude Gutman are totally different.
AH: I don’t smoke (anymore). I don’t have children. I don’t like clown paintings.
OST: Have you discovered anything new about Maude, the play, or yourself while in the rehearsal process?
AH: I’ve learned that Maude is smarter than I thought. She re-calibrates her arguments quickly, so her wheels are always spinning.
OST: Was there anything you did to prepare for this role?
AH: I watched Who the #$&% Is Jackson Pollock?, the documentary that helped inspire Stephen Sachs to write Bakersfield Mist.
OST: This play features just two actors–very different from the huge casts of Les Miz and Nicholas Nickleby. What’s that been like in comparison?
AH: A totally different process. Bakersfield Mist has actually been way more work. But the performances will go really quickly.
OST: As Orlando Shakes’ Director of Education you plan our Children’s Series and Youth & Teen Classes. Bakersfield Mist is Rated R. How do you feel about having a job that lets you live in both worlds?
AH: Grateful!
OST: How did you get started in acting? How did you get started in education? And when did you discover mixing the two was your winning combination?
AH: I got into theater doing musicals in high school. My first job out of undergrad was teaching high school English. The first time I mixed the two was when I got this job eleven years ago!
Don’t miss Anne–or should we say “Maude”–in Bakersfield Mist opening this month! Tickets are available online or by calling the Box Office at (407) 447-1700 ext. 1.
Shakespearely yours,
Melissa Landy, Public Relations Coordinator
Who the #$&% is Jackson Pollock?
Teri Horton with her “Pollock”
“Who the #$&% is Jackson Pollock?” asked Teri Horton when an art teacher suggested her $5 thrift store find might be a priceless masterpiece. That question later became the title for the documentary that followed her quest to prove she’d discovered a long lost Pollock painting.
Stephen Sachs’ colorful new comic drama Bakersfield Mist (playing at Orlando Shakes from Oct. 14 – Nov. 15, 2015) introduces a set of lively fictional characters in an almost identical situation.
But back to Horton’s original question, who is Jackson Pollock? An American artist known for revolutionizing the abstract expressionist movement, Pollock developed a new method known as the “drip technique.” The style involved using household paint (as opposed to artist’s paint) and literally dripping and pouring it onto the canvas. His other tools included hardened brushes, sticks, basting syringes, and even his own hands. This technique marked the “drip period” (from 1947 to 1950) when the majority of his most famous works were created. Pollock prided himself in getting up close and personal with his artwork, and often spoke as if he were “in” his paintings.
“My painting does not come from the easel. I prefer to tack the unstretched canvas to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting,” said Jackson Pollock, in his publication My Painting.
Despite his artistic fame and success, Pollock’s life was not picture perfect. He struggled with mental illness and modern historians theorize he may have been bipolar. He also suffered from alcoholism throughout his adult life. In 1956, Pollock caused the fatal car accident that killed him and one other passenger, although his mistress who was also in the car survived. Pollock was only 44. His wife, an artist named Lee Krasner, kept his legacy alive by opening their home, the Pollock-Krasner House and Studio, for public tours.
Wondering what happened to Ms. Horton and her painting? To this day she has been unable to prove that it is a true Pollock, yet she refuses to sell her piece for less than $50 million. Inspired in part by Horton’s story, Bakersfield Mist begs the important question: Who gets to define what “art” is?
Tickets to Bakersfield Mist are available online or by calling (407) 447-1700 ext. 1.
Article Contributors: Lexie Hoag and Melissa Landy
Youth & Teen Acting Classes–Where the magic happens!
Beginning on September 26 and running through October 31, 2015, our Fall 2015 Youth & Teen Acting Classes are just around the corner! Wondering whether to enroll your child (Age 4 – Grade 12)? Children’s Series Coordinator Jennifer Bonner discusses how our classes benefit “the whole person”, while having a whole lot of fun too!
OST: How are Orlando Shakespeare Theater’s Youth & Teen Acting Classes different from others offered in the community?
JB: At Orlando Shakes we really focus on the education portion of the program. We have a “Shareformance” at the end of each six week session, where the students share what they’ve learned with their family and friends, but the bulk of material is devoted to educating the students as a whole person. We give them tools they can use in life, such as the concept of the “actor’s toolbox” (voice, body, and imagination), and we really hone in on that. We aren’t striving to produce stars. We just want our students to learn about themselves and others, as well as theater and artistic integrity. It’s a sneaky way to educate while they are having fun at the same time.
OST: How do we cater each class for specific age groups? Is there a core standard they all share?
JB: Our classes focus on skill sets that benefit students on stage as well as in everyday life. They celebrate the process of learning, experimenting, taking risks, and challenging expectations by focusing first on acting, then movement, and, finally, Shakespeare’s words. Alone or as a package, this training is valuable for beginning actors as well as aspiring young professionals.
OST: Seems like this Fall’s classes are based on some of the shows we’re producing during our 2015-16 Season. What characters can students look forward to exploring?
JB: Older students will be exploring Peter Pan from Peter and the Starcatcher; all of the zaney knights from Monty Python’s SPAMALOT; Trinculo, Stephano, Caliban, Prospero, and Ariel from Shakespeare’s The Tempest; and Pericles, Dionyza, Cleon, and Marina from Shakespeare’s epic tale Pericles.
Little ones will learn with Jack and Annie from the Magic Tree House book series (and our Fall Children’s Series production, A Ghost Tale for Mr. Dickens), as well as best friends Gerald and Piggie from the popular Mo Willems’ book series and our Spring Children’s Series production of Elephant and Piggie’s “We are in a Play!”.
Our hope is that by including the stories from the season in our classes, students will be excited about our productions and will become more invested in the theater. They’ll begin to think of the Theater as theirs. And that’s what it is–we’re here to serve the community.
OST: Do students from our classes and camps ever have the opportunity to be cast in Orlando Shakespeare Theater productions? How can these connections help any aspiring young actors?
JB: Anyone in the community is able to audition for our season each April. Many of our current and previous students have auditioned for past seasons and, when the production calls for it, numerous kids have been cast in child and young adult roles. Many have also had the opportunity to work as understudies. For students that want to pursue acting as a profession, auditioning is always valuable, and we welcome and encourage them to do so with us.
OST: Why is Theater important for kids–even if they don’t intend on pursuing it as a career choice?
JB: Theater has so many dimensions. It’s a social art. It’s a history lesson of the minds and hearts of people throughout time. It teaches us compassion, acceptance, and tolerance by allowing us to walk around in someone else’s shoes. It helps with expressing feelings and emotions, with public speaking, and with confidence. It teaches us that it’s okay to make a mistake because ultimately, there is no right answer in theater. It’s what you feel. It’s what you see. It teaches us to think outside the box–to be brave. And isn’t that what we all want to be?
Registration is still open for our Fall 2015 Youth & Teen Acting Session! Visit us online for details.
Additional questions? Contact Jennifer at (407) 447-1700 ext. 254.
Staff Spotlight: Dana Nichols, Director of Development
It takes a lot of time and manpower to run a professional theater like Orlando Shakes day in and day out. Between production meetings and tight deadlines, we can sometimes forget the impact our non-profit organization has on the Central Florida community. One person who never loses sight of that is Dana Nichols, the Theater’s Director of Development.
Dana’s passion for helping people brought her to Orlando in 2002, when she began her undergraduate studies in Mass Communication and Nonprofit Management at UCF. She’s utilized that degree, along with an MBA from Rollins College, to gain experience at a variety of nonprofits including Second Harvest Food Bank of Central Florida, Kids House, and the Jewish Federation of Greater Orlando. “Working at a nonprofit gives you the unique opportunity to wear many different hats,” she said. “I love that I’ve been able to learn a great deal about so many different things like child welfare, community engagement, and the arts.”
When she’s not at the office, Dana spends most of her time with her adorable baby, Violet. She also runs her own Etsy shop, Chic Bunny Paperie, and enjoys photography and trying out new places to eat with her husband, Reid. “That’s become a little more challenging with a 16 month old,” she laughs.
One of Dana’s major roles at Orlando Shakes is overseeing the Theater’s upcoming 27th Season Gala: A Royal Affair (Sunday, September 20, 2015). As the organization’s largest fundraiser, the annual event is integral to our mission of providing the community with high quality productions like Monty Python’s SPAMALOT. To say this event is “important” would be an understatement, but Dana is up for the challenge. And, while she’s not new to Gala-planning, she’s excited about her first Orlando Shakes Gala. “What’s neat about planning events here is that we’re able to utilize what makes us unique–our performers and artists–to highlight what we’re raising money for.”
If you’ve been to an Orlando Shakes Gala before, you know to expect delicious food and great company, but Dana says to look out for some new twists too. Playing on the event’s ‘Royal Affair’ title, guests can anticipate an elegant evening fit for kings and queens, including a one-night-only cabaret performance featuring Les Miserables’ Michael Hunsaker and Broadway stars Davis Gaines (The Phantom of the Opera) and Dee Roscioli (Wicked) singing their most popular songs. Prior to the evening’s paddle raise, Dana and her Development Team will also premiere a special education-related video that will highlight what Orlando Shakes does for the youth in our community.
Wondering what priceless packages you’ll see in our silent auction? Two of Dana’s favorites are a weekend trip to Universal for four (“I still haven’t been to Diagon Alley!”) and, for the ultimate theater-lover, the unique opportunity to watch Bakersfield Mist from the stage manager’s booth.
Remaining Gala tickets ($150, $200, $250) can be purchased by phone at (407) 447-1700 ext. 1. Hope to see you there–in your formal wear!
Shakespearely Yours,
Melissa Landy, Public Relations Coordinator
Sing-A-Long(side) SPAMALOT Stars!
Last year, Orlando Shakes surprised the community with a Les Miserables flash mob that’s been viewed by over 1 million fans on YouTube. This year, we want everyone to participate! Join us as we sing-a-long to “The Bright Side of Life” and record a promotional video for our upcoming production of Monty Python’s SPAMALOT.
WHEN: Saturday, August 29 at 12:00 p.m. noon
WHERE: On the lawn in Loch Haven Park between Mills Ave. and Princeton St.
You’ll get the chance to perform alongside professional actors, as we lead you through a brief vocal warm up, learn a beginner’s dance routine, and sing the final chorus of the song.
So now you’re wondering what Orlando Shakes actors will be performing right by your side. Keep an eye out for the familiar faces below!
Davis Gaines, Musical Theatre West
Orlando native and Edgewater High School graduate, Davis Gaines (Javert in last season’s Les Misérables), returns as King Arthur. Best known for playing the title role in The Phantom of the Opera more than 2,000 times in New York, Los Angeles, and San Francisco, Gaines remains Los Angeles’ longest-running Phantom.
Raised in South Florida and a graduate of Florida State University, Michael Hunsaker (Jean Valjean in Les Miz) plays opposite Gaines once more in the role of Sir Dennis Galahad. Broadway and National Tour credits include Children of Eden, Chess, Chance and Chemistry, and Ragtime. Hunsaker is currently pursuing a Master’s degree in Film Production from Full Sail University.
Dee Roscioli (The Lady of the Lake) is best known for ‘defying gravity’ in the Wicked First National Tour, as well as the Chicago, San Francisco, and Broadway productions. She holds the record for most appearances as Elphaba. Additional credits include Grizabella in the 2002-2003 Cats National Tour and as Mrs. Lovett in Sweeney Todd for Pennsylvania Shakespeare Festival.
Local favorite T. Robert Pigott (The Big Bang and Into the Woods) will appear as Sir Robin. Other appearances include Caboose in the original cast of Starlight Express for Starlight Vegas Co. and Baby John in West Side Story for Austria’s Scala Musical Company.
Brad DePlanche (Henry V and It’s a Wonderful Life: A Live Radio Play) joins the cast as Patsy. He has acted in productions across the country including Pennsylvania Shakespeare Festival’s Around the World in Eighty Days and The Three Musketeers for People’s Light.
Philip Nolen plays Sir Bedevere, following countless Orlando Shakes appearances including Nicholas Nickleby and The Big Bang. The local actor/singer has also been featured at Mad Cow Theatre, Actors Theatre of Louisville, and the New York and Orlando International Fringe Theatre Festivals.
Chris Crawford takes on the roles of Prince Herbert/Historian, following his debut appearance as Fred in 2014’s A Christmas Carol. Other credits include Shakespeare Theatre Co.’s Edward II, Arkansas Shakespeare Theatre’s The Producers, and Boeing Boeing with TheatreSquared.
And now the only star missing is YOU!
Planning to join in on the fun? RSVP to let us know!
What’s Up? What’s New?
As we launch into our 2015-2016 Season, there are quite a few special events and improvements to look out for. Here’s a run down of some important happenings at the Theater:
- Out with the old and in with the new!
Our Box Office (with the help of the rest of the staff) has worked tirelessly this Summer to implement a new ticketing system. Patron Manager now offers YOU much more control when purchasing tickets online, including the ability to select the exact seats you want. Additionally, you no longer have to sign in to make an online purchase. We’ll be unveiling other enhancements throughout the season, so stay tuned! (Note: If you’ve bookmarked our previous ticketing site, please update the link to avoid any issues.) Take a peek at the new system now!
- Check out that….website?
That’s right! We are currently in the process of designing a brand new website to be unveiled this Fall. The new site will feature a fresh color palette, simpler navigation, and–best of all–will be responsive and compatible with mobile devices!
Watch your mailbox!
The Marketing Department is rolling out our 27th Season brochure this week! The beautiful 28-page booklet reveals stars of our Signature Series productions including Monty Python’s SPAMALOT, The Tempest, and Vanya and Sonia and Masha and Spike. The piece also includes a complete 2015-2016 performance calendar, as well as information about discounts and how to become more involved with Orlando Shakes.
Mark your calendar for these upcoming events:
- 3rd Annual Open House – Saturday, August 1
Our FREE Open House is back and better than ever! This year’s event will feature demonstrations from the Theater’s production staff, princess story time, raffle prizes (including tickets to Monty Python’s SPAMALOT), and much more! Stop by for an hour or stay all day–we’ll have ongoing activities from 11:00 a.m. to 2:00 p.m. Click to RSVP!
- 27th Season Gala: A Royal Affair – Sunday, September 20
Hear ye! Hear ye! Join us for a royal evening in King Arthur’s Court in support of your favorite theater. Guests will enjoy tastings of Orlando’s finest food and beverages, along with a cabaret from select members of the cast of SPAMALOT and thrilling live and silent auctions. Funds raised help us fulfill our mission to produce bold, professional theater, develop new plays, and provide innovative educational experiences for all ages! Visit our website for additional info.
As I said, we’ve got a lot going on around here–and our 27th Season has barely begun! Want to always be in the know? Be sure to follow us on Facebook and sign up for our email alerts.
See you at the Theater!
Shakespearely Yours,
Melissa Landy, Public Relations Coordinator
‘Pick-A-Tick’ Raffle (Open House 2015)
For the third year in a row Orlando Shakes is opening its doors for a FREE Open House on Saturday, August 1st at the John and Rita Lowndes Shakespeare Center. Drop by for an hour or stay the whole time–we’ll have on-going activities from 11:00 a.m. to 2:00 p.m.
Festivities include crafts for the little ones, story time with costumed characters, creative demonstrations from the Theater’s production staff, an Artistic Panel Q&A with Theater artists, and MORE!
In addition, we’ll have a “Pick-A-Tick” raffle featuring some awesome prizes:
- Orlando Shakes “Choose Your Own” 3 & 5 Season Ticket Packages (Value: Up to $235)
Season ticket package includes one ticket to any 3 or 5 2015-2016 Signature Series shows of your choice, $5 off additional single tickets for friends and family, and parking alerts and show reminders.
- CFCArts Ticket Voucher (Value: Up to $200)
4 general admission tickets to Guys and Dolls (September 10 & 11, 2015)
- Bach Festival Society of Winter Park Gift Bag (Value: $150+)
Package includes two tickets to a single performance during the 2015-2016 Season, two seat cushions, and the All Is Bright: A Choral Christmas CD.
- Orlando Museum of Art Dual/Family Membership (Value: $80)
Membership includes free year-round museum admission for two adults (and any children under 18), free admission to 1st Thursdays, E-newsletter subscription, and a 10% discount on gift shop merchandise and educational programs.
- Garden Theatre Ticket Voucher (Value: Up to $66)
2 tickets good for any show in the 2015-2016 Season
- Harry P. Leu Gardens Household Membership (Value: $50)
Membership includes free admission to the gardens; discounts on classes, events, and gift shop items; and complimentary admission to movie nights.
- Seminole Cultural Arts Council Hoooowl for the Arts Tickets (Value: $50)
2 tickets for the 9th Annual Hoooowl for the Arts on Saturday, October 24, 2015 at the Seminole Harley Davidson
- Theatre UCF Ticket Voucher (Value: $40)
2 tickets to The Importance of Being Earnest (August 27 – 30, 2015) on the Mainstage
- Annie Russell Theatre Ticket Voucher (Value: $20+)
2 tickets good for any show in the 83rd Season
- Mennello Museum of American Art Passes (Value: $10)
2 free admissions into the museum
PLUS:
- Tickets to Orlando Shakes productions—including Monty Python’s SPAMALOT!
- Drink Vouchers at Harriett’s Bar
- Vintage Orlando Shakespeare Festival show posters
- Award-winning Magic Tree Housebooks and JetBlue merchandise
- SPAMALOT swag
- And more!
RAFFLE RULES: “Pick-A-Tick” raffle participants must be present at Orlando Shakes’ Free Open House on August 1, 2015. Raffle participants may purchase 1 chance (for a $5 donation) or 3 chances (for a $10 donation). CASH ONLY. Chances will be pulled and prizes revealed at the time of cash donation. All proceeds benefit Orlando Shakespeare Theater programming. ATM available on-site.
Want to stay up-to-date on all things Open House? RSVP to our Facebook event!
What a Shakespeare-ful Summer!
We’ve all sat in the Margeson Theater and watched professional actors bring stories to life before us, but what if YOU got the chance to perform on that very stage? In Orlando Shakespeare Theater’s production summer camps, students in Grades 5 through 12 get to do just that! The young actors are cast in a Shakespeare play and perform on the Margeson stage for family, friends, and Shakespeare fans alike. Marina Russell is no stranger to the Theater’s educational summer programming. She took a break from rehearsing to sit down with Marketing and Public Relations Intern Lexie Hoag to give her the inside scoop!
LH: Right now you’re working on The Young Company’s Macbeth. Can you tell us a little about the show?
MR: Macbeth is one of Shakespeare’s darker tragedies. The show takes place in a time of war, and it’s about the struggle for power. Macbeth will take any measures to get to the place of power that he wants, but he’s never satisfied.
LH: How do you feel “TYC” has been beneficial to your growth as an actor?
MR: The environment is so important. It’s very safe and the cast always works well together. We learn so much about acting techniques and how to develop ensemble, but the loving environment is what makes all the difference.
TYC’s Much Ado About Nothing, 2014. Photo by Landon St. Gordon.
LH: What’s been the biggest challenge you’ve had to overcome throughout TYC?
MR: Taking off the “mask” that we all wear. It’s something that we need in the real world to survive, but in TYC we have to let it go so that we can discover moments that make the show special.
LH: Soon you’ll start rehearsals as Prospera for Shakespeare with Heart’s The Tempest. How would you explain that camp?
MR: Shakespeare with Heart is a two week production camp, and at the end there is a Shakespeare performance. The cast is an even mix of general education kids and students with special needs. We come together in a completely inclusive environment. It’s not at all one-sided–it’s a learning experience for everyone. And it’s just fun!
LH: What’s the most important thing you’ve learned from your previous Shakespeare with Heart experiences?
MR: To be open. Open-hearted and open-minded. Just take things as they come, and find the beauty in everyone.
LH: Why would you encourage others to become involved in Orlando Shakes’ production camps?
MR: It’s a great way to make friends and gain experience doing serious theatrical productions. It’s good to learn how to work in an ensemble, and to grow through the process.
Shakespeare with Heart’s The Merchant of Venice, 2014. Photo by Landon St. Gordon.
LH: What’s been your favorite role in your acting career thus far?
MR: Every role is so different, I don’t know how to decide! But I really loved playing Nerissa in Shakespeare with Heart’s The Merchant of Venice. I love sassy characters and getting to explore meaningful relationships with other actors on stage. I think Nerissa had the most important relationships I’ve built as an actor. Playing Ross now in TYC’s Macbeth is also fun, because I get to be a part of a major character arc that’s really important to the play.
LH: If you could give advice to a younger actor what would it be?
MR: Enjoy the process. Love what you do, love each step that you take, and love the challenges that you will overcome. Again, be open to everything. You’ll learn. We all do. And most importantly, have fun!
Want to support this new generation of actors? Catch Marina and friends in TYC’s Macbeth (playing July 10, 11, and 12–Click here for tickets) and Shakespeare with Heart’s The Tempest (playing July 24–Suggested $10 donation at the door).
Lexie Hoag is currently a Marketing and Public Relations Intern at Orlando Shakespeare Theater. After completing her AA at Valencia College, she plans to pursue her Bachelor’s degree in Public Relations. She can often be found rereading books, snuggling her puppy, and haunting local theaters.
A Study in the Art of the Understudy
Photo by Brittany Bly
Have you ever wondered what it’s like to be an understudy? The answer is most likely “No”. It’s always exciting to dream of being the star of the show, but the hardworking stand-in is often overlooked. They spend hours watching from the audience, memorizing lines so they can be ready to leap on stage at a moment’s notice–not an easy job! Marketing and PR Intern Lexie chats with Sara Costello, understudy for Princess Calliope in our current production of The Frog and the Princess, as well as an alumni of the Theater’s summer camp programming and an aspiring young actress.
LH: First off, how did you catch the “theater bug”?
SC: I was inspired to join in after I watching my older sisters on stage. I’d participated in community theater, but didn’t take it too seriously until my junior year of high school. That’s when I really started putting my all into roles. I always knew I liked to act, but I don’t think I really knew how to.
LH: What was the first role where it just liked clicked for you?
SC: In high school I played Tiresias in Oedipus Rex. It was the first time I felt like I got lost in a character.
Oedipus Rex, Colin Peterson
LH: What have been the major milestones thus far in your theater journey?
SC: A major moment was when I discovered the English Speaking Union Shakespeare Competition. (Up until that point I thought I was going to be a nutritionist!) The annual high school competition is designed to celebrate Shakespeare with school-wide competitions across all 50 states. I got the chance to compete at the national level at NYC’s Lincoln Center, and that was another big moment. Performing on a Broadway stage is exhilarating and it makes you want to come back.
LH: Who have been your most influential mentors?
SC: My high school teacher, Ms. Elizabeth Horn, always encouraged me even when I didn’t think that I was anything special. Also my college theater professor, John DiDonna, has opened a lot of doors for me including casting me in Phantasmagoria. He’s the one who encouraged me to do more auditions at Orlando Shakes, which lead to an understudy opportunity and even this interview!
LH: What’s your favorite role so far?
SC: I recently played Hunger in Metamorphosis at Valencia College. That’s a really fun character because it’s not a person–it’s the embodiment of starvation. I got to latch onto people’s backs and crawl everywhere. I think I had two lines and they were “yes” and “yes”. My favorite roles are ones where I get to embody something new and leave an impression on the stage. Whatever that may be.
As You Like It, Landon St. Gordon
LH: Let’s talk about your experience working on Shakespeare with Heart.
SC: Shakespeare with Heart is a summer camp program where young actors get the opportunity to perform in a professional theater. I participated in Summer 2013’s As You Like It. I worked alongside students with and without special needs, but in this camp nobody’s different. After the two week rehearsal process, we performed a Shakespearean production in front of our friends, family, and the public. These kids just blow you out of the water!
LH: Being an understudy in The Frog and the Princess is your first professional theater credit. What’s the biggest difference between working in a professional vs. an educational setting?
SC: I’ve always taken theater seriously, whether that’s good or bad. While working on The Frog and the Princess, I finally get to be around a group of people who feel the same way. We all want to produce the best work possible.
Phantasmagoria, Michael Moran
LH: What is the most important thing you’ve learned about being an understudy?
SC: I learned that it’s a lot of work, which is something I didn’t know going in. You have to put in extra time, because you don’t have the luxury of all those hours in rehearsal.
LH: What’s the best part of the experience so far?
SC: The relationships that I’ve developed with the rest of the understudies and the main cast. It surprised me in a good way, because I’m just so happy to feel like a part of the team.
LH: What’s the most challenging part?
SC: Time management. I’m working on Phantasmagoria at the same time, and I also work at a bakery. I’m learning to give each event in my life the time that it needs.
LH: How are you and Princess Calliope alike?
SC: We ramble. Especially when she sees Gerwyn, she’s star-struck. She just starts rambling because it’s love at first sight. And that’s me. I ramble!
LH: If you could give one piece of advice to a younger actor, what would it be?
SC: Some of the best audition advice I’ve gotten is go in confidently. It’s not scary when you’re sharing what you love to do. And if they’re moved by that, you might get the part. Or maybe they love you and you still don’t get the part. You just can’t take it personally.
Lexie Hoag is currently a Marketing and Public Relations Intern at Orlando Shakespeare Theater. After completing her AA at Valencia College, she plans to pursue her Bachelor’s degree in Public Relations. She can often be found rereading books, snuggling her puppy, and haunting local theaters.
A Ribbitting Interview with a Princess
You might remember the charming Kristin Shirilla from our production of Cinderella in 2012. This summer she’s back on the Goldman Stage once more as a completely different member of the royal court––Princess Calliope in The Frog and the Princess (playing through July 26, 2015).
Like many theater professionals, Kristin’s love of the arts started at a young age. “I would act out stories like Goldilocks and the Three Bears. I’d play Goldilocks and my mom would have to play all three bears.” Her parents were very supportive of the arts, and took Kristin and her brother to see shows often. With her family’s encouragement, the Ohio native decided to study theater performance at Ohio University.
Following her college graduation, Kristin was on the hunt for a year-long acting internship. Another Ohio University grad told her about Orlando Shakespeare Theater’s Acting/Education Internship program. “I really liked the focus on education,” said Kristin. “In high school, a local theater company would come and spend a week each year working on Shakespeare with us. Orlando Shakes’ internship offered that same kind of programming for the community.”
Since joining the Orlando Shakes family, Kristin has also appeared as Lydia/Mustard Seed in the repertory productions of Pride and Prejudice and A Midsummer Night’s Dream, as well as a dog and a little boy in Alexander Who’s Not Not Not Not Not Not Going to Move. (“Typecast, I guess.”) She also works full-time as a performer in Diagon Alley at Universal’s The Wizarding World of Harry Potter. “Basically, I’m a professional wizard and that’s pretty awesome.”
I sat down with Kristin to talk about acting, puppets, and smoochin’ frogs.
Kristin joking around with Cinderella co-stars Brandon Roberts & Alex Mrazek
ML: How is Princess Calliope different from Cinderella?
KS: Cinderella wasn’t a princess. She was a normal girl who had to figure out how to “princess it up”. Princess Calliope was born into royalty. She has to learn to let loose a little. I think falling in love inspires that.
ML: This is your fifth season with Orlando Shakes. What keeps you coming back?
KS: Orlando Shakes was my home for the first year I lived in Orlando. I met great friends and even my boyfriend here. The Theater has always welcomed me back––I’ve worked as a box office associate, an understudy for Snow White, etc. I’m happy to come back and do whatever I can to help.
ML: I’ve heard that you act alongside a few puppets in this show. What’s that been like?
KS: I’m pretty comfortable handling puppets because of my theme park experience. It’s challenging to remember to talk only to the puppet, not the puppeteer. But it’s important. It’s how we endow the puppet with a life of its own.
ML: What’s the best part about performing for young audiences and their families?
KS: Kids are tough. If you’re not 100% honest, they’re not going to be as engaged or give you the feedback that you need as an actor. You can tell the difference when performers talk down to children and when they treat them like adults. Adam Reilly (Prince Gerwyn in the show) is really great at that.
Kristin with her dog, Hulk
ML: When you’re not busy being a princess, what do you like to do for fun?
KS: I love playing with my two dogs, Hulk and Louise. I just bought a house in an area with alot of parks, so I’m excited to explore those. I also like to check out local farmers’ markets and try new food and beverages.
ML: Do you have a favorite line from the show?
KS: Prince Gerwyn’s line: “Couldn’t she have turned me into something cuter? Like a kitten? Princesses like kittens, I bet.”
ML: And finally, do you really have to kiss a frog?
KS: I guess you’ll just have to see the show to find out… Besides, I don’t kiss and tell.
Kristin and Adam Reilly. Photo by Tony Firriolo.
Don’t miss your chance to see Kristin and the rest of the gang in The Frog and the Princess, playing through July 26. Click here to purchase tickets now or call the Box Office at (407) 447-1700 ext. 1. Hop to it before we close the book on this hilarious fairytale!
Shakespearely yours,
Melissa Landy, Public Relations Coordinator
Orlando Shakes Blog 