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…)
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
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!
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
“Double, double toil and trouble; Fire burn, and caldron bubble.”
“The Scottish Play” holds a special place in my heart because it was my original taste of good ol’ Billy Shakes. When I was seven, my mother, sister, and I performed the witches’ cauldron scene (Act IV, Scene I) with me appearing as Witch #2. Back then I obliviously said the “M word” with no fear, while I pranced about the living room and shouted these infamous incantations to the sky from my makeshift stage atop the coffee table. So when I heard The Young Company was doing a production of “The Bard’s Play” here at Orlando Shakes, my inner witch cackled with glee.
For those of you aren’t in the know about the many superstitions that plague the theater, the play Macbeth is cursed. Just saying the ill-fated name or even a line from the text inside a theater is said to bring great misfortune to the actors and their venue. The belief is thought to have originated from the very characters I innocently portrayed in my youth. The weird sisters’ speeches include spells that were believed to call on evil spirits. As witchcraft was still a common belief in Shakespeare’s time, you can see why audiences took this pretty seriously. The characters were actually incorporated to please King James I who considered himself an expert at detecting the dark arts (having written a book on the subject, Daemonologie, which strongly promotes the practice of witch hunting). His beliefs led him to live in constant terror of witches plotting against him.
Along with the fear that was inspired by the witchcraft portrayed in the play, over the years people have gathered evidence that links tragedy with the show. “Mac B” has become associated with small misfortunes like technical malfunctions, poor ticket sales, and forgotten lines, as well as major calamities ending in injury and even death. Famous performers such as Constantine Stanislavski, Orson Welles, and Charlton Heston faced terrible tribulations in their lives during or after they appeared in this show. In the middle of a performance of “The Bard’s Play”, the Astor Place Riot broke out and left 120 injured and more than 30 dead. It is said that Abraham Lincoln read a speech from the cursed play aloud the night before his assassination.
Find yourself suffering from a sudden slip of the tongue? Not to fear–there is a counter curse! When someone mistakenly utters the name or a line from the play, you must say “Angels and ministers of grace defend us!”. Then the guilty party must simply exit the theater, turn around counter clockwise three times, spit on the ground, swear, and then knock on the door and beg to be let back in. Once you grant the offender admittance, they may re-enter the theater, knowing they’ll be safe from the dreaded Scottish curse.
Note: If you’d prefer a more logical (more dull, in my opinion) explanation of the curse, some claim that the dim lighting and multiple combat scenes in the play make the production more prone to accidents.
So now that you know the danger hidden in Shakespeare’s famous tragedy, you can applaud the remarkable bravery of The Young Company as they prepare for their production of Macbeth this summer. There are three chances to catch this exciting performance: July 10 at 7:00 p.m., July 11 at 7:00 p.m., and July 12 at 2:00 p.m. General admission tickets are just $10 and can be purchased at the door. Hope to see you there!
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.
The Patriarch Triumphant: An Interview with Acting Veteran William “Bill” Metzo
By now you’ve probably heard that the World Premiere dramedy Bad Dog by Jennifer Hoppe-House is playing in our Goldman Theater. If you need a refresher: Bad Dog follows the story of Molly Drexler, who after ten years of sobriety, tumbles off “the wagon” by driving a Prius through her house. As her opinionated family descends around her, Molly falls deeper into the hole she’s dug for herself.
In the middle of the drama is William “Bill” Metzo, an esteemed NYC actor who plays Molly’s father, Walter Drexler. Bill’s successful acting career boasts impressive credits including Broadway’s Café Crown, Arsenic & Old Lace, and Cyrano as well as National Tours of Annie, Guys and Dolls, and the Royal National Theatre’s production of Carousel. Additionally, he’s appeared Off-Broadway and in recurring TV roles, won Florida’s Carbonell Award for Best Actor (Marquis de Sade in Quills), and, as King Lear, lead the Utah Shakespeare Festival in their Tony Award winning season.
Isabella Ward, one of Orlando Shakes’ hard-working marketing interns, sat down with Bill to pick his brain about his career and his role in Bad Dog.
IW: What’s your Twitter pitch for Bad Dog?
BM: It’s a very funny play, timely… you might even see yourself in the characters!
IW: Tell us a little about your character in Bad Dog.
BM: Walter is the patriarch of this dysfunctional family. He comes to fix things–though this is not the first time he’s come to straighten things out. He’s a successful business man.
Photo by Tony Firriolo
IW: How did you get your start?
BM: I read my first play, The Valiant, in my high school English class. I read the part of the criminal. In college I was in the drama club but received my BA in Economics. Back then, small schools didn’t have these theater programs like they do now.
IW: What’s the most challenging aspect of acting?
BM: Not to lie, but to be truthful.
IW: This is your third season working with Orlando Shakespeare Theater, after appearing as Polonius in Hamlet and Prospero in The Tempest. What sets Orlando Shakes apart from other theaters?
BM: Well it’s about the work. Jim [Helsinger] is a smart guy and the point of view in his productions have always been fascinating.
IW: You learned from the great Stella Adler and later went on to become an acting coach. What advice do you have for those aspiring actors out there?
BM: You have to really want it so badly. I have kids who ask me if they should go into the theater. If they ask me that, I say “no” because if they don’t know, they’ll be eaten up. There should be no doubt about their desire, because that is the big thing. The beginning is the absolute need to do it.
IW: If you could go back twenty years in your career, what is the advice you’d give yourself?
BM: Be more patient and accepting.
IW: What’s different about working in the theater vs. TV?
BM: The theater is there to uplift. When I studied with Stella we were the “chosen ones”. It was our duty and responsibility to make the world a better place. There is a vast difference between entertainment and art, and you have to know the difference. There’s a quote in Hamlet that goes “Now this overdone or come tardy off, though it make the unskillful laugh, cannot but make the judicious grieve, the censure of the which one must in your allowance o’erweigh a whole theatre of others”. You play to the one who knows and bring the other 1,499 people to that level. So you don’t play to the lowest common denominator. Theater is a very special place and should be like going to church.
IW: What’s your dream role?
BM: I played [King] Lear ten years ago, but I’d like to do it again. I thought once that if I ever had to write a biography, I would entitle it Carrying Cordelia which I think is a nifty title because it would mean someone hired me to play Lear while I’m still strong enough to carry a woman and young enough to remember the lines. So, yes, I’d like to do Lear again.
IW: Favorite Shakespeare Play?
BM: I have a soft spot for Macbeth. But I think I’ve done 20 or 21 of the 36 plays Shakespeare wrote.
IW: Any closing remarks?
BM: The theater is the only profession I know that uses all of you. It demands your physicality, spirituality, intellect, and your emotional life. I don’t know any other profession that makes those demands.
Photo by Tony Firriolo features Suzanne O’Donnell, Anne Hering, Ginger Lee McDermott, William Metzo, Jennifer Bonner, & Gladys Rodriguez
Come see Bill and the rest of the Bad Dog cast before the show closes on Sunday, May 3. For tickets and information, click here.
Summer Camp Confessions with Intern Lexie Hoag
In school, reading Shakespeare is classified as some form of torture. Even I, a bona fide Shakespeare fan girl and theater geek, could barely tolerate listening to yet another classmate stumble through line after line of iambic pentameter. Their monotone voice and lack of inflection only proved the fact that they had no idea what they were reading. (I’d rather not lend you my ears, thanks so much.) What was worse than their poor cold reading skills was listening to their complaints, as if Shakespeare was boring. Despite the dread I felt in hearing my fellow students butcher the greatest poetry ever written, I couldn’t comprehend how they didn’t appreciate the genuine brilliance of what they were studying.
I have a theory that no one actually dislikes Shakespeare. They may protest and call it dull, confusing, or tedious, but I believe they just haven’t been exposed to his works in a way that related to them and enabled them to gain a true understanding. That’s where Orlando Shakespeare Theater comes in. Orlando Shakes has a variety of summer camps targeted at different age groups, which allow students to take on the Bard’s great plays in a whole new way. Last summer, I got the chance to participate in one of their production camps, Shakespeare with Heart. Performing as Portia in The Merchant of Venice, I worked on this production alongside students with and without special needs.
It was so refreshing to get the opportunity to work with people who were completely committed to the task before them. All of us became consumed by our roles and with performing them to the absolute best of our ability. In today’s society, that level of commitment and focus is rare; it’s a trait I value greatly in others. Personally, I have two settings: either I can’t focus, or I can’t not focus. When I’m really into something, it’s seriously hard for me to give attention to anything else. In other situations, my obsessive tendencies get me labeled as “intense” (for those who wish to put it nicely), and I quickly become frustrated when others fail to take tasks as seriously as I do. But at camp, everyone was as eager to dedicate their time, attention, and hard work to the program. For once, I wasn’t the only person in the room excited about Shakespeare! Everyone was thrilled for the journey we were about to take together. The program is designed so that each student is constantly challenged. No one is coasting by, and it’s not easy on anyone, but the result is that each individual proves they are capable of more than even they themselves believed.
In the past, I’ve worked with special needs students in a ballet program called dance therapy. As rewarding as that volunteer experience was, it was definitely structured so I was a “helper” working as a mentor and guide to a single student. Shakespeare with Heart is different: instead of helping the special needs student achieve her goals, I worked side by side with the entire cast towards the common goal of putting on the best show possible. As my fellow actors and peers, all the students involved contributed to my knowledge and growth as a performer and a person.
The friends I made there were not just for the moment. In this two week program, I bonded with my cast mates, creating a unique community founded on our shared experience. To improve at anything, it is necessary to put yourself out there. When you are surrounded by people who are all making themselves as vulnerable as you, and taking the emotional risks that are necessary to develop, you can’t help but feel close to them. It is so magical that you can achieve that level of openness with a large group of people so quickly. No one was afraid of potential failure, because everyone was rooting for each other’s success. A connection this close is bound to last. I still Facebook stalk my “little sister” (who played the role of Balthasara) to see what new adventures life has in store for her. Next week, I’m going to see my “cousin” (“Nerissa”) perform in her high school’s production of Measure for Measure. These beautiful young people are more than cast mates, more than friends, they are my family. I can only thank them for being a part of my life.
Orlando Shakes summer camps are enriching, educational, and just all around fun. As young people, it’s hard to find a place where it is safe to put your heart on the line by putting your full effort in to something. There are but few social groups that you can rely on to be supportive as you take on the burden of challenging yourself to be better. The summer camp communities at Orlando Shakespeare Theater provide that space. Together we learn about theater, Shakespeare, and ourselves.
Lexie Hoag is currently a Marketing and Public Relations Intern at Orlando Shakespeare Theater, as well as a student at Valencia College. At the end of the semester she will complete her AA and then plans to pursue her bachelor’s degree in Public Relations. She can often be found rereading books, snuggling her puppy, and haunting local theaters.
Eat, shop, and #unselfie
Thanksgiving is my very favorite holiday. I love the sinful food, the great company, and of course—the shopping! But as stores pack to the gills with sleep deprived shoppers on Black Friday, I find myself giving thanks for Cyber Monday. Skip the lines AND get great deals from the privacy and comfort of home? Sounds good to me.
Orlando Shakes is embracing Cyber Monday this year, offering a special deal to anyone looking for that perfect stocking stuffer for friends, clients, and loved ones!
CYBER MONDAY – Monday, December 1, 2014
For one day only, get 1/2 off Signature Series gift admissions for $23 (valued at $45). Gift admissions can be redeemed for tickets to any show in the Theater’s Signature Series and they never expire. Save big and give the unique gift of live theater this holiday season!
- Visit us online–The fastest and easiest way to save!
- Call the Box Office at (407) 447-1700 ext. 1*
- Stop by in person*
*The Box Office will be open from 9:00 am to 5:00 pm on Cyber Monday.
Offer valid only on December 1, 2014 from 12:01 a.m. and 11:59 p.m. Limit six (6) reduced price gift admissions per person. Not valid on previously purchased gift admissions. Gift admissions cannot be redeemed online.
So we have a day for giving thanks and a day for getting deals, but what about a day for giving back? Enter Giving Tuesday! On Tuesday, December 2, charities, families, businesses, community centers, and students around the world will come together for one common purpose: to celebrate generosity and to give. Now in its third year, this global celebration has started a new tradition of generosity—and coined the term “#unselfie”.
Orlando Shakes will celebrate Giving Tuesday in a big way. We’re kicking off our brand new power2give campaign! Stay tuned for details.
Wishing you and yours a happy Thanksgiving/Black Friday/Cyber Monday/Giving Tuesday!
Shakespeare Yours,
Melissa Landy, Public Relations Coordinator
‘Les Mis’ Steps Off the Stage and Into the Community
Hey blog readers,
At this point in the run, many of you have probably already seen our current musical production, Les Misérables–maybe even more than once. We’ve enjoyed great success with this show, surpassing our ticket goals and completely selling out halfway through the run. (Stand by seating is still available. Click here for details.) As exciting as this is, what’s even more exciting is what has been happening when the actors step OFF the stage.
The themes of hunger, poverty, and grief in Les Mis have reminded us of the importance of giving back to the community. We’ve partnered with a few different organizations to do just that!
Second Harvest Food Bank of Central Florida (SHFBCF)
Throughout the month of September, food banks across the country participated in Hunger Action Month by standing up for hunger relief and the 1 in 6 people in the US that struggle with hunger every day. Second Harvest supplied us with big red bins to collect non-perishable food items in the lobby prior to each performance. The response was tremendous! Thanks to YOU, our Les Mis actors and Theater staff will drop off over six bins worth of food to the food bank this week.
SHFBCF will distribute our donated goods to approximately 550 local nonprofit feeding programs throughout Central Florida. Last year, the organization distributed nearly 64 million pounds of grocery products – the equivalent of more than 53 million meals. To learn more about this great charity visit: www.FeedHopeNow.org.
Christian Service Center of Central Florida
One partner program that receives food from Second Harvest is the Christian Service Center, which hosts the “Daily Bread” program 6 days a week, offering nourishing lunches to individuals in need–free of charge, with no questions asked. Last week, members of the Les Mis cast and crew and our Marketing Staff joined with other volunteers to prepare and serve meals to families and individuals at the Center’s Downtown Orlando location.
This experience was eye-opening, to say the least. Each one of us present were moved and humbled, and plan to return to the Center for volunteer opportunities in the future. Want to get involved? Click here to see how! For more info www.christianservicecenter.org.
Broadway Cares/Equity Fights AIDS (BC/EFA)
Broadway Cares/Equity Fights AIDS is one of the nation’s foremost industry-based, nonprofit AIDS fundraising and grant-making organizations. As HIV/AIDS is an issue that remains close to the theater community’s heart, the success of Les Mis created an important opportunity to show our support. Our audiences can contribute to this important organization by dropping their loose change in red buckets held by the actors as they exit the Theater. So far Orlando Shakes patrons have raised over $8,500–that’s HUGE!
In 2014, BC/EFA has awarded over $5.6 million to more than 450 HIV/AIDS and family service agencies across the country, including the Central Florida Haven of Hope Ministries in Orlando. You can also donate online at www.broadwaycares.org/donate.
Michael Hunsaker and Tim Quartier (photo by Tony Firriolo)
As Les Mis continues through October 12, we are reminded each night about the importance of charity. We see it when the Bishop gives the convict Jean Valjean a second chance and when a restored Valjean agrees to care for the dying Fantine’s child. Whether it’s volunteering or a simple act of kindness towards a stranger, I hope our audiences are inspired to look for opportunities to give back in their communities.
As Victor Hugo wrote, “To love another person is to see the face of God”.
Shakespearely Yours,
Melissa Landy, PR Coordinator
‘Pick-A-Tick’ Raffle (Open House 2014)
Last season’s 1st Annual Open House drew in over 500 familiar guests and new faces to the Theater. Our 26th Season Open House (on Saturday, August 23 from 11am – 2pm) promises to be even better. Festivities will include a backstage tour of the Lowndes Shakespeare Center, an opportunity to sit in on a rehearsal of the highly anticipated musical Les Miserables, photo opportunities with costumed characters, and free crafts for the little ones.
In addition, the Theater will host a “Pick-A-Tick” raffle featuring first-rate prizes like:
- Orlando Shakes CYO 3 & 5 ticket packages ($200+ Value)
- Free unlimited ticket exchanges within your chosen productions
- $5 off additional single tickets for friends and family, including Les Misérables* (Offer not valid for senior matinees or preview performances)
- Courtesy show reminders and parking alerts
- Great seats at a great price – reserved for you before the general public
- Orlando Museum of Art Dual/Family Membership ($80 Value)
- Free year-round museum admission for two adults (and any children under 18)
- Free admission to 1st Thursdays
- E-newsletter subscription
- 10% discount at OMA shop and educational programs
- And much more!
- Orlando Philharmonic Ticket Voucher ($80 Value)
- 2 Silver Tickets to any one concert in the 2014-15 Super Series at Bob Carr Theater
- Theatre UCF Ticket Voucher ($40 Value)
- 2 tickets to Baltimore Waltz (September 18 – October 4, 2014) in the Black Box
- Mennello Museum of Art swag bag ($75+ Value)
- Gift includes: Earl Cunningham canvas tote bag, magnet, set of 4 coasters, Painting an American Eden and The Collector’s Legacy books, and coffee mug
- Orlando Shakes Bard Card
- Exclusive discounts at local restaurants and businesses including: Citrus Restaurant, Wolfie’s Pizza Mia, Hawker’s Restaurant, and more!
Drink Vouchers at Harriett’s Bar
- Commemorative 25th Anniversary Taming of the Shrew posters signed by the cast
- Award-winning Magic Tree House books and JetBlue merchandise
- Tickets to Orlando Shakes productions—including Les Mis!
- And more!
RAFFLE RULES: “Pick-A-Tick” raffle participants must be present at Orlando Shakes’ Free Open House on August 23, 2014 between 11am and 2pm. Raffle participants may purchase 2 chances (for a $5 donation) or 5 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.
Want to save time at the door AND receive exclusive instructions on how to secure your spot on a building tour? RSVP for our 26th Season Open House today!
Work of Art
I love theater. I love every part of theater. My favorite portion of producing a show is tech week; it’s long, exhausting, taxing, and thrilling. I enjoy it because I finally get to see every other artist’s hard work come together like puzzle pieces. I always feel like an important, yet very small piece of a much larger picture.
This summer I have been working in a much different capacity. Marketing has stretched me in new ways and has helped me discover new things about myself. I have discovered things that I excel at and things that could use some improvements. In all things, however, I have tried to treat my work like art. If you learn to treat work like a piece of artwork, it’s easier to find the potential and the beauty in anything. An artist always has room to grow, to learn, and to improve upon their craft. If we each treated ourselves like artists, the possibilities in any work place and position would be endless.
Orlando Shakespeare Theater’s 2014-2015 Signature Series is fast approaching. While I’m usually a part of the acting puzzle piece, it has been exciting to view the complete picture as a marketing puzzle piece. I’m still an artist, orchestrating my contribution to match the entire picture. I’m a very small, yet important piece to a much, much larger picture.
Tess Carr is a recent graduate of Valencia College with a degree in American Sign Language Interpretation. She is also an actor, having performed most recently at the Orlando Fringe Festival. You might have seen her on some local stages including the Orlando Repertory Theatre, Mad Cow Theatre, Athens, and Central Florida Community Arts, just to name a few. After her summer as Marketing Intern at the Orlando Shakespeare Theater, she plans to attend The University of North Florida in Jacksonville to complete her bachelor’s degree in political science.
Inspired Shakespeare/Shakespeare Inspires
I was home-schooled from kindergarten all the way through my senior year of high school. Naturally, my mom, as both my teacher and my principle, made some decisions that I wasn’t okay with. Among these was the fact that I would be forced to read Shakespeare, an assignment which I was not particularly thrilled to get started. Little did my mother know that her resistant daughter would soon turn into a Shakespeare enthusiast.
I can still remember my first Shakespeare production. It was here at Orlando Shakes during my 7th grade year. My mom had created a brilliant formula for tackling Shakespeare. I attended King Lear at the beginning of the run, came home and read it aloud, and then went back to the Theater to see the show one more time. It helped me fully grasp Shakespeare and understand the language. I spent the next five years seeing every Orlando Shakes production and reading from my Complete Works of William Shakespeare textbook. By my senior year of high school, I had read Shakespeare’s entire canon from front to back.
Interning here in the Marketing Department, I’ve begun to think through exactly what the Theater is creating. The Orlando Shakespeare Theater, among other things, does Shakespeare. We are Shakespeare-inspired and Shakespeare-driven. But, we also create inspired Shakespeare; Shakespeare that is new, innovative, and thoughtful. We create inspired Shakespeare so that his work can inspire others, including myself.
Tess Carr is a recent graduate of Valencia College with a degree in American Sign Language Interpretation. She is also an actor, having performed most recently at the Orlando Fringe Festival. You might have seen her on some local stages including the Orlando Repertory Theatre, Mad Cow Theatre, Athens, and Central Florida Community Arts, just to name a few. After her summer as Marketing Intern at the Orlando Shakespeare Theater, she plans to attend The University of North Florida in Jacksonville to complete her bachelor’s degree in political science.
Where in the World is Flat Stanley?
When we first came up with the idea of creating an Orlando Shakes Flat Stanley (to coincide with our Children’s Series production of The Musical Adventures of Flat Stanley this October), I hoped it would catch on. But I never dreamed our little Stanley would become a seriously accomplished traveler!
Thanks to Orlando Shakes staff, actors, designers, stage managers, Board Members, patrons, and friends, Stanley has already been to 17 of the 50 states in the USA, including New York, Texas, Nevada, and Hawaii! He’s even been out of the country, traveling to historic Italian sites like Saint Peter’s Basilica, the Trevi Fountain, the Colosseum, and the Vatican! Additional international travels include Beijing, China; Toronto, Canada; and the Irish countryside!
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t’s become an exciting game for me, checking off cities as new photos come in. I’m looking forward to traveling with Stanley myself in the beginning of August. We’ll be visiting family in the great plains of South Dakota—stay tuned for pictures of Stanley in front of hay bales and meeting smelly livestock!
You can check out Stanley’s travel photo album on Facebook or Flickr. Going on an adventure of your own? Print your very own Flat Stanley and bring him along! Post your photos on our Facebook wall or tag us on Instagram and Twitter (@orlandoShakes).
Happy Travels!
Shakespearely Yours,
Melissa Landy
Public Relations Coordinator
My Summer With Mr. Shakespeare
The Orlando Shakespeare Theater has always been a home of sorts to me. I grew up watching theater, which naturally meant that any theater I spent an extended time period at automatically became home. My mom started taking me to full productions when I was six years old. I sat quietly, taking in every moment; I didn’t want to miss a thing. I distinctly remember the day my mom decided I was prepared to see more mature productions. I was introduced to the brilliance of Sondheim in Orlando Shakespeare’s production of Into The Woods. I can still vividly remember the performances given by Steven Lane, Melissa Mason Braillard, and Anne Hering as the Wolf, Little Red, and Jack’s Mother, respectively. They captivated me and made me believe the story they were creating. That day they became my “heroes of the stage”, as I like to call it. I was mesmerized by live theater, which held a magical quality that was unlike anything I had ever experienced.
This week, as I came into my first day of work at Orlando Shakes, I felt a little like Dorothy peeking behind the curtain to discover the Wizard. While the day to day workings of a non-profit business may not be quite as glamorous as the productions that happen on it’s stages, it isn’t any less magical. I am now a part of the team that created the magic that entranced me years ago, and continues to mesmerize me. As I move forward with this summer-long internship, I have one thing on my mind as I work; an image of a twelve year old girl that walks through the door and doesn’t know who created all of this magic, but believes in it anyway. It feels good to be home.
Tess Carr is a recent graduate of Valencia College with a degree in American Sign Language Interpretation. She is also a local actor, having performed most recently at the Orlando Fringe Festival. You might have seen her on some local stages including the Orlando Repertory Theatre, Mad Cow Theatre, Athens, and Central Florida Community Arts, just to name a few. After her summer as Marketing Intern at the Orlando Shakespeare Theater, she plans to attend The University of North Florida in Jacksonville to complete her bachelor’s degree in political science.
Nicholas Nickleby Brought to Trial!
Still in my first season as Public Relations Coordinator, I was looking forward to experiencing an Orlando Shakes mock trial firsthand. This year’s trial was the 6th annual event and featured characters from our current production of The Life & Adventures of Nicholas Nickleby, Parts I & II (playing in rotating repertory through March 9). Ticket holders were promised an exciting event, in which Dickensian hero Nicholas Nickleby (played by John P. Keller) was put on the stand, charged with the assault and battery of Headmaster Wackford Squeers. With my vivid recollection of countless episodes of Law & Order and my recent jury duty stint in my back pocket, I felt confident walking into the courtroom—err… Margeson Theater.
Following an interactive cocktail hour, the trial opened to a packed house on Tuesday, February 25. Arriving in style, Prosecutor Kim Ashby and Defense John Hamilton revolved on stage (via the Nickleby turntable) decked out in 70s era clothing. They later joked “We thought you meant 1970s!” when the year 1870 was introduced. But the playful atmosphere turned serious when the young orphan Smike (Stephen James Anthony) limped to the stand. Disfigured and gaunt, Smike described to a captive audience how he was beaten and mistreated by Mr. Squeers, and how Nicholas saved his life. The room was so silent you could have heard a pin drop!
Next on the stand was Mr. and Mrs. Squeers, played by Richard B. Watson and mock trial favorite Anne Hering. Not missing a beat, the plaintiff rolled on stage in a vintage wheel chair and neck brace. The couple rebuffed any mention of child abuse in their school, smiling at the audience with their rotting teeth and engaging in adolescent-like public displays of affection. Throughout the Squeers’ testimony, the defendant squirmed in his seat, frustrated over their attack on his moral character.
When it was finally Nicholas’ turn to take the stand, time was almost up. The truth ran from his mouth like a waterfall as he slashed through the Squeers’ lies, exposing them for the monsters they truly are. Nicholas explained that the only reason he attacked Mr. Squeers was to protect Smike, who, in Nicholas’ opinion, “would have died if the punishment continued”. Following Nickleby’s testimony, the advocates gave their closing arguments–Ms. Ashby’s creatively recited completely in prose. In his thick country accent, the Bailiff (hilariously played by Acting/Education Intern and Nicholas Nickleby cast member Jeffrey Todd Parrott) called for an advisory verdict from the audience. Using a show of hands, the packed house almost unanimously agreed that Nicholas was innocent.
Then all attention was drawn to the bridge scaffolding above the set, where the three judges sat in silence. One by one, The Right Honorable Julie Wolf, LaFontaine Oliver, and James A. Beckman each gave their final verdict: NOT GUILTY. The audience barely had a chance to applaud before Charles Dickens himself rose from the “grave” (trap door) to have the last word. Agreeing that Nickleby acted in heroism, the case was officially closed.
What a night! If you didn’t get the chance to make it to this year’s mock trial, I’d definitely recommend putting it on your calendar for next season. Whether you’re an avid theater-goer or new to live performance, it is a fun, interactive way to spend an evening. Until next time!
Shakespearely Yours,
Melissa Landy
Public Relations Coordinator
Playwright’s Corner: Steve Yockey
There’s something big coming to Orlando Shakes: Playwright Steve Yockey’s PLUTO. But before it gets here, it’s got a few stops to make first. This new work receives it’s National New Play Network Rolling World Premiere at Actor’s Express (Atlanta), Know Theatre (Cincinnati), and Forum Theatre (Washington D.C.), before reaching Central Florida later this month. And the critics are already buzzing…
“This powerful world premiere production will not leave anyone untouched.” – Atlanta Theater Fans
“Imbuing his ripped-from-the-headlines material with the horrific impulse of Tracy Letts and Martin McDonagh — with a dash of Tony Kushner’s hushed and prophetic intelligence — Yockey delivers an American tragedy as important as it is disturbing.”
– The Atlanta Journal Constitution
In Yockey’s play, single mother Elizabeth Miller is trying to keep things together. A tree has crashed through her ceiling, the fridge is on the fritz, and a forceful crowd threatens to invade her kitchen. In addition, she must deal with the constant presence of an… odd new family pet. Amidst the chaos, time stands still as Elizabeth attempts to repair her relationship with her teenage son and confront reality together across the breakfast table.
Want to know more about the man behind the madness? Steve Yockey has been produced throughout the country, in Europe and Asia, and has at least eight plays published and available through Samuel French. A graduate of the University of Georgia, he holds an MFA in Dramatic Writing from NYU’s Tisch School of the Arts (2008). After completing a yearlong residency at Marin Theatre Company in the San Francisco Bay Area, he now lives in Los Angeles, where he serves as a guest lecturer at CalArts. Before Steve travels to Orlando to see his work on the Mandell Studio Theater stage, he agreed to let us pick his brain a bit.
OST: How have you been involved with the National New Play Network (NNPN)?
SY: I’ve basically been associated with the National New Play Network for my entire professional career, including participation in the Kennedy Center MFA Workshop, Playwright Residency Program, Continued Life of New Plays Program, Showcase of New American Plays, and the US/Australia Playwright Exchange. Jason Loewith, the former Executive Director, used to refer to me as a “poster child” for the organization. I happily own that moniker, even when the two of us are sparring on panels at PlayFest.
OST: Why is this organization important to the future of new plays?
SY: [NNPN] is an essential organization. And it’s not an organization for playwrights; it’s an organization for theatres that take risks and develop new work as a part of their mission.
OST: What inspired you to write Pluto?
SY: The play was originally a commission from San Francisco Playhouse to write about anything I wanted—which was great, but also meant a lot of blue sky anxiety because I could write about “anything I wanted.” So this play started out by cracking into the very common, unremarkable way we hold a fixed idea of someone in our minds. We meet them and decide who they are and then that’s how we think of them, done deal. It’s especially ingrained with loved ones. We have difficulty allowing our idea of them to evolve even when the actual person changes, grows, or becomes something different right in front of us. So, it was taking that idea and exploring it with scale, from the intimate (a mother and son) to the epic (Pluto’s reclassification in 2006). And a tangential idea, in my mind at least, of what happens when we don’t talk about things, about changes. Do they go away or do they just scream louder? Then I stumbled onto my own personal symbology for the cherry tree, which I won’t ruin here, and everything started to roll.
OST: Do you have a favorite character in the show and if so, why?
SY: If someone tied me down and forced me to choose, I’d probably say Maxine is my favorite character in the show. Right now, at least. It changes. Unfortunately, I can’t say why she’s my favorite because it would ruin huge aspects of the plot. How’s that for a cryptic answer? Ask me again after the run of the show.
OST: Your work often references characters or situations from Greek mythology. How did that begin?
SY: I’m obsessed with myth as a way of processing the world around us. The Greeks, along with most cultures, have these incredible stories that were meant to give perspective on life events. They were a way at getting some ground underneath “why things happen”, and trying to provide comfort in a chaotic world. Myths are memorable, iconic, and ripe for reuse because an audience sits down with a pre-existing idea of what those images and stories mean. And the big magic of theatre for me is in exploring new American myths, the stories we tell ourselves about who we are now, how we define ourselves, the ways we do and do not talk about things as a culture. The best and the worst of the people we want to be laid bare on stage. That’s exciting and can be inherently theatrical.
OST: Why is Pluto relevant to today’s audiences and what do you want them to take away from the production?
SY: Well, the subject matter is certainly haunting the national short term memory, if not the national conversation. But it frankly has been for a while. Pluto is not a play about guns. But it is absolutely a play about communication and the fallout when that communication goes away or breaks down. In that respect, the play is intensely of the moment and unapologetically speaks to an audience that has grown too accustomed to regular reports of local tragedies on the evening news. It goes back to the idea of myth and how we want to see ourselves. And really, at its heart, what we expect from each other.
OST: Do you have any advice for aspiring playwrights?
SY: Write as much as you can. And then do whatever you have to in order to get your work up on stage. Don’t rob banks or blackmail or anything, but don’t wait around for someone else to discover your work. Also, find artists and theatres that resonate with what you’re doing and hang on to them. Those artistic relationships, the ones that you really nurture, will be your most important.
This is not the first time Orlando Shakes will collaborate with Yockey. A workshop production of his play Heavier Than was presented as part of the annual new play reading festival, PlayFest, in April 2010. More recently, Feverish, a retelling of Phaedra and Hippolytus through a modern lens, was presented as a reading at November 2011’s PlayFest. “I am beyond thrilled to be directing Pluto,” said Director of New Play Development Mark Routhier. “Steve is a prolific and widely produced playwright. His reputation for compelling, fresh, and original work will undoubtedly continue to grow.”
Pluto runs February 27 – March 23, 2014, and features Orlando actors John Connon, Jillian Gizzi, Heather Leonardi, Chris Metz, and Suzanne O’Donnell. Tickets ($17 and $25) can be purchased by calling the Box Office at (407) 447-1700 or visiting us online.
Parental Guidelines: Pluto is a play containing adult language, blood, and graphic violence. The play is best suited for adult audiences.
Behind the Curtain: “Nicholas Nickleby”
At Orlando Shakespeare Theater we’re embarking on one of our most daring shows ever, a six-hour, 27-person cast, 215-costumed character monolith: The Life and Adventures Nicholas Nickleby. As a Stitcher in the Costume Shop, I find myself as just one of many, many cogs in this endeavor.
No matter the show, a theater doesn’t usually build every costume. Some can be purchased or pulled from stock and altered to fit the actors. It’s no different with a show of this caliber. Building 215 costumes from scratch in two months would be impossible for a shop our size. Fortunately Costume Designer Jack Smith asks of the Costume Shop not that we do the physically impossible, but rather the theatrically spectacular. Jack has also gone to great lengths to eliminate unnecessary work. For example, an actor may play six characters but only use two pairs of pants and one shirt. The character’s half dozen vests, jackets, and accessories create the individual characters.
Costume Design by Jack Smith
Jack’s initial research, design renderings, and fabric choices are just the first of many steps necessary to build a costume. Once the Costume Shop gets a hold of Smith’s renderings, the real fun begins. As a stitcher, I create the “mock-up” used in the first fitting. Mock-ups are made with a paper pattern and cut from simple, lightweight cotton. They do not receive finishing of any kind—no lining, no hems, no buttons—and the edges of the fabric are left raw. Mock-ups are simply used to get an idea of how the garment will fit the actor. I take copious notes on how the garment needs to be altered by pinning and even drawing on the mock-ups. The draper then uses the mock-up to alter the initial paper patterns and the pieces of the garment are cut out again, this time from the final fabric. The final garment is constructed out of this fabric, but still remains very basic. We wait to make the finishing touches until after the second fitting. Once that second fitting has occurred, the garment is completed. If time permits, a third fitting will occur so that everything can be double-checked.
Currently the Costume Shop consists around 15 people, including a manager, a designer, full and part-time staff, an intern, and a handful of local volunteers. As a stitcher on this project, I will only work with the costumes for three female and four male actors. At the moment, we’ve just finished up all of our first fittings and have started to turn our mock-ups into the final garments. Pictured are the rendering of one of the dresses my team is building, and the mock up of the corresponding bodice. In this case, the bodice has a canvas base with steel bones sewn into it and the fabric of choice layered over. As the rendering depicts, this character’s sleeves are quite involved. For the mock-up we only made the under-sleeve for her right arm, and the full sleeve for her left. While this results in a curious looking bodice for the moment, it will provide us the information necessary to make the correct final dress Jack wants.
We’re fortune to have so many people in the Shop working on multiple costumes, but that does make it difficult for any of us to see the big picture. I occasionally look up from my own tasks to see my coworkers making costumes I don’t recognize based off of renderings I haven’t seen. The same is true for all the other departments in the Theater. With everyone working on their own pieces in the puzzle, no one gets to see what anyone else is doing until it’s done. So I find myself as excited as any patron, waiting for opening night. It will be a rush to the finish line to get everything done on time, but I can’t wait to get there. So sit back, relax and enjoy the costumes…I mean the show!
Rachel Dombi has been a stitcher at Orlando Shakes for the past two seasons. She has spent the better part of the last decade working professionally in costume shops and wardrobe departments in theaters around the country. She studied costume construction and playwriting at Ohio University and graduated with a BFA in 2010.
Rachel is currently featured as a BroadwayWorld.com Guest Blogger. Click here to see her post!
Behind the Curtain: “Nicholas Nickleby”
Orlando Shakespeare Theater has been anticipating the start of Nicholas Nickleby for at least a year or more. In August, I began as one of four Stage Management Apprentices for this season, so I’ve only just begun to see what the hype has been about. I haven’t read much Dickens, and only previously understood that the production will be the largest ever in the history of our Theater. To paint the picture: we have one stage manager, six assistant stage managers (1 Equity, 4 Orlando Shakes apprentices, and 1 UCF Student), two directors, and 27 actors in rehearsal daily. Add on a full production staff and the various shops and administrative staff and we’ve got more than 75 people (math is hard) working hard on this production! The set design is intricate and beautiful, encompassing the entirety of the Margeson Theatre. And the costumes; we have one whole wall in our main rehearsal space covered in costume plates. There are over 200 designs and some actors have more than 10 different costumes to change in and out of throughout the show. Only being about two weeks into rehearsal, it already feels like we’ve accomplished so much!
Mandell Studio Theater
Stage management prep began a week before rehearsals, although one of the other ASMs and I started some paperwork a week before that to get ahead. With some of our stage management team balancing Orlando Shakes’ holiday production of It’s a Wonderful Life: A Live Radio Play as well, the (wo)man power during the normal prep week was limited. Despite the challenges of prep week, when it came time for the first rehearsal, the 50 or so informational packets, 4 call boards, and 2 rehearsal spaces were as ready as could be for the Nickleby company.
A typical Nickleby rehearsal day is 9 ½ hours long with a one and a half hour break. Stage management arrives at least 30 minutes prior to rehearsal to prepare coffee (most importantly!) and the rehearsal halls (setting temperatures, props, and rehearsal furniture). We work in two separate rehearsal spaces, which is incredibly convenient when working on multiple things at one time, but is also a challenge. All of our rehearsal props and costumes are kept in one hall and have to be tracked back and forth for each rehearsal block. Because the times are usually back-to-back, we have to prepare at the top of the day and/or on a break for multiple scenes. Sometimes we forget things, which happens, but we are fortunate to be working with a creative cast and pair of directors who can push through obstacles and improvise while a real prop is being retrieved.
ASM’s Rachel Morris, Jessica Wolford, & Paige Gober
Because of the size of this show, there are a lot of things for stage management to keep track of. Before beginning rehearsals, we assigned responsibilities that each ASM would specifically focus on throughout the rehearsal period. Paige and I are working on Costumes, Rachel is on rehearsal furniture and shifts, Grace is on props, and Micah is on script updates and understudies. Paige and I have been preparing documents that will track which actor is which character during which scene and where any quick changes take place. (There are a ton of these, many happening between about 5 lines of dialogue! We’ve already had to change around some actors/characters to accommodate quick changes.) This tracking will greatly help the wardrobe team once we get into tech. Rachel had to organize the pulling of rehearsal furniture based on the scenic design. Of course, as the creative process goes on, new pieces are added and removed. Props has been quite an undertaking; the script only indicates so much before the actors jump into the characters and discover that a certain prop would benefit them. For example, our actor playing Newman Noggs requested a flask to drink from throughout the show after learning that he may be an alcoholic. Our Costume Designer also rendered many of the characters with props, so that gave us something to go off of.
Costume Designs by Jack Smith
We’ve made it through almost two full weeks of rehearsals. Out of 5 acts, we’ve completely blocked 1 and 2 (which makes up all of Part I), and have begun to block some of Acts 3 and 4. We’ve had one rough run through of both Acts 1 and 2. Putting the pieces together has been another challenge that we’re learning to conquer. We make a point as a stage management team to communicate what goes on in the different rehearsal spaces, but having not witnessed every scene before a rough run through, we don’t always know how each one is tied together in the flow of the show. Another challenge has been dealing with some sickness. Our Acting Interns are doing double duty with Nickleby rehearsals and Wonderful Life performances, so a few of them have come down with a cold. We’ve had one director, two ASMs, and a few other actors with colds as well. I suppose that’s just what happens when you get 30+ new people around each other daily working on a repertory production, on top of Florida’s bipolar weather in the winter months. Needless to say, we keep pushing through and work around these challenges. Aside from that, after just two weeks, the company is quite strong. They have already begun to bond as friends outside of rehearsals. The cast is so enthusiastic to be a part of this project, which makes working with them that much more enjoyable.
One of my favorite parts of being an assistant stage manager is listening to the discussions between the directors and actors about the characters and the play as a whole. I’ve heard an interesting discussion about how the title describes this as “The Life & Adventures of Nicholas Nickleby“, but it’s really a journey for all of the characters involved. The audience unfamiliar with the plot should know that this is definitely an ensemble cast and story. Certainly, the core of the plot is following Nicholas’ life, but the tale wouldn’t be nearly as interesting without the colorful, distinct characters that Dickens has created for Nicholas to meet. The actors are passionately discovering these characters (some of them have 3 or 4 principals in the show). I am constantly finding myself impressed with this talented team of people; I look forward to the progress we will continue to make and to the opening of both parts of this epic production of The Life and Adventures of Nicholas Nickleby!
Just Foleyin’ Around!
The term “foley” refers to the reproduction of everyday sound effects for film, television, video, video games, and radio. These created sounds can be anything from footsteps to squeaky doors to breaking glass. The best foley art virtually goes unnoticed by the audience and helps create a sense of reality for each scene. Without these important background noises, movies and TV might feel unnaturally quiet and uncomfortable. The people responsible for these reproduced sounds are called “foley artists”, a term Acting/Education Intern Chris Metz now knows all too well.
Photo by Tony Firriolo.
Appearing in Orlando Shakes’ current production of It’s a Wonderful Life: A Live Radio Play (running through Dec. 29), Chris plays a grumpy foley artist for WOST in 1946. Unlike the foley artists of today, Chris’ character doesn’t have the luxury of editing his sounds during post-production, but has to create them in real time during the live radio show. An added pressure: a “live studio audience” (aka the Orlando Shakes audience) is watching his every move.
Using more than 50 props to create over 200 sound effects, Chris admits that his role does come with some stress. “I’m virtually calling my own cues,” he said. Recognizing the challenge, Director Robert Cacioppo made sure Chris started working with props on the first day of blocking rehearsal. Chris also worked closely with Sound Designer Britt Sandusky to experiment with the amplification of each sound effect. Through trial and error, they figured out the distance each foley prop should be from the microphone to create the desired sound in the Margeson Theater.
A musician in real life, Chris has found much enjoyment in this unique non-speaking role, but has also made sure to breathe life into his character (nicknamed Melvin Schwabbington by Cacioppo). Melvin, who Chris describes as “curmudgeonly”, carries a little extra weight around his middle and chain-smokes cigars throughout the play. But it’s clear that Melvin’s responsibilities are essential to WOST’s broadcast and to the audience’s experience. “It’s a great opportunity for people to not only watch the story unfold, but to see how it’s created,” said Chris. “You don’t get that experience with today’s movie magic.”
Some of Chris’ foley sounds include:
- Footsteps in the snow (made by crushing a bag of corn starch in his hands)
- A ticking clock (made by setting a metronome to 60 beats per minute)
- A moving train (made by rubbing a hard-bristled brush against a washboard)
- Cracking ice (made snapping a piece of bamboo in half)
- Pills placed in a bottle (made by dropping jelly beans into a ceramic dish)
- Someone falling into a lake (made by pushing a plunger into a metal basin of water
- Opening/closing a 1940’s car door (made by opening/closing a metal toolbox)
Fun Fact: Foley artists are named after Jack Foley (1891–1967), a pioneer of film sound effects. Jack Foley never received a single screen credit for his work, although to be fair, neither did most other film workers during this period. Today foley artists receive the credit they deserve, and Jack has the last laugh by having them all named after him.
Hope you enjoyed foleyin’ around with me! Happy Holidays!
Shakespearely Yours,
Melissa Landy
Public Relations Coordinator
An Intern’s Insight: Take a Risk on New Plays
A considerable number of theaters avoid new plays. Who can blame them? New plays are risky. Tried and true names are sure to bring in revenue, and yet theaters like Orlando Shakes are taking a chance on contemporary playwrights. Given the opportunity, maybe a modern playwright could match the genius of a certain Bard from 400 years ago… But if new plays aren’t produced then we’ll never see another Shakespeare.
Audiences face a similar challenge when approaching a new play. Why pay money to see theater you may not revel in quite like the shows you know? Remember the feeling you had entering the theater to see your favorite play for the first time? One such favorite of mine is Oscar Wilde’s satirical masterpiece, The Importance of Being Earnest. Like me, there’s a good chance you were hopeful that the show would deliver everything it promised. You may have sprinted down the aisle (to the usher’s dismay) and vaulted into your seat, your eager mind screaming at the technical crew to dim the lights and draw the curtains, as you prepared to witness the hype firsthand.
Shouldn’t we give new art an equal opportunity to “wow” us? It’s capable of eliciting the same emotions as the classics – it merely needs a fighting chance to do so. Orlando Shakespeare Theater has been working to develop new plays since before it was called ‘Orlando Shakespeare Theater’. Orlando Shakespeare Festival started PlayLab (a monthly new play reading series) in 1999, which later evolved into PlayFest in 2003. Since that time, the Theater has developed new plays and musicals including Around the World in 80 Days, Charm, Every Christmas Story Ever Told, Mauritius, Opus, The Trial of Ebenezer Scrooge, Wittenberg, and Yankee Tavern. These shows have been produced by theaters across the world – from Dallas to Austria, Japan, and even Broadway.
“(a love story)” at PlayFest ’13. Photo by Landon St. Gordon.
Orlando Shakes most recent PlayFest festival (Novemeber 8-10, 2013) included The Jericho Tree by Michael Aaron Santos, (a love story) by Kelly P. Lusk, Bad Dog by Jennifer Hoppe-House, For the Loyal by Lee Blessing, Broomstick by John Biguenet, I and You by Lauren Gunderson, and Ithaka by Andrea Stolowitz. Lee Blessing delivered a masterful keynote address, and the sellout weekend was a smashing success. For more on Blessing’s advice to new playwrights, click here.
New play development isn’t easy to commit to, which is why it’s rare to see a regional theater that specializes in it. However, after wrapping up one of their most successful PlayFest weekends ever, it is becoming clear to Orlando Shakes that there is a growing interest in new plays from the Central Florida arts community. People are once again investing in new art, and it’s giving them a profitable return.
*Photo collage features Orlando Shakes productions of (from left to right): The Cortez Method, Charm, The Trial of Ebenezer Scrooge, Yankee Tavern, Opus, Every Christmas Story Ever Told, Wittenberg, The Exit Interview, and Shotgun. Photos by Tony Firriolo. *
Matt Stephen is a marketing intern at Orlando Shakespeare Theater. He currently studies advertising and public relations at the University of Central Florida. Stephen enjoys film, spending time with his pets at home, and exploring Orlando’s cultural attractions – especially the theater.
Extra! Extra! Read All About It(’s a Wonderful Life)!
It’s Christmas Eve and the year is 1946. The stage of Studio A at WOST in Manhattan, New York is bustling with activity as producers and stagehands prepare for the evening’s live radio broadcast. Five famed radio personalities will soon take the stage to tell the story of It’s a Wonderful Life, transforming into George Bailey, Clarence the angel, Mr. Potter, and the many other characters of Bedford Falls. As a lucky member of their live studio audience, you get to witness it all.
When you enter the Lowndes Shakespeare Center to see a performance of It’s a Wonderful Life: A Live Radio Play this December, you will be thrown back in time to a glamorous 1940’s Hollywood premiere. Weave through the lobby, stopping to buy a snack from the popcorn girls or hear the latest headlines from a newspaper boy. But watch out for those pesky paparazzi and their exploding flashbulbs as they capture black and white photos of the radio stars arriving at the Theater. Listen for your name to be called – you may just be the lucky recipient of a special holiday telegram!
Photo by Landon St. Gordon.
Additional pre-show entertainment includes carolers warming up with sing-along holiday classics in the Margeson Theater, and a grumpy foley artist testing his thunder sheet, rain machine, and other sound effect equipment. While the show officially begins at 7:30 p.m. each evening (matinees begin at 2 p.m.), the excitement really begins 30 minutes before showtime!
It’s a Wonderful Life: A Live Radio Play is written by Joe Landry, with original music and musical arrangements by Kevin Connors. Directed by Robert Cacioppo, the production runs at Orlando Shakespeare Theater from Dec. 4 – 29, 2013. Tickets (starting at $17) are available by calling (407) 447-1700 or visiting www.orlandoshakes.org.
Don’t miss out on the fun. Bring your family and introduce a new generation to this heart-warming holiday classic! (It’s a Wonderful Life is family-friendly and recommended for ages 8 and up.)
An Intern’s Insight
A Night in New Orleans: A Magic Tree House Adventure is running at the Orlando Shakes until November 23. As an intern for the Theater’s Marketing Department, I was asked to write a blog post about the show, as well as On Stage with Jack & Annie — a pre-show event created with education in mind. The idea is to give students a better understanding of theater via a “backstage pass.” Students are shown what goes on behind-the-scenes, with an exclusive look at everything from technical cues to actor warm-ups.
The program opened with Director of Education Anne Hering explaining what pre-show tasks must be done before each performance. The preparations began with actors (dressed in plainclothes) testing their mics. Hering introduced each actor and the role(s) they would be playing, and explained how their mics function on stage. One of the early standout moments featured actor Joel Oramas. Knowing his audience, Oramas grabbed the students’ attention using a fun, whimsical accent. Before leaving the stage, a sound technician requested he do an “evil laugh” and Oramas obliged. The kids roared with laughter.
The Magic Tree House itself fascinated the students, as during the show it moves from backstage to downstage center. Several students shouted “Whoa!” and were astonished that the massive set piece could move with the help of a computer and a pulley system. The kids were able to learn about this process, and even helped stage management by calling attention to a loose board on stage!
Hering led into the next section of the program by introducing the set. This is when the educational value of the program was most evident, as the students noted objects located within the tree house. One student asked if the sword on stage was real. Hering said that the sword was a prop created by the Orlando Shakes’ in house Properties Department. This was a missing piece of the puzzle in their understanding of theater.
Hering finished On Stage with Jack & Annie with two hands-on activities. The first was “shakedown”, a warmup that theater vets know well. The students caught on to this immediately, and from a distance it may have resembled a five star general and her well oiled military machine. Hering saved the best for last, though, as she began a fast-paced musical activity. Hering split the audience up into three sections, and utilized a four-beat pattern. Section one was asked to clap on the 1st and 3rd beats. Section two was asked to make the sound of a sweeping broom for all four beats. Section three was asked to say “Pies here!” on the 3rd and 4th beat. This music would later be mimicked by actors at the beginning of A Night in New Orleans. Upon the conclusion of On Stage with Jack & Annie, Hering asked the kids if they had fun. They answered with a resounding (and loud) “YES!”. The program was everything I hoped it would be for the students: educational, enjoyable, and an ideal opportunity to step outside the classroom and learn about theater.
Cast of “A Night in New Orleans” | Photo by Tony Firriolo
Coming in as a 20 year old college student, I had never heard of The Magic Tree House series; but as the show started a cast member asked the audience, “Who here knows about The Magic Tree House?” Nearly every hand in the Margeson Theater shot toward the ceiling. I guess I should acquaint myself with the series because children are going to be reading it for generations. Author Mary Pope Osborne has created a phenomenon, and I’m happy to say that it’s getting kids excited about reading.
The show itself was tastier than a pot of Dipper’s best gumbo. The acting, costumes, set, direction, choreography, and live orchestra were all up to Orlando Shakes’ standards. I was impressed with the actors’ excellent use of the stage space. The cadence of the simple, yet New Orleanian choreography was fantastic. I also applaud the technical team for their creative use of light, sound, and the trapdoor, particularly in the sequence with the ghost. Once again, Orlando Shakes took well written material and did it justice. The kids loved the performance, and handled mature subjects like race relations and poverty with understanding and compassion.
My experiences here can be summed up in a single statement: it has been a pleasure to work with an organization that prides itself – from top to bottom – on pleasing the audience and giving the best theatrical experience possible.
Matt Stephen is a marketing intern at Orlando Shakespeare Theater. He currently studies advertising and public relations at the University of Central Florida. Stephen enjoys film, spending time with his pets at home, and exploring Orlando’s cultural attractions – especially the theater.
Getting To Know You: Victoria “Bird” Ruiz
If you happen to hear someone around the Theater mention a “bird”, chances are they aren’t speaking about a feathered animal or a middle finger. They’re most likely referring to our Company Manager, Victoria Ruiz or “Bird” (a title derived from her childhood nickname “Tweety Bird”).
Born in Louisiana, Bird grew up bouncing between divorced parents in New Orleans and Mandeville. When college came, she began her freshman year at Southern Miss, before migrating back to Louisiana to concentrate on stage management and sound design at LSU. Prior to graduation, Bird attended the Southeastern Theatre Conference (SETC) where she interviewed for Orlando Shakes “by accident”. Passing the Theater’s table, she was welcomed by Production Manager George Hamrah who told her to sit down, despite the long line of hopefuls with interview time slots behind her. Bird got the call offering her a Stage Management Apprentice position and she took it without hesitation. Struck by Orlando Shakes’ stability and responsible financial plan, she was also encouraged by the Theater’s mission to create bold professional theater, develop new plays, and provide community enriching educational opportunities. “There’s a true attempt to execute it,” she said. “Orlando Shakes’ mission is a daily thought on everyone’s mind.” For this reason, Bird jumped at the chance to be a full-time employee here, applying for the Company Manager position when it became available halfway through her apprenticeship last year.
Favorite Show Seen at Orlando Shakes: The Exit Interview, Fall 2012
Most Anticipated Show This Season: Pluto
When asked about an average day on the job, Bird laughed and assured me there was no such thing. On any given day, she could be in a meeting, driving actors to the airport, or planning a Company party. As the main point of contact between the Production and Administration departments, Bird also makes sure incoming actors have everything they need, from scripts to rental cars to housing. In addition to her duties as Company Manager, she also acts as an AEA Stage Manager for Harriett’s New Play Series. This season she’s already stage managed the World Premiere of The Cortez Method and will take on the Rolling World Premiere of Pluto this spring. As if that isn’t enough responsibility, this hardworking gal is also the assistant to Artistic Director Jim Helsinger.
With such a full plate, you might wonder what this Company Manager does for fun. Besides keeping up with her favorite football teams (LSU Tigers and New Orleans Saints), Bird loves playing video games and is a self-proclaimed “space nerd” who admittedly attended three different space camps. Her easygoing nature is quite a contrast to the ‘diva’ stereotype that seems to plague the actors she works with. But Bird doesn’t see it that way. “They’re up there on stage doing something I never could,” she said. “So I go the extra mile to keep people happy.” With talent clamoring to return to the Theater and a smiling staff, it’s quite clear that Bird’s “extra mile” is just what we need.
Shakespearely Yours,
Melissa Landy
Public Relations Coordinator
Orlando Shakes Blog 
