Rough Magic Coming Soon

Tickets on sale now for the Yale Summer Cabaret

At the close of Shakespeare’s The Tempest, Prospero, a magician and, to many, a stand-in for the playwright, says he will abjure his “rough magic”—right after he cleans up a few loose ends. The Yale Summer Cabaret, which opens June 4th, takes its title from the phrase Prospero uses to characterize what we might call his “process.” To artistic director Sara Holdren the phrase is suggestive of theater as a means to “reawaken wonder.” Her troupe at the Summer Cab this year, called “The Rough Magic Company,” have banded together “around ideas of enchantment,” of finding a way to do theater that keeps alive both parts of the phrase: “rough,” as in worked-out together, as when you “rough out” a design, but also “rough” as in not smoothed into the safe and predictable; “magic,” as that element of unpredictable mystery that makes live theater seem sometimes a feat by magicians.

Holdren, a director who will graduate from the Yale School of Drama this month, will run the Summer Cab with three other women: Associate Director Rachel Carpman, Managing Director Flo Low, and Associate Managing Director Emily Reeder. They will be working with a nine person acting company, mostly of other YSDers, selected from auditions, and two guest directors: Andrej Visky, a director graduating in May, and Leora Morris, a director finishing her second year of study in YSD.

The primary values for this year’s Cab are “joy, collaboration, generosity, invention, and play.” To Holdren, these words capture the method in the magic: the joy of working together, the generosity needed to collaborate effectively, and the invention and playfulness that allow for inspiration and surprise. The aim is to fine the kind of big, crazy productions able to defy the possibilities afforded by the basement space on Park Street that is the Cabaret. The mandate this year is to find new approaches, both with classic texts, such as Shakespeare and Marlowe, as well as original work never before seen. All productions will be created by the respective play’s director and the company.

clockwise from center, top: Sara Holdren, Flo Low, Emily Reeder, Rachel Carpman

One particularly inspiring event for Holdren in generating the kind of collaborative effort she has in mind was a visit in the spring to Yale by Dmitri Krymov, the innovative Russian director. As Holdren says, Krymov’s one week workshop, in which a performance of Three Sisters was generated by performers and designers, put on the table her own ideal of how theater should work. “It was a beautiful coincidence” that her own hopes for the Summer Cab season should be presented in such a timely fashion to her fellow YSDers. Krymov, who was been a visual artist as a well as a scenic designer, has developed methods to involve the entire company in rigorous collaboration, or what Holdren calls “an explosive playground” of invention and innovation, driven not by a given play per se, but by the company. As she says, she wished “everyone skeptical about devised theater could be in the room” during Krymov’s seminar. “Nothing was extraneous,” everything came into play in creating the piece.

Holdren’s ideal will get put into practice this summer with a dream group of designers, who worked with Holdren on her truly impressive thesis show, The Master and Margarita, last fall, and a cast of actors who, in audition, were asked to create pieces together rather than simply present monologues. The tech team consists of: Chris Thompson, Claire DeLiso, Set Design; Joey Moro, Lighting and Set Design; Andrew F. Griffin, Lighting Design; Haydee Zelideth, Costume Design; Kate Marvin, Sinan Refik Zafar, Sound Design; Rasean Davonte Johnson, Projection Design; Lee O'Reilly, Production Manager; Scott Keith, Technical Director; Victoria Whooper, Emily Zepeda, Stage Manager. The acting company features: Chalia La Tour, Melanie Field, Leland Fowler, Niall Powderly, Christopher Ross-Ewart, Elizabeth Stahlmann, Josephine Stewart, Shaunette Renée Wilson.

Such are the makings of the Rough Magic Company. Now for the summer’s offerings.

First up, from June 4 to June 18, is Midsummer, an adaptation, predominantly, of Shakespeare’s A Midsummer Night’s Dream. Holdren, who has directed at least six Shakespeare plays, beginning as an undergrad at Yale, says she has worked with “a whole lot of cut texts” but “never did a full-on adaptation.” Holdren and her co-adaptor Carpman are aiming at something closer to a devised piece, “riffing on” MND, but also working-in lines from other Shakespeare plays to create something entirely new and never before seen.

As Holdren describes it, the worlds of the play are perfect for Rough Magic’s aims: there is the “real world” of Athens, from which the lovers escape into the woods; there is the contrived world that the mechanicals—Bottom and the rest—try to invent via theater; then there is the magical world of the fairies, ruled by Oberon and Titania. Holdren says she chose Shakespeare’s popular and possibly too-often-produced play for the challenge of finding novelty in a play too easily dismissed as trivial. Rough Magic’s Midsummer is “a little darker” than the common view of MND, which, Holdren says, is “so wonderful but often so bad” in performance. Her hope is that the novelty of the Rough Magic approach will “bring in people with a love of Shakespeare as well as people who are skeptical” about the prospect of breathing new life into such a familiar play. The audience should “see something different” than they’ve seen before, and should be “surprised by the play again.” That would be a good example of the kind of re-enchantment Rough Magic has in mind.

The summer’s second play, running from July 9-July 18, is a piece wholly devised for Summer Cabaret by the company, conceived and directed by Leora Morris. Love holds a lamp in this little room, the title, is taken from a poem by the subject of the play: the actress/poet/painter/ Adah Isaacs Menken, a mercurial bohemian spirit of the mid to late 1800s.

Ostensibly raised Christian as a creole of a mixed race union in New Orleans, Menken married several times, and in one of her marriages became a convert to Judaism, her husband’s faith, and a student of the Kabbalah. Having, in other words, a rather fluid identity and a rather unique self-conception, she was most famous for riding a horse nude, or at least in a nude suit, on stage. She was also a lover of Mark Twain and a bit of a femme fatale who composed a suicide note to the public before her failed suicide attempt. Morris’ play is drawn from Menken’s life and work to investigate what Holdren calls “her multiplicity of self,” showing that what might be seen as the vagaries of her life was a means to avoid creative pigeonholes and to celebrity the otherness of identity. Today, Menken would likely be a performance artist. Think of the play as the kind of piece this intriguing and restless figure might write and appear in.

The theme of figures who risk damnation for their activities is always popular because inherently dramatic. It was present in Holdren’s thesis show The Master and Margarita, and it was present in Andrej Visky’s thesis show, Molière’s Don Juan. From July 23-August 1, the Summer Cab will present the granddaddy of all workings of the theme, Christopher Marlowe’s Doctor Faustus, directed by Visky.

What intrigues both Holdren and Visky in such tales is what Holdren calls “an affinity for stories that don’t fit” the usual expectations of theater. Such plays are the expansive and “uncontainable” odd ducks that stretch the boundaries of theater and the limits of the team’s talents. The attraction of Marlowe’s Faustus is that it concerns a hero who is “modernist avant le lettre.” Or at least that’s what will become clear in this new adaptation by Visky and dramaturg Kee-Yoon Nahm, that may create an interplay between Marlowe’s Faustus and Goethe’s Faust, and will use puppets for the more demonic aspects of the tale. One of the attractions of Faustus is the character of Mephistopheles, a “tormented trickster” who, as a necessary evil, draws upon and the furthers the very notion of a stage villain. Holdren calls the play a “rollicking romp” and the press release says audiences will experience “a world gone to hell. And a hand puppet.”

For the final play of the summer, Holdren, who directs, turns to a popular, fairly recent play by Yale School of Drama instructor Sara Ruhl: a theatrical adaptation of Virginia Woolf’s unorthodox novel Orlando, August 6-August 15. The story of a character who lives successively as a man and as a woman, and who exists from Elizabethan times to what was, when the novel was published, the present day of World War II, Orlando presents not only a consideration of what difference, if any, gender makes, but also a mini history of the fortunes of England.

Holdren claims a long-enduring interest in the possibilities of adapting novels for the stage. Her originary moment for the fascination was watching the 9 hour adaptation of Nicholas Nickleby on DVD as a child. Her dream adaptation would be Dickens’ Our Mutual Friend. Her amazingly successful presentation of the play derived from Bulgakov’s wildly unorthodox novel The Master and Margarita certainly attests to her commitment to the task. What interests her is the live aspect of storytelling, and the issue of how to involve the narrative voice in the theatrical presentation. Ruhl’s use of Woolf’s voice in Orlando Holdren finds exemplary, particularly when one realizes that there is no dialogue per se in Woolf’s novel. This means that Ruhl had unusual freedom in creating monologues for the characters as well as choric speeches to further the action. And Ruhl’s way with the text gives the director a like freedom to “break down the different roles at will.”

For Holdren, Orlando as the final play takes us back to the Elizabethan worlds of Shakespeare and Marlowe, while its gender-changing hero/ine complements the racial and artistic ambiguity of Adah Isaacs Menken. Holdren’s fellow directors—Leora Morris and Andrej Visky—share a “generous imaginative spirit” and are skilled at “soliciting ideas from the entire company” when working on a play. For Holdren, the Summer Cabaret this year is the perfect black box in which to engage in an artistic process that will yield company-based, collaborative theater, with plays that will shift genre and feature heroes that will shape-shift before our very eyes. All of which will further the “rough magic” of the Cabaret for its fans and followers and new-comers and discoverers alike.

For tickets and more information: summercabaret.org

Idle Notions and Unexpected Realities: Movie Tie-Ins at the Institute Library

In November, 2012, someone who knows me very, very well suggested that Best Video out in Hamden should merge somehow with the Institute Library in New Haven. "You could do some great stuff together," I was told. "Think of the programming potential." "You're right," I said. "That's a really interesting idea, especially because the sort of people who love the Library are basically likely to be the same sort of people who love Best Video." I know this demographic, having served on the board of the Institute Library for the last seven, nearly eight, years, and as a person who worked for Hank, when Best Video had a store in the old Yale Co-op on Broadway.

And now: http://www.newhavenindependent.org/index.php/archives/entry/a_gala_for_the_film_reels/

Back in 2012, encouraged by the idle conversation described above, I sent an email to a few people saying, "Hey, what if?" and heard crickets. One person said, basically, "Cute idea, but..." and nothing else. But now here it has come to pass that the Best Video Film and Cultural Center exists, with the assistance of the Institute Library, which is acting as a kind of fiscal sponsor for the enterprise.  Basically, the function that the Library now serves for the New Haven Review, it's now serving for the BVFCC -- ok, there are probably some differences, but that's my sloppy shorthand for it. I leave the details to the lawyers; what I'm thinking about, and celebrating, is my sense that the dreams of 2012 can come true.

The things that the Institute Library is, physically -- a time capsule, a museum of cultural oddities, a little tiny piece of history -- Best Video has always had in its movie collection. Best Video's stock is all over the place in terms of genre and time period, but to me, Best Video was the place where I could find all the old movies I'd heard of but never had a chance to see. When I worked for Hank, which was a thousand years ago, there were a lot of hours when I was, frankly, alone in the store with no customers, and I could play whatever movie I wanted as long as it wasn't obviously going to offend anyone who came by. So I watched a lot of movies from the 1930s and '40s and '50s (in addition to the new releases of the 1980s, which were a mixed bag, frankly). Hank had VHS tapes of just about everything in the world, or at least it felt that way; and if I was reading a book that made passing reference to some old Barbara Stanwyck flick, which in those days I often was -- well, all I had to do was pull it from the cabinet. Decades later, when I first walked up into the Institute Library, I swear to God I thought it was the set of a movie I'd watched on one of those days when I was just monitoring paperwork and waiting for the late afternoon rush.

The Institute Library is in color (mostly this kind of odd shade of green), but it goes with those old black and white movies I associate so strongly with Best Video. I am ardently hoping that movie and music lovers will rally around the BVFCC and keep Hank's establishment alive. But what I really want is a movie series at the Institute Library. I mean, for years I have been dreaming about this. I want a screening of "Auntie Mame" at the Institute Library. "The Thin Man." "The Maltese Falcon." "The Man in the Gray Flannel Suit." It feels like, after years of talking about it idly, this may come to pass. There is no popcorn machine at the Institute Library, and there probably will never be, but as God is my witness, this engagement is wonderful news for Best Video, for the Library, and for everyone around here.

Heartfelt Opera

Erismena at Yale Baroque Opera Project; Opera Triple Bill at Yale School of Music

Last month, Heartbeat Opera staged its first full production at the Sheen Center in New York and was hailed by the Wall Street Journal for “reformatting the opera experience from the grand to the deliberately intimate.” The artistic directors of Heartbeat—Ethan Heard and Louisa Proske, both graduates of the Yale School of Drama’s directing program—are, separately, back in New Haven to stage two programs of opera at Yale, this weekend and next, respectively.

Heard is back to direct for the Yale Baroque Opera Project, which began in 2007 with Heard, then a recent Yale grad, directing its first two productions. This time it’s Cavelli’s Erismena—the first YBOP production in English—for two performances at the University Theater, April 25 and 26 at 3 p.m., with Grant Herreid as musical director. Meanwhile, Proske is back in town to direct the Yale School of Music’s spring “Opera Triple Bill,” which will feature a program of three short operas: Lee Henry Hoiby’s Bon Appetit, Vaughn Williams’ Riders to the Sea, and Puccini’s Gianni Schicchi, May 2 at 8 p.m. and May 3 at 2 p.m. in Morse Recital Hall, with musical direction by Douglas Dickson and Timothy Shaindlin.

Heard’s work while at YSD featured much varied exploration of the possibilities of musical theater. His thesis show, Sunday in the Park with George, showed a masterful use of the University Theater, and his team for creating Erismena’s great production values includes many of the same YSD graduates he worked with then: Reid Thompson, Oliver Wason, Hunter Kaczorowski. In his work at Yale Cabaret, where he was the artistic director 2012-13, Heard explored, in Basement Hades, the intimate possibilities of chamber music and theater, and, in a striking production of Schoenberg’s Pierrot Lunaire, of performance and voice. His piece for Heartbeat last month, György Kurtág’s Kafka-Fragments, Heard says, in a sense “completes the trilogy.” The brilliant integration of the violinist/actor Jacob Ashworth with the singer/actor Annie Rosen—as a duo dressed in costumes of Kafka’s Prague—created an interplay of music and theater that has become characteristic for Heard. Using cinematic projections, props, subtitles, and schematic vignettes, Heard’s version of Kafka-Fragments presents a darkly romantic take on the existential phrases and aphorisms that Kurtág compiled to accompany his fascinatingly diverse score. Heartbeat was fortunate to find, in the Sheen Center’s black box theater, perfect accommodations for its opera on an intimate scale.

To minimize the size of Yale's University Theater for the sake of the intimacy he values, Heard is staging Erismena with a thrust stage, thanks to set designer Reid Thompson. And, though the musicians will not be actors as in Kafka-Fragments, they will be quite visible. Indeed, one of the attractions of baroque opera for Heard is that “it predates the huge orchestrations and spectacle of Wagnerian opera.” With fewer instruments, the musicians can be part of the show, on the stage instead of languishing in a pit. And that means Heard gets to show off the very beautiful instruments of the period, such as harpsichord and viola di gamba.

That Heard has been directing so much baroque opera, he says, is “simply coincidence.” He is just as much engaged by the Broadway musical, not only in his pull-out-all-the-stops thesis show but in work at the Berkshire Festival in Massachusetts—last year Heard directed A Little Night Music and this summer he’ll return for Bells Are Ringing—as well as a teaching/directing stint at Princeton where he worked with students to stage The Producers at the McCarter Theatre. The YBOP production also features strong student work, with more than 15 Yale students, both undergraduate and graduate, as actors and musicians. Heard believes that Cavelli’s music is generally accessible to student singers and Erismena, because it was transposed into English by an early admirer, is particularly accessible to a general audience.

Heard is quick to point out that he’s not just a music man; he continues to direct non-musicals and non-operatic works and hopes to take a crack at Shakespeare soon. Indeed, in his view, Erismena, with its complicated love plot combining comedy and drama, blends aspects of A Winter’s Tale, Twelfth Night, and Pericles. Bringing this lively work to the stage—with anachronistic touches such as a Cupid on roller-skates—combines many if not all of the skills Heard has been honing since his first post-graduate assignments with YBOP.

The show is free and open to the public; reservations are suggested but not required: ybop.yale.edu

Louisa Proske’s thesis for her MFA in directing was a very colorful and somewhat operatic version of Shakespeare’s Cymbeline and that same year she also staged a special project: Francis Poulenc’s one act opera La Voix Humaine featuring Jamilyn Manning-White of the Yale School of Music in a wonderful singing/acting tour de force. What attracts Proske to opera is the power that music and the singing voice adds to the dimensions of theater. Working, as she is again this spring, with singers in the Yale School of Music, Proske finds that singers, who are rarely schooled in dramatic presentation, are thrilled by the challenge of acting. The opera bill this year, though chosen by a process Proske was not involved in, has certain through-lines that make for thematic interest. In particular, Proske points out that all three pieces feature rather commanding roles for women.

Bon Appetit, by Menotti’s one-time student Lee Henry Hoiby, is based on Julia Child’s cooking program, and brings actual food preparation, and Child’s off-beat charm, to opera. Williams’ Riders to the Sea is adapted from J. M. Synge’s early twentieth-century tragic play set in the Aran Islands of Ireland, and focuses on Maurya, a woman who has lost her husband and five of six sons to the sea. Finally, in Puccini’s Gianni Schicchi, one of opera’s most popular arias, “O mio babbino caro,” is sung by Lauretta, Gianni Schicchi’s daughter. The opérette, derived from a story implied in Dante’s Divine Comedy, tells how Schicchi—punished in the Inferno for fraud—impersonates a man recently deceased so he can alter the man’s will at the request of his greedy family. Schicchi tricks the tricksters, but insists he did so after his daughter’s fond aria—“Oh My Beloved Father”—convinced him he must provide her with a dowry. In Proske’s view, Lauretta’s famous aria is actually a consummate bit of play-acting aimed to wrap dear old dad around her finger.

Tickets are $5-$10 for students, $10-$15, standard, at music-tickets.yale.edu

For Proske, opera is all about the heartfelt emotion that the human voice manifests in singing. In Heartbeat Opera’s spring production, Proske tempered the stringent tensions of Heard’s version of Kafka-Fragments with a bright and bawdy take on Offenbach’s Daphnis and Chloé. The production, with its naïve lovers, randy Pan, and lovesick bacchantes sporting costumes that seemed to combine every pop culture fad since glam, was a riot of color and sound, and even the very visible costumed musicians engaged in some clowning. In Proske’s hands, Offenbach’s opérette doesn’t undermine true love, but it does make sexual attraction a key feature of the proceedings: Pan seemed a seedy rocker on the scent of young stuff, while the bacchantes were all-too-eager to lead Daphnis off to an orgy. And there was considerable fun with the “pipes” of Pan. Indeed, the entire production seemed startlingly contemporary as was the unusually young audience.

Later this summer, Heartbeat Opera will go on a retreat to determine the projects for next year. In the meantime, this spring in New Haven offers excellent opportunities to see these two talented and creative directors present opera with a flair for the theatrical and a feel for voice over spectacle.

Yale Baroque Opera Project: Cavalli’s Erismena
Directed by Ethan Heard; Musical Direction by Grant Herreid
Yale University Theater, April 25 and April 26, 3 p.m.

Yale Opera Triple Bill:
Puccini’s Gianni Schicchi, Williams’ Riders to the Sea, Hoiby’s Bon Appetit
Directed by Louisa Proske; Musical Direction by Douglas Dickson and Timothy Shaindlin
Morse Recital Hall, May 2, 8 p.m.; May 3, 2 p.m.

More Cab Fare

Tonight the Yale Cabaret features the limited engagement of its third annual drag show, or Dragaret. Three shows, tonight only, 8 p.m., 10 p.m., 12 p.m. Shows are sold out but there is a wait list. I’ll be there at midnight and will report on what I see. Go here for my review of the Cab’s Catfight, from last week. And here’s my report on the rest of the 2014-15 season at the Cab. Six more shows, stretching to late April. A varied line-up, and none of the shows are of the “straight-forward-staging of preexisting play” variety. Which means that, as of this writing, what will actually transpire is still a bit “to be determined.”

First up, Cab 13, February 19-21, is Shiny Objects, a devised piece proposed by third-year actors Maura Hooper—a recurring star of the Cab—and Zenzi Williams, who hasn’t been back in a while. They will be directed by the always formidable Christopher Geary in a play that draws on interviews with real-life females, aged from 7 to 85. The show finds its inspiration in the third-year actor character studies, a training practice that lets actors perform as “persons” rather than “characters.” While not professing a single, overtly feminist point, the show aims to present female viewpoints, with experiences across generational divides and differences providing themes in conversation with one another.

Cab 14, February 26-28, is known as The Untitled Project, featuring another Cab regular Ato Blankson-Wood who will both direct and perform (Blankson-Wood directed the opening show of the season) in this unique ensemble piece. Using music, text, movement, and certain design elements, the project features a collage of black male voices to attest not only to the fact that “Black Lives Matter” but to discover perspectives not often dramatized or presented.

Georg Büchner is one of the more intriguing playwrights of his time; a Romantic but also something of modernist avant le lettre, his plays can be notoriously hard to pin down. Leonce and Lena, Cab 15, March 5-7, features a challenging new translation by Yale School of Drama student Gavin Whitehead and is directed by first-year director Elizabeth Dinkova. The play—which the Cab blurb calls a “dark and comic romp”—involves the quandary of Prince Leonce: should he be a puppet and marry as is expected of him, remaining bound to the duties of court, or ...  With a production that involves actors and sock puppets, a constructed set and cubist costumes, the show should be a visual extravaganza.

After two weeks dark, the Cab returns with something rather unusual: opera. Cab 16, March 26-28, is The Medium, a chamber opera by Gian Carlo Menotti, best known perhaps for the Christmas opera Amahl and the Night Visitors. Proposed by opera buffs Anh Lê, who has worked on or produced many Cab shows, and third-year set designer Adrian Martinez Frausto, The Medium tells the story of Madame Flora, a bogus medium who conducts séances to bilk clients. This isn’t the first work of classical music to be staged in the Cab, but recent events such as Solo Bach or Pierrot Lunaire didn’t feature actor-singers. That will be part of the draw here.

Cab 17, April 2-4, brings us a new experimental piece in 5 acts written and directed by dramaturg Jessica Rizzo, Sister Sandman Please. Described as “a poetic tête-à-tête between fantasy and disaster,” set in a “prairie of the mind,” the show features 3 women and a cowboy, a tumbleweed farm, and, most importantly, a dynamic soundscape where a cascade of voices explore the theatrical potential of sound to evoke a range of sensory experiences.

Finally, Cab 18, Make Believe the Make Happen, April 23-25, finishes the season with what might be considered a somewhat meta creation. Inverting the current Cab’s slogan—Make Happen the Make Believe—the show purports to be a FUNdraiser for #KIDSDIDIT, an Iowa-based program that incorporates plays written by middle-schoolers into theatrical productions. Combining elements familiar from the School of Drama’s Dwight-Edgewood Project, which works with school children to create theater, and the Cab itself, which remains a working-space for creative ferment that requires community support, the final show of the season may well concern the future of theater, so—“open your hearts and your wallets!”

And by then we’ll know who will continue the ongoing project that is the Yale Cabaret for Season 48. During the dark weeks there may be other offerings in the Cab space, so keep an eye open for such announcements. And, as ever, see you at the Cab!

Yale Cabaret 217 Park Street New Haven, CT

Artistic Directors: Hugh Farrell, Tyler Kieffer, Will Rucker; Managing Director Molly Hennighausen

Meet the New Don

The third and final Yale School of Drama thesis show opens this week. Andrej Visky, a third-year director from Romania, directs Molière’s Don Juan, a prose tragi-comedy that tells the famous story of Don Juan, or Don Giovanni, a free-thinking libertine who believes that the pleasures of life—particularly women—are meant to be enjoyed, a view that leads ultimately to his downfall. Molière incorporates commedia dell’arte aspects into the play, so that there is a decidedly comic cast to the tale, and that is one of the qualities that attracted Visky to the project. “The play is a great intersection of tragedy and comedy,” he says, allowing him to “approach weighty thought through laughter.” Molière, as Visky sees it, is interested in an overview of society to create a comedy of manners that includes beggars and the high-born, and, as he says, “the supernatural makes an appearance” as well. When I pointed out that both Don Juan and the first thesis show this year, The Master and Margarita, feature the threat of damnation, Visky pointed out that his Don Juan “ends ambiguously,” leaving the audience to decide if Don Juan’s fate is “damnation or liberation.”

An atheist in a Catholic culture, Don Juan flaunts the moral edicts of his day—a factor that could make him seem, in a Romantic reading, akin to the kind of artist who lives only to express himself, or, as Visky sees him, a possible revolutionary figure, “a seeker of meaning.” The Don’s sidekick, the servant Sganarelle, is on hand to offer asides on his master’s self-serving proclivities; while attracted to his master’s lifestyle, Sganarelle also represents a deflationary, common-sense outlook. And there is, for Visky, an aspect of the play that is entirely relevant to our day and age: namely, the “cost of freedom.” Are we free to do as we please or do we have obligations to others, and to the future?

With a cast of eight players, Don Juan, like the other thesis shows this year, will feature many of the fine young actors in the Yale program, including Ariana Venturi, James Cusati-Moyer, and Aaron Profumo, all featured in Master and Margarita, and Bradley Tejeda, who appeared in the Yale Repertory's production of Arcadia last fall. Visky, who trained and worked as an actor himself in his homeland, feels that he “understands the actor’s process, the means, and what it takes” to create a character. For him, theater is a means “to touch the soul” and to break through the everyday numbness of life, but, at the same time, he recognizes that, in “the age of television,” compared to Molière’s day, it is much harder to keep the audience’s attention. “There are so many demands on our time.”

Don Juan is the only thesis show this year to use the full proscenium stage at the University Theater. Visky feels his show’s “operatic dimension” requires it. Central to his staging is “a huge box” that will support the play’s many transitions and scenic changes. Act II, for instance, recalls a “broken-down boardwalk culture” as one might find it on a seedy Jersey shore. Indeed, Visky knew from the start that he wanted his thesis project to be an adaptation. Working with third-year dramaturg Samantha Lazar and a new translation by Yale School of Drama second-year playwright Brendan Pelsue, Visky has aimed to bring Don Juan into our day, with “comedy surprises” that connect very much to our world.

Visky feels drawn to “comedy with a serious spin.” “I don’t believe in a theater that’s comfortable,” he says and likens the process of creating theater to giving birth—as opposed to, for instance, a factory. What comes out is intimately connected to all who take part, we might say, and for Visky the purpose is a “fight for ideas that will be important to others and that get people interested.” Part and parcel of that purpose is the notion that even a classic—as Romanian theater understood in the Stalinist period—can carry a social or political meaning relevant to a much later period. Born three years before the Romanian Revolution and the ousting of Ceauşescu in 1989, Visky still can draw on a cultural memory of theater that incorporated coded messages in classic works of earlier times and places. That tendency should serve him in good stead in creating, with his collaborators and cast, a “fresh feel for the sexual politics” of this tale of the most famous womanizer in literature, his name synonymous with anything from a playboy to a lecher to a kind of Faustian lover of the flesh, in defiance of spiritual or ethical concerns.

“We are all Don Juans,” Visky says, encouraged by consumer society to seek out new sensations, new products, as though our lives’ meaning depends on it. Perhaps live theater, in the era of screens and simulacra, might be a way of finding new meaning in old affinities.

Don Juan By Molière Translated by Brendan Pelsue Adapted by Andrej Visky, Brendan Pelsue, and Samantha Lazar Directed by Andrej Visky

Scenic Design: Alexander Woodward; Costume Design: Sydney Gallas; Lighting Design: Andrew F. Griffin; Sound Design: Jing Yin; Projection Design: Yana Birÿkova; Dramaturgy: Samantha Lazar; Stage Management: Avery Trunko

Yale School of Drama University Theater January 27-31, 2015

Yale Cab Redux

This week the Yale Cabaret returns. The first three shows of the second half of the season have been announced with the others soon to follow. Artistic Directors Hugh Farrell, Tyler Kieffer, Will Rucker, and Managing Director Molly Hennighausen continue in their estimable efforts to bring the unusual, the challenging, the amusing, the exciting to 217 Park Street in New Haven. The Cab’s slogan this year is “Make Happen the Make Believe,” and the variety in the next three shows should give some idea of how variable “the Make Believe” can be.

First up is 50:13, written by second-year playwright at Yale School of Drama Jiréh Breon Holder, directed by second-year actor Jonathan Majors and featuring Leland Fowler, a first-year actor. Taking its title from a ratio, the percentage of black men in the U.S. prison population compared to the percentage of black men in the U.S. population, 50:13 takes us to a prison cell where Dae Brown, with only three days left to serve, tries to pass along his wisdom and knowledge to his much younger cell-mate, who has only begun serving his sentence. Based on oral histories from prisoners, Holder’s play seeks to provide a human and dramatic look at the lived realities “inside.” Cab 10: January 15-17.

Cab 11 features a play by East German author Heiner Müller, a sort of Brecht meets Beckett figure best known in the U.S. for Hamletmachine. In Quartet, directed by second-year dramaturg David Bruin and featuring first-year actors Edmund Donovan and Sydney Lemmon, Müller adapts Laclos’s well-known (and oft adapted) 18th-century story of seduction and subterfuge, Les liaisons dangereuses. Müller’s adaptation foregrounds, we might say, the reality principle over the pleasure principle in depicting the erotic machinations of Valmont and Mertueil. Cab 11: January 22-24.

For Cab 12 we’re back to the kind of campy undertakings at which the Cab oft excels. Episode #121: Catfight, by husband and wife team Tori Keenan-Zelt and Steven Koernig, directed by Koernig, a second-year theater manager, takes its cue from the 1966-68 Batman series, beloved, in some quarters anyway, as the height of oddball Sixties TV. Needless to say, if you find Christian Bale to be your Caped Crusader for all time, you need to expand your horizons and check this out. If you remember (I do) or rediscovered the old TV show, then you’ll understand why I have to quote the Cab’s blurb for this one in its entirety: “As the graceful gals of our fair city prepare to compete in the hallowed Lady Gotham pageant scholarship competition, felonious feline fugitive Catwoman sinks her claws into a plan that could unravel the whole ball of string. Can Batman and Robin make this cat stray, or will mischief and mayhem purr-vail? Tune in to find out. Same Cab-time. Same Cab-channel.” Cab 12: February 5-7.

It’s a new year in New Haven. See you at the Cab!

Chekhov Is Us

Second YSD thesis show opens . . . This week the second thesis show of the Yale School of Drama season opens at the Iseman Theater. Third-year MFA candidate in Directing Jessica Holt was co-artistic director of the Yale Summer Cabaret in 2014 and brought us two lively ensemble pieces that, each in its own way, investigated the claims and rigors of theatricality. For her thesis she tackles a classic play about theater people and the frustrations and promises of theater, Anton Chekhov’s The Seagull.

Holt confesses that, before coming to the School, she suffered from a malady called “Chekhov envy”: it seems every time she saw a Chekhov production—and The Seagull is the most produced of his plays (indeed, it was a thesis show as recently as 2012)—Holt found herself thinking about directing one of his plays, “wanting the experience, to live through it.” Then in her first semester at the School she, like all new directing students, found herself in David Chambers’ “Chekhov immersion” class. Each student prepares a 1 page document on each of three Chekhov plays, including The Seagull, to find “the poetic heart” of each play. Holt recently looked back at her early thoughts on The Seagull and found that her intuitions were able to guide her thesis production. The play, as most would agree, is about the “advent of realism” in theater and is also “deeply symbolist,” she says, but it’s also, in her view, about how we use theater “to heal or wound ourselves.” In other words, the play accepts that its audience may have an antagonistic relationship with what they’re seeing, “a comedy that ends in suicide.”

In finding the through-lines for her thesis production, Holt finds that the play approximates her own experience, because it’s about being “trapped by circumstances” and “foreclosing possibilities.” Maybe that’s why, during one rehearsal when Holt had to stand-in for the actor playing Konstantin, the young playwright disappointed by the reaction to his play, she stormed off a bit too forcefully and, thinking a door would open when she kicked it, found herself with a sprained foot. Any wounded vanity aside, the incident indicates the kind of passion she wants the play to manifest, a visceral experience that insists on physical involvement. Holt has found the process of working on the play “a dream” with her cast doing “surprising work, confessional, emotional,” that lends itself to an environment where people are relentless promoters of their own interests.

Indeed, when questioned about the relevance of The Seagull for 21st century lives, that’s the element Holt emphasizes: “our contemporary obsession with our need to be seen and recognized.” For her, Chekhov’s characters all act as if “each one is center stage” and the star of his or her own life. Though there are darker elements to the play, The Seagull is “a collective fantasy” because the characters are so self-obsessed; we are meant to see play, she says, as “a tragi-comedy,” that asks: “What happens if you don’t make it? Are you enough, in and of yourself?” An early idea of having actual cameras on the stage was set aside but the idea of spectacle, and of modes of reflection, remains.

Holt and company have hit upon four “reflective” symbols that help to structure the play’s themes: the seagull, which is brought on stage; a lake, strongly suggested by Jean Kim’s amorphous set, the moon and its reflected light; and the stage itself. Konstantin is a playwright, his mother Irina a great actress, and her lover Trigorin is a big-name writer. Nina, daughter of a rich landowner, acts in Kolya’s symbolist play, and later pursues acting in earnest and is pursued in turn by Trigorin. Meanwhile, as is generally the case in Chekhov, others in the area, at all social levels, pursue their own ends, including Irina’s ailing brother Sorin, whose estate the action takes place on, and the estate manager, Ilya, and his family. The staginess of the play is important to this production with symbols used in a playful manner at times, letting us see that the characters are aware of their own productions, so to speak. There is also live music onstage, created by the servants on the estate.

Viewers should set aside any idea that Chekhov plays are stuffy, drawing-room drama—Holt aims for a Seagull that is “raw, funny, wild.” Her cast, she says, has risen to the challenge, allowing themselves to create revealing moments where each character is “emotionally exposed.” In the end, the audience should see themselves reflected in the passions and frustrations of Chekhov’s play, because, after all, we are Chekhovian.

The Seagull By Anton Chekhov Translated by Paul Schmidt Directed by Jessica Holt

Dramaturg: Kelly Kerwin; Set Designer: Jean Kim; Costume Designer: Asa Benally; Lighting Designer: Elizabeth Mak; Sound Designer: Kate Marvin; Stage Manager: Kelly Montgomery

Yale School of Drama Iseman Theater December 12-18, 2014

The Seafarer is Coming

As Virginia Woolf knew, a room of one’s own is necessary for a writer, or indeed for any creative endeavor to flourish—say, a studio of one’s own for artists, performers, musicians. The New Haven Theater Company have learned that lesson too. Having a performance space they can count on and call their own—the open area at the back of the English Building Markets on Chapel—has made planning successive shows as a full season much easier and more secure. The troupe of thespians have already used the space for productions of Our Town, Shipwrecked!, Almost, Maine, and The Magician, an original play by NHTC member Drew Gray, and have recently announced three upcoming shows: The Seafarer, by Conor McPherson, Doubt: A Parable, by James Patrick Shanley, and a new Drew Gray play, The Cult. All three shows, interestingly enough, have to do with situations that test beliefs and all three take a metaphysical reality as a given. Tickets for The Seafarer are on sale, and the show will be staged two consecutive weekends in November. A popular play from 2006, The Seafarer is an actor’s show, as are the plays of David Mamet, which NHTC has done well by in the past. Five men play cards in a working-class northern suburb of Dublin, an ordinary occurrence, but what is at stake is extraordinary. NHTC had plans to stage the show earlier, back in their peripatetic days, and have waited for the right time to come back to it. As the show is set on Christmas eve and has occult features, the perfect time of year would seem to be the weeks between Halloween and Christmas.

A five-man play, the production will include most of the male actors who have directed for NHTC in the past. Deena Nicol-Bifford, who played in Almost, Maine, was approached by the guys to direct this time and says she found in the play themes, about fate and destiny, that drew her in. “The more we delved into the stuff, the more we found to work with—like religious iconography, Irish myth and lore.” Working with her fellow NHTC players is always a pleasure, and she quickly saw how the long-term friendships among the troupe aid a play like Seafarer, about kin and friends and drinking buddies who have known each other forever. A serious play with serious themes about the trials of friendship and the need to protect others—even from themselves—the dialogue can be very funny, as all these Irishmen like to put one another on a bit.

Relative newcomer to NHTC Jim Lones (who played in Our Town) plays the eldest among the foursome, Richard Harkin, who has recently gone blind due to a freak accident. His erring brother James “Sharky” (J. Kevin Smith, who played in NHTC productions of Our Town and Speed-the-Plow, and played Tony Roma in Glengarry Glen Ross) returns home to help his brother and finds that Richard likes taking out his frustrations on his younger brother. Also on hand is longtime friend Ivan Curry (Steve Scarpa, recently seen on the Long Wharf stage as a townsperson in Gordon Edelstein's production of Our Town, and who directed NHTC’s Our Town and also played in Almost, Maine and Speed-the-Plow), a kind of generally benign ne’er-do-well who recently lost his glasses and is suffering from myopia, and, arriving in the second act, their friend, the gadabout Nicky Giblin (Peter Chenot, who directed Shipwrecked! and had the main roles in Urinetown and Talk Radio and played Picasso in Picasso at the Lapin Agile), who just happens to have taken up with Sharky’s ex. But that’s not the main plot-point, rather it’s the fellow Nicky has brought along and invited to their card game: a stranger Nicky befriended while on the most recent leg of his drinking binge, a distinguished-looking gent called Mr. Lockhart (George Kulp, who has acted at Long Wharf in Macbeth 1969, directed Speed-the-Plow, and acted in Our Town and Urinetown).

Lockhart and Sharky have a history. Baggage in the form of a wager that took place 25 years ago in Bridewell Prison where Sharky’s winning a card game led to his release and a promise to play Lockhart again. Lockhart is back to make sure Sharky fulfills that promise. So while the others think it’s just a friendly game of cards, we know different.

The whole cast cites the “wonderful writing” as a main attraction of the play, but also feel that it is an “uplifting play, that makes you want to cheer in the end,” as Scarpa says. The cast is well-selected and when Chenot and Kulp enter drunk together in the second act, you may recall seeing them as steady drinkers together in last season’s The Magician. Indeed, Kulp seems to get the “distinguished gent” roles rather regularly, while Chenot can always be counted on to be somewhat brash and outgoing. To Smith often goes the thornier and weightier roles and Scarpa generally provides key support roles. That situation will change next time when Scarpa will play the conflicted and possibly guilty priest in Doubt, with Margaret Mann, who directed Almost, Maine and played Mrs. Soames in Our Town, and Mallory Pellegrino, who played Emily in Our Town, as his accusers. Kulp directs.

The Seafarer takes its title from an Old English poem in which the hazards that threaten our faith are figured as the trials of seafaring in winter and in which we are exhorted to oppose the devil. The play was nominated for a Tony as Best Play of 2006 in its premiere New York run and has been called by the New York Times, “a long night’s journey into day.” The NHTC says it’s “an uproariously funny, charming, and chilling play” and shows “that redemption can come from the most unlikely of places.”

For tickets and more information: NHTC

The New Haven Theater Company present The Seafarer By Conor McPherson Directed by Deena Nicol-Bifford

The NHTC Stage at The English Building Markets 839 Chapel Street

8 p.m., November 13-15 and 20-22

The New Haven Theater Company is: Megan Keith Chenot, Peter Chenot, Drew Gray, Erich Greene, George Kulp, Margaret Mann, Deena Nicol-Bifford, Mallory Pellegrino, Steve Scarpa, Christian Shaboo, J. Kevin Smith, and John Watson

A Devilish Task

YSD First Thesis Show Opens . . . The first Yale School of Drama thesis show of 2014-15 goes up this week. Third-year director Sara Holdren presents Mikhail Bulgakov’s The Master and Margarita, a mercurial and elusive play, metaphysical, satirical, and challenging, involving the Devil’s visit to Moscow under Stalin, the travails of a writer—called simply “the Master”—under a police state, and his love affair with his muse, Margarita, as well as the Master’s ongoing concerns in attempting to stage, without censorship, his theatrical treatment of Yeshua before Pilate—for a society “officially” atheist.

While “common in Russia,” Holdren says, productions of the play—which was written as a novel by Bulgakov and subsequently adapted for stage—are not easy to come by in the U.S. In part, that has to do with the vexed history of the text itself: having begun the work in 1928, Bulgakov burned the first version in despair of its seeing the light of day, then painstakingly rewrote it beginning in 1931, finishing it, essentially, in 1936, though he was still working on it at his death in 1940. A censored version of the novel was published in 1966-67. A complete version appeared in 1973, and the most authoritative version not until 1989. Stage adaptations have been ongoing since 1971. The YSD production uses the adaptation by Edward Kemp, dating from 2004, for a theatrical festival in the UK.

Directing students in YSD propose two possible thesis shows, then one is selected by the committee. Holdren’s other proposal was a better-known Russian classic, Chekhov’s Three Sisters. Why Russians? I asked. After a second, Holdren gave a ready reply: “because of the combination of humor with the fearlessness of their emotional scale.” Holdren values the combined darkness and absurdist humor in their works, which she likened to Beckett. M&M, she points out, “isn’t afraid of unwieldy ideas and unabashed spectacle.” Bulgakov’s masterpiece references another masterpiece—and a very unwieldy “theatrical” work in itself—Goethe’s Faust, and Holdren found inspiration for her project in Goethe’s “Prologue” to his monumental story of a scholar’s pact with the devil for the sake of unfettered experience and knowledge. In the Prologue, a director, a playwright and a comedian (or actor) debate how best to stage such a work, with the director favoring spectacle, the playwright ideas, and the actor, as mediator, insisting on both. That, for Holdren, is what a production of M&M should strive for as well.

The show does involve spectacle: there is the devil and his uncanny retinue—including a giant, talking cat called Behemoth—as well as segments in an unworldly space, and segments set in the Jerusalem of the Master’s play, and segments occurring in the social and political reality of Bulgakov’s time. Holdren feels her production is blessed in its cast, and combines, in her crew and collaborators, “adventurous talents willing to go anywhere,” able to translate all these worlds, ingeniously present in Kemp’s adaptation, to the stage at the Iseman. Holdren says her collaborators are “all I could ask for” and allow her “to work the way I love to work.” I got a peek at the set—which includes a runway up into the stadium seating—and it involves a rotating “turntable” portion, a spiral staircase, and a very modernistic design—recalling the Russian art movement of the Twenties, Constructivism—that may well be the most striking set I’ve seen at the Iseman.

Holdren finds the themes of the play very relevant to our times, in which ideological differences and faith-based differences, as well as racial and historical divides, continue to bedevil mankind. Bulgakov wrote under fear, without the freedom to give his ideas fullest expression in public. His novel is a brave statement in favor of, in Holdren’s view, “compassion and forgiveness,” and of love, not only as the very real love story between the Master and Margarita (who trades her soul to Satan to save the Master’s life), but of “love as a world-saving force.” For Holdren, the play has a “sad happy ending,” and she admits “every time at the end I cry.” The tears, we might say, are not those of mourning or loss, but of commitment to the vision of human possibility, and to our chances for salvation. Like most great world-spanning works in the Western canon, Bulgakov’s play—along with Dante’s Commedia and Goethe’s Faust and Milton’s Paradise Lost—renders the human condition not as tragedy but as a spectacular comedy of ideas and of love.

The Master and Margarita By Mikhail Bulgakov Adapted by Edward Kemp Directed by Sara Holdren

Dramaturg: Helen C. Jaksch; Set Designer: Christopher Thompson; Costume Designer: Fabian Fidel Aguilar; Lighting Designer: Andrew F. Griffin; Projections Designer: Rasean Davonte Johnson; Sound Designer: Sinan Zafar

Yale School of Drama Iseman Theater October 21-25, 2014

Coming to Yale Cabaret . . .

Now previewing Yale Cabaret shows for the rest of the semester and into January—Cab 4 through 10. The Artistic Directors Hugh Farrell, Tyler Kieffer, Will Rucker, and Managing Director Molly Hennighausen have joined forces, reviewed the applicants, and determined upon the following, an eclectic mix of the new, the untried, the recent, the experimental—even, perhaps, the confrontational. Here we go: Cab 4: Rose and the Rime, a play by Nathan Allen, Chris Mathews, Jake Minton; directed by Kelly Kerwin, a third-year dramaturg. Kerwin was an Artistic Director at last year’s Cab, and a director and developer of the very popular We Know Edie La Minx Had a Gun, and this time she’s directing and choreographing a show that features dance, song—with the vocal talents of Andrew Burnap, whose singing graced Why Torture is Wrong . . . in the first show of the last Summer Cab—and original music. The show, which was first developed in the House Theatre of Chicago, features a cast of 9 to tell this modern myth in which a plucky young girl (Chalia La Tour, who is on a roll this semester) sets off on a quest to free the town of Radio Falls, Michigan, from a permanent blizzard visited upon it by the Rime Witch. Because the eternal winter trope graces “The Snow Queen” fairytale, the show is open to comparisons with the most successful animated film of all time, Disney’s Frozen. OK, fine, so come on and see what’s different. October 16-18.

Cab 5: Touch, a play by Toni Press-Coffman; directed by Elijah Martinez, a second-year actor. Newish playwright Press-Coffman brings us a tale about loss and bereavement, couched in cosmic terms. It’s also a play with a four-person cast that starts with a mammoth monologue that will be fielded by second-year actor Jonathan Majors, a major factor in the success of The Brothers Size at the close of last year’s Cab season. The script riffs on Keats and the stars and the infinite expanse that pretty much identifies as “the Romantic Sublime.” Directed by Martinez, who was also an asset in The Brothers Size and a strong presence in the most recent Summer Cabaret. October 23-25.

Cab 6: Hotel Nepenthe, a play by John Kuntz; directed by Rachel Carpman, a third-year dramaturg. Poe fans no doubt recognize “nepenthe” as the stuff the speaker of “The Raven” is supposed to “quaff” so as to “forget the lost Lenore.” Keep that in mind, because Kuntz’s play, which debuted at the Huntington Theater in Boston in 2012, is about a “nebulous hotel” where lots of things are going on and—as was said by Scatman Crothers’ character in The Shining—“not all of them was good.” Four actors play four characters each in this feast of off-beat characterization that, the press release says, is a “hilariously horrific play” “where strangers tangle themselves” in mysteries and “wind up covered in whipped cream.” November 6-8.

Cab 7: MuZeum, a play by Raskia and Sumedh; translated and directed by Ankur Sharma, a special research fellow in directing. The horrendous rape and murder of a woman on a bus in South Delhi, India, in 2012, inspires this play, a journey through the history of the treatment of women in India, from the celebrated goddesses of myth, to the colorful heroines of Bollywood extravaganzas, to street victims of mutilation and rape. Co-Artistic Director Hugh Farrell says this is the show he’s “probably most excited about in [his] entire life,” as it captures the realities of India in ways not generally seen in the West or acknowledged by India itself. A Brechtian theater-piece based on contemporary incidents with a cast of 3 female actors as the women speaking their own truth. November 13-15.

Cab 8: Solo Bach, conceived and directed by Yagil Eliraz, a second-year director. Violinist Zou Yu of the Yale School of Music undertakes to play live two Bach pieces for violin each show; before our eyes these pieces are interpreted by 4 performers—2 male, 2 female—who “represent” the different voices of the violin through patterns of movement. Featuring a startling set with use of scrims, this unique production should be a feast for eyes and ears, as the visual and the aural work together in concert to the sublime measures of Johann Sebastian Bach. December 4-6.

Cab 9: The Zero Scenario, a play by third-year playwright Ryan Campbell; directed by Sara Holdren, a third-year director. In last year’s Cabaret, they brought us the outrageous tale of Joan of Arc in the Space Age in A New Saint for a New World, and this time Ryan Campbell and Sara Holdren are back with a “sci-fi comedy” that features 6-ft. field tics, a boyfriend along on a mysterious roadtrip his girlfriend instigates, and the question “can you terrify people in the theater”? Starring Ariana Venturi, who shone in the first two shows of the Yale Summer Cabaret. December 11-13.

Cab 10: 50:13, a play by Jireh Holder, a second-year director; directed by Jonathan Majors, a second-year actor. What does that title mean? It’s a ratio. 13% of males in the U.S. are African-American; 50% of males in U.S. prisons are. This important theater-piece looks at that disparity through the eyes of the incarcerated, using oral histories to tell the story of Dae Brown who, in three days, tries to impart all he knows about being a man to a teen inmate serving an adult sentence. January 15-17.

That's what's on the way.  See you at the Cab!

Yale Cabaret 217 Park Street For more information and tickets and menus: Yale Cab

Our Town Opens

This Wednesday, October 8, previews for the first show of the Long Wharf Theatre’s 50th anniversary season begin. And that first show is an American classic: Thornton Wilder’s Our Town. Not only an American classic that many probably think they already know, the play has direct links to “our town” (i.e., New Haven) because Wilder lived here and is buried here. Not that Grover’s Corners should remind us of New Haven exactly. The play is actually set in a fictional New Hampshire town, and yet: Artistic Director Gordon Edelstein, who directs the play, has conceived of his cast as representing our local demographic more than any small town in Wilder’s day would have. That means that his cast is of diverse ethnicity, and, what’s more, his Stage Manager—a role associated with lean-jawed white actors such as William Holden, Hal Holbrook, and Paul Newman—is a black woman (Myra Lucretia Taylor).

That fact alone should make for an out-of-the-ordinary Our Town. And, to make the production even more “ours,” Edelstein has cast it with Long Wharf alums. So, if you’ve been going to the LW with any degree of regularity in its 50 year existence, you’re bound to see someone up there you’ve seen before.

Two such returners glad to be back are Jenny Leona, who will play Emily, and Rey Lucas, George. These two roles are, of course, the “romantic interest” characters in the play, who begin as neighbors and high school classmates who then become sweethearts and then . . . .

Both Leona and Lucas have experience playing younger than their years. In fact, Leona has played an adolescent boy on more than one occasion, and Lucas played the Boy in Eric Ting’s well-received adaptation of Ernest Hemingway’s The Old Man and the Sea in 2009. Leona, on the other hand, was anything but boyish in last season’s The Underpants, also directed by Edelstein.

When I talked to the two actors about Wilder’s play and their roles, both admitted that Our Town was a play they’d had youthful familiarity with—as most of us do, they encountered it in high school. Leona saw the TV version at some point and says “it stuck with me.” Returning to work with Edelstein, she says, is a “great opportunity” and found that, reading the play again—it had been about 10 years—she found it truly beautiful and thought she would be “perfect for Emily.” And why not? Leona comes by the quaintness of Our Town naturally—she spent 7 years of her childhood in Ardsley, an idyllic little village in West Chester County, and says it has remained a touchstone for her sense of small-town life.

For Lucas, a YSD grad raised in Queens by Dominican parents, Our Town brought to mind “folksy” TV shows like My Three Sons or Capra films like It’s a Wonderful Life—“a little cheesy.” Invited to take part in the show, he was intrigued by Edelstein’s color-blind casting and deliberate effort to diversify the cast ethnically. What’s more, he sees Edelstein’s approach as “more moving and compelling” than what Lucas may have formerly thought of the show. “If we forget what we’ve seen” the play’s truth will be more direct, he says. The play shows us “real families, with struggles and troubles.” Following Wilder’s intention, Lucas says, should give us a play that “combines Norman Rockwell and Pablo Picasso.” An apt expression of the everyday charm of the play contained within its sense of the more abstract and mythic possibilities of human life.

Both Leona and Lucas are excited by the opportunity to play romantic leads, and both find that there is unexpected comedy in the relationship of George and Emily that comes from inviting the audience to think back to their own introduction to teen-age love, to grasp how awkward and thrilling is the experience for these two. Lucas notes that Emily “calls George on his arrogance” and he responds quickly by falling in love with someone who cares enough to want him to improve—“not the sort of thing I was looking for in high school,” Lucas chuckles. Leona finds the awkwardness of the young lovers “adorable” and is glad of the opportunity, thanks to Edelstein’s search for “the true moments in the play and its spirit,” to find the humor in the early situations in the play. The later parts of the play, where things grow more troubled and dark, Leona says, are where she feels her strengths as an actress lie. Which may come as a surprise to anyone who saw her broadly comic role in The Underpants. That role, for Leona, was something of a surprise, and Our Town gives her an opportunity to show a full range of emotions.

The camaraderie of the cast should be expected, since all have worked at Long Wharf before and many with Edelstein, but, even so, both actors remarked on how quickly the process of bonding as a cast occurred on this production. When I spoke to Leona and Lucas, the rehearsals had not yet gone into tech, with scenery and so forth, but both pointed out that the sets will be unusually spare. Though both have had training with minimal sets, the challenge of acting out interactions with non-existent props presents another interesting aspect of the staging of Our Town.

For audiences who may think they know all there is to know about Grover’s Corners, Leoana suggests that this production will be “eye-opening” and Lucas points out the play’s satisfying sense of, as it were, “telling the stories behind the photo albums” most of us keep of our lives. The Long Wharf 50th Anniversary production of Our Town invites us to look a little closer at the “givens” we live with and our assumptions about the significance of our own lives. “Our town” has changed, and, with this cast, so should Our Town.

Our Town By Thornton Wilder Directed by Gordon Edelstein

Long Wharf Theatre October 8-November 2, 2014

Tickets and info: Long Wharf

Yale Cabaret Season 47: Down the Stairs We Go

Next weekend the Yale Cabaret returns—Cab 47—helmed by Artistic Directors, Hugh Farrell, a dramaturg, Will Rucker, a stage manager, Tyler Kieffer, a sound designer (who have participated in 19 shows at the Cab and/or Summer Cab amongst them), and Managing Director Molly Hennighausen, who ably managed the Summer Cabaret of 2013.

The Cab is the go-to spot for the unusual, the off-the-wall, the below-stairs (it’s literally in a basement, which this year’s logo capitalizes on, creating the look of a movie ad from the Sixties where a trip down the stairs may lead to unimagined things). It’s a place of creative ferment, where students see what they can do—often in areas they aren’t being officially trained in—and what they can get away with. The audience can be a mix—as Molly Hennighausen says—of many first-timers, drawn by the word-of-mouth of a specific show, and many dedicated regulars, who come no matter what’s on offer.

It’s also a convivial place to dine, thanks to Anna Belcher’s kitchen skills, with a changing menu that always offers 3 entrees, a number of small plates, a salad, a soup, and a choice of desserts, not to mention a fairly varied wine-list and a selection of beers. All the dining business is over before the show begins, with tables cleared, generally, so there’s little of the distraction of plates and forks while the play’s playing.

If you like your theater up-close and personal, with, as it were, the strings showing, then the Cab is a dream. And, if you come more than once, you’re likely to see the people who, one week, put on the show doing the service and such another week. It’s a “we all muck in together” entity, even more so now that Work Study support has been withdrawn. Previously, Work Study picked up half the wage of the Cab’s workers, so now the Cab, to stay on budget, will lean upon generous donors and sponsors—and full houses—more than before. The Cab’s site lists the different levels of patronage available, including the popular “show sponsor”—an innovation begun by Managing Director Jonathan Wemette in the 45th anniversary season, 2011-12. Check back here to get a brief preview of the shows when they’re announced, then hand over a check for the show you want to back. And if that’s too big a commitment, smaller donations—as Enthusiast, Friend, and even “Starving Artist” level—are available. The Cab is a unique institution, well worthy of support.

The site claims two mantras for this season: Make Happen the Make Believe—a good imperative for any creative endeavor—and Now or Never, which certainly puts an emphasis on timeliness and limited time. Theater, more than any other creative work, requires presence in the here and now.

The first three shows of the season have been announced, and the new décor—which features a classically appointed entranceway/lobby that will be complete with tech features, such as piped-in music or live audio feeds from inside the theater—is developing. The team—Hugh, Will, Tyler, and Molly—stress an “open door” policy and their accessibility as a team to audience input, and likewise to the students who may have ideas for proposals. They looked at 7 proposals for the first 3 slots and take a supportive, enabling role in all projects they accept, and can help teams get together for resubmitting proposals not successful at first. The teamwork of the projected work is key.

Hugh says the proposal by the Cab 47 team focused on “community and collaboration”—the community of YSD, certainly, but also the community that the theater serves, with “collaboration” a broad term that extends from the various talents of the people involved in the show—from those who build the sets and make the costumes to those who research and write and act and direct and keep the place running—to those who provide attention and feedback as audience. Will stresses “generosity without expectation” which is a way of saying “just show-up, ready for whatever.” It’s different each week and what you get should be something other than what you expected. The team wants to make a season “full of that Cab show”—the one everyone talks about and remembers. And that’s not necessarily to say it’s all about love and praise. Making people grapple with what they’ve seen, or offer personal insights, is part of the Cab experience.

First up is Look Up, Speak Nicely, and Don’t Twiddle Your Fingers All the Time—a new play by third-year playwright Emily Zemba, who collaborated on last year’s crowd-pleasing season opener, We Know Edie LaMinx Had a Gun. Look Up will feature a “sort of mash-up” of Alice’s Adventures in Wonderland with Toddlers and Tiaras. Directed by third-year actor Ato Blankson-Wood, who’s been turning in worthwhile Cab performances since the Summer Cab of 2013, and featuring Celeste Arias, ditto, the play follows Liddy, a young girl coping with the pressures of a child beauty pageant while encountering a series of characters right out of Lewis Carroll by way of whatever cultural associations the team tosses in. September 18-20

Cab 2 is a new translation by Kee-Yoon Nahm of Geun-Hyung Park’s Don’t Be Too Surprised. Nahm, trained as a dramaturg at YSD, also directs the cast, which will not include YSD actors, in “a really dark comedy” from 2009. Park is a prolific Korean actor—on screen, TV and stage—who also writes, and his play is about a fraught relationship between father and grown son, that features karaoke and an on-stage suicide. September 25-27

The third of the first three shows is American Gothic—no, not the painting by Grant Wood, nor the novel by William Gaddis, but an ambitious combining of three stories: Jorge Luis Borges’ “The South,” Raymond Carver’s “Popular Mechanics,” and Flannery O’Connor’s oft-anthologized and taught, “A Good Man is Hard to Find”—which puts the “Southern” in Southern Gothic. Proposed by two dramaturgy students, Eli Epstein-Deutsch and Nahuel Telleria, and directed by Telleria, the play represents a collaboration by students in YSD, the Yale School of Music, and the Yale School of Art, and features an “installation-like set” by Sam Vernon. October 9-11

When speaking about the Cab 47 team’s leadership and guidance in soliciting, aiding, and choosing proposals, Molly stresses how “safe” the Cab is: in the sense that almost anything can get a try-out there. Its small size means the house is frequently sold out, and that creates an exciting environment for both audience and performers. As a “safe house” for theatrical experiment, the Cab is truly a New Haven treasure.

It’s now or never: help make happen the make believe. Your eyes and ears are required.

Yale Cabaret 217 Park Street New Haven, CT

Eggs and Bones

Two former Cab shows to be re-staged in New York this fall. Listen! That sound you hear is the long, withdrawing roar of the summer. And that means the fall theater season is about to begin. Shortly, I’ll be posting a preview of the first three shows of the upcoming Yale Cabaret season, along with other announcements of interest for local theater here in New Haven. But right now, a few words about two shows opening soon in New York.

Fans and supporters of both the Yale Cabaret and Summer Cabaret may be interested to know that two former artistic directors of the Summer Cabaret, Devin Brain (*10) and Dustin Wills (*14), have further developed two shows that began life in the term-time Cabaret—Bones in the Basket and The Fatal Eggs, respectively—and this fall they will both be staged on back-to-back weekends at the Araca Project in New York. The Araca Project is an initiative to foster entrepreneurs from Yale, Syrcause, University of Michigan, Northwestern University, and Florida State. Artists selected are enabled to produce their work in an Off-Broadway venue.

Both shows have online sites for fund-raising. The Fatal Eggs, which has support through a Princess Grace grant, recently met its goal, but there’s always room for more; Bones in the Basket has 3 days left to reach its goal and, last I looked, had just under 60% of goal pledged

About the shows:

Bones in the Basket Devin Brain was co-artistic director, with Chris Mirto, of the Cabaret in the 2009-10 season, which happened to be my first season of attendance at the Cab. And that means I missed the Cab production of Bones, though I did catch a workshop staging of it about a year ago in NY. Brain was also the artistic director of the Summer Cabaret in the 2011 season; titled The Yale Summer Shakespeare Festival, the program featured two Shakespeare plays and The Rose-Mark'd Queen, Brain’s own ambitious and entertaining condensation of four Shakespeare history plays into one gripping show. In addition to Bones, and working as assistant director on a version of the Tempest at La Mama, Brain has a production of Macbeth in the works that will go on tour—beginning at the Guthrie in Minneapolis—and return to NYC in the spring.

Drawn to works with, shall we say, darker-than-average themes, Brain has found in Bones a greatly simpatico project. The show originated when cast member Alexandra Henrikson (*11) brought around a book of folk tales translated from the Russian, stories she was raised with. As with Grimm “fairytales,” these folk tales—many of them animal fables as in Aesop—have elements of the bizarre, the magical, the eerie. But unlike the Grimm tales—particularly in what Brain calls their “cleaned-up versions” familiar from Disney films and the like—the tales in Russian were, Brain says, told in bars for drinks and to entertain the clientele. They were decidedly not conceived as bedtime stories for kiddies. And, in comparison to Aesop, the “morals”—if that’s what they are—of the stories accept a rather harsh universe in which, at best, cleverness is rewarded and stupidity punished. Brain and company found the stories “morbid and dark in a comic, laughing way.” They adapted a selection of the tales into a form well-suited to the experimental space of the Cabaret and produced one of “those shows”—the ones that its audience remembers and its cast hopes to have a chance to do again.

That chance has come—Brain thanks YSD Dean James Bundy for suggesting he apply to Araca—with more money than before, 3 1/2 weeks of rehearsal, and a 140-seat auditorium with proscenium stage. It will be “the fullest set” the company has worked with and, Brain says, the theater has a certain decrepitness that suits Bones’ destitute “on the run” troupe, cadging what they can from whatever audience they can find. A bit like off-off-off Broadway theater. Returning again to the troupe are YSD grads Danny Binstock (*11), Jillian Taylor (*11), Blake Segal (*11), Alex Henrikson (*11), and Stéphanie Hayes (*11)—who has been back to stages in CT twice since she graduated: February House at Long Wharf, and a play also inspired by Russian folktales, last seasons’ The Fairytale Lives of Russian Girls at the Rep.

Since the iteration of Bones last year, a new tale has been added and the ending has changed yet again (none of the three versions has ended the same way). Another advantage this year over last year, besides locale and coffers, is the return of Michael McQuilken (*11) of Old Soundroom, as the onstage musician absent last time. He joins the cast of Ringmaster, two divas, and three “roadies” who, as a troupe fallen upon hard times, tell their tales as Russian expats representing, Brain says, “art in need, teaching lessons on loss and how to deal with it.”

It’s not about “happily ever after,” it’s about the unhappy here and now and how to cope. Rather than stories of triumph, Bones showcases stories that give lessons in the mentality needed to survive, stories that in certain circles—such as the Russia of their day—might be considered, Brain says, “treasonous or blasphemous.” With contemporary Russia wading through another dark era, Bones tells us something about the kind of wit and wisdom Slavic culture derives from our existential predicament where a certain general malevolence—in nature, in humanity—is assumed.

And yet the show is not a downer. It’s about the stories humanity tells itself to keep despair at bay.

For more info, tickets, donation: here.

Bones in the Basket October 8-12, 2014 American Theatre of Actors 314 W. 54th Street, New York, NY

***

The Fatal Eggs Mikhail Bulgakov wrote a short story called “The Fatal Eggs” (1925) in order to satirize the political institutions of his day—and the work, as most of what Bulgakov wrote did, immediately ran afoul of authorities in Stalinist Russia. With its attitude toward the people as preyed upon by their government and toward science as sinister—especially when co-opted by the State—“The Fatal Eggs” managed to be a sci-fi tale with bite.

Director Dustin Wills says Bulgakov is “my jam,” and has turned to the writer before when stalled with a project. The first time, he turned to Black Snow which he had first seen in a high school theater competition (Wills' project was The Crucible). The Bulgakov play, about the rigors of the author’s relations with Stalin—who liked some of his work and then kept the writer on a short leash, with little opportunity for publication or staging—lit Wills’ interest. When he needed something to propose for a term-time Cab show his second year at YSD, Wills turned to Bulgakov again, and this time enlisted dramaturg Ilya Khodosh to translate. Their script of The Fatal Eggs is an original dramatic version in English.

As a director, Wills seems to like nothing better than a challenge, and one of the key aspects of the Eggs production at the Cab was how to stage its sci-fi effects—such as a monstrous snake caused by scientific tampering—and how to pack the numerous settings and the dizzying number of characters into the Cab’s minimal space. They did it, after a fashion. But now Eggs, with 7 actors—most former YSD students such as Chris Bannow (*14, co-artistic director of the Summer Cab, with Wills, in 2013), Ceci Fernandez, Michelle McGregor, and Khodosh (all YSD class of 2014 and all in the original production), joined this time by Josiah Bania (*13), Mickey Theis (*14), and two grads of NYU’s Tisch School, Jeanna Phillips and Sathya Sridharan—enacting 56 roles, will get a much fuller staging in a more expansive space. The auditorium for the Araca Project gives Wills a chance to go further into the sometimes extreme effects he’s been noted for in his work at YSD—such as the very physical comedy of Mary Laws’ Blueberry Toast, the outrageous comedy of Kate Tarker’s Thunderbodies, and the ingenious “improv” staging of his dark and endearing thesis show of Peter Pan. This time around, the space should help the narrative of Eggs so that it will be easier to keep the story straight through a use of more distinct settings, with inventive staging by the same creative team Wills worked with the first time around.

As the website describes it, The Fatal Eggs “skewers political incompetence and corruption, misguided faith in technology, a gullible and complacent populace, and a fear-mongering media.” In Bulgakov’s Russia, such skewering meant he would always be a kind of loose cannon whose work would not be staged; in today’s U.S., the play’s targets may seem at times broadly vaudevillian, but bringing together a popular genre like sci-fi with misgivings about the state of our world and of our future is by no means uncommon. Indeed, Bulgakov took his inspiration from H.G. Wells’ Food of the Gods, with its giant chickens and humans, and The War of the Worlds’ manner of disposing of a sci-fi threat. In Bulgakov’s hands, these incidents fuel doubts about the wisdom of “experimenting” with humanity—experiments which may include radical political solutions.

For more info, tickets, donation: here

The Fatal Eggs October 2-5, 2014 American Theatre of Actors 314 W 54th St, New York, NY

For those who have appreciated the student work of these directors, actors, and teams, this is a rare opportunity to see Cab shows expanded and developed further for an audience of New York theater folk and fans, and friends. And the shows complement each other well, though very different in tone: Two darkly comic tales with the macabre trappings of popular genres—the one of sci-fi, the other of folk tales. Both deriving their sense of the human comedy from acerbic Russian sources. Both featuring, in cast and crew, recent graduates of the Yale School of Drama program and directed, respectively, by two former artistic directors responsible for two very successful Summer Cabaret seasons, the one in 2010 and the other in 2013. Two weekends in October, when the thrill of fall should be in the air with the tang of dying leaves. Bones, eggs, so white, and so easily broken.

Get your tickets now!

Summer 2014 Issue of New Haven Review Now In

An announcement to all who have so patiently waited.  The Summer 2014 issue of New Haven Review is now in and starting to ship.  Featured in this issue... “Meditation on the Shore (Ocean City, NJ)” by Benjamin Goodney  (poetry)

“The New Bag Men. How it is in New Haven when you don’t win the lottery” Alexis Zanghi (essay)

“What Happened, the Winter You Found the Deer” Genevieve Valentine  (fiction)

“And then house exploded” and “And then I played hooky from the apocalypse” Nick DePascal  (poetrys)

“Over at the Shiva Piano Lounge the Woman Who Was Sawn in Half Is Drinking a Hipster Variant (Green Chartreuse and Gin) of Lydia E. Pinkham’s 1876 Original Vegetable Compound” Sue D. Burton (poetry)

“The City Voiced. R.E.M.’s Überlin” Katarzyna Jerzak (essay)

“James Taylor vs. the King” Douglas W. Milliken (fiction)

“The Cup of Sun” Maxwell Clark (poetry)

“Reckoning with Athol Fugard. On the playwright, age eighty-one, and his work” Leon de Kock (essay)

“Vague You” Mark Gosztyla (poetry)

“Hooky” E.A. Neeves (fiction)

“Depending Upon Whose Side You’re On. Living with John Lennon’s most personal Beatles song” Colin Fleming (essay)

“The Death Row Dream” Rachel Hadas (poetry)

To subscribe, just visit us here.

Yours,

Bennett Graff Publisher

Yale Summer Cabaret: Summer Shorts Festival

Tonight the Yale Summer Cabaret resumed with Jackie Sibblies Drury’s We Are Proud to Present a Presentation about the Herero of Namibia, formerly known as Southwest Africa, from the German Sudwestafrika, between the Years 1884-1915, directed by Jessica Holt, which runs until July 26. It will be followed by Will Eno’s Middletown, directed by Luke Harlan. The first is, at first, a “laugh riot,” Harlan says, that gradually becomes a very moving experience that boldly examines questions of race in America. In returning, the Cab space has been partially reconfigured from the set-up of the first two plays of the season, with the main difference being the placement of the audience: both in and around the action. Actors may be seated at tables with the viewers.

Then the space will be completely changed for Middletown, involving a cast of 11, with the action set up in a different location and most likely using a higher stage platform than has generally been used at the Cab. After Middletown’s run from 31 July to 10 August, including a special 40th Anniversary celebration dinner by invitation, the final slot in the season is occupied by a festival of short plays.

Both Co-Artistic Directors Holt and Harlan have considerable previous experience with festivals of short plays and are enthusiastic about what a shorter playing time affords. “Short plays are often more challenging,” Harlan said, “less safe, and more willing to move beyond boundaries.” A full-length play requires a complete investment in an idea, one able to be fleshed out into a full show. Short plays can make their points more quickly, with greater concentration, and sometimes greater risks.

The intention all along has been to invite plays from alums of the Yale School of Drama. Everyone Holt and Harlan approached was interested. In two cases, with plays by A. Rey Pamatmat and MJ Kaufman, the plays were written expressly for the festival. Others are plays that pre-existed, and one play, by Hansol Jung, is an excerpt from a musical that had been proposed for last year’s term time Cabaret.

Here are the plays, none of which has been previously staged:

Rolin Jones, much lauded for his mash-up of Shakespeare and The Beatles in the Yale Rep show, These! Paper! Bullets!, provides three short plays, each about 10 minutes: Ron Bobby Had Too Big a Heart; Sovereignty; The Mercury and the Magic.

Hansol Jung, whose play Cardboard Piano was at the Carlotta Festival here in the spring, offers an excerpt from a musical, The Undesirables.

MJ Kaufman, winner of the 2013 ASCAP Cole Porter Prize in Playwriting, whose Sagittarius Ponderosa was featured in Carlotta 2013, presents Your Living Room is Full of Ghosts, which is set in an IKEA.

Mary Laws, whose Bird Fire Fly played in Carlotta 2014, returns with All Saints.

A. Rey Pamatmat, recipient of the 2012-13 Hodder Fellowship in Playwriting at Princeton, wrote We Have Cookies specifically for the Festival.

Kate Tarker, author of Thunderbodies, which appeared in Carlotta 2014, offers M.A.H. (A Museum Play).

The plays will be presented in two sets of three plays each, Series A on Thursday, August 14, Series B on Friday, August 15, and both Series on Saturday and Sunday, to close out the Summer Cabaret Season with a marathon of short plays. The plays inclusive to each Series TBA later.

According to Harlan, the playwrights were asked to submit plays less than 30 minutes in length, though one or two may be a bit longer. The entire running time for a Series is 90-100 minutes. Harlan says the majority of the plays are comedies, though comedies that risk violence and, in some cases, look at unpleasant aspects of America. The playwrights were also informed about the actors available for the Festival. There will be 8 actors, all of whom will have been seen during the course of the Summer Season. Two of the short plays feature larger casts, while some require 3 or 4 actors, and there are a few 2 handers as well.

Holt and Harlan will trade-off directing duties, so that each will be involved more or less to the same degree in staging the plays. The strong collaboration that has been shown so far in this year’s Summer Cabaret should be even more on view in this final effort.

Regulars of the Cab know that a surprisingly effective theatrical experience can be provided by short plays, and with the varied casts, playwrights, and running times, the Summer Short Festival offers an excellent opportunity to see the kinds of things the Cab does best.

With only three opportunities to see each Series, spread over four days, secure your tickets early for the Summer Shorts Festival. The end of summer is sooner than you think.

Yale Summer Cabaret 40th Anniversary Season Summer Shorts Festival, August 14-17, 2014

For more information: Summercabaret.org

50th Anniversary Season of the Long Wharf Theatre

Now that the International Festival of Arts & Ideas has come and gone, and even the Yale Summer Cabaret is on a hiatus until it resumes on the 11th, what is a theater person to do? One possibility is start thinking about next season.

Last week at the Long Wharf Theatre, Artistic Director Gordon Edelstein and Associate Artistic Director Eric Ting, in a conversation on stage, situated in two comfy chairs, outlined the coming 50th Anniversary Season of the New Haven theater staple, giving a nearly full house details on the process behind their choices and introducing three dramatic readings from the final three plays to be featured.

Ting, taking the role of interviewer, asked Edelstein “what is the process” in picking plays for a season. There was a charge of applause indicating that many in the audience wonder about that very question. While allowing that the process of selection is the “hardest thing,” Edelstein alluded to his 25 year experience of “picking seasons” both at Long Wharf and in Portland. He mentioned some of the logistics that affect decisions—most notably the “shrinking size of shows,” so that shows with huge casts are harder and harder to put on. And yet Edelstein said he always begins with what he “dreams of doing”—the shows he most would like to put on or see put on. “All our dreams are never realized,” he admitted, but he never loses sight of the main purpose: that a play “say something about what it’s like to be alive now.” And, throwing the question open to the audience a bit, he asked how many would agree that the future of the theater is in new writing and in finding works that appeal to a younger demographic. Most present seemed to agree heartily with this proposition.

Alluding to “the bumpy road and false starts and detours” of a process Edelstein called “complicated” and “non-predictive,” he also spoke of the three main desiderata: that the play be relevant to our local community, that it reflect the times and the country we all live in, and that the season end with a balanced budget. He added that one of the key questions each year is what the centerpiece of the season will be. This year, for the 50th anniversary of the Long Wharf Theatre, he gave that question considerable consideration, with some ideas including works by Arthur Miller, such as The Crucible, which was the first play produced at the Long Wharf, or Death of a Salesman which has never been staged there and which Edelstein would like to direct, though, he added, he felt it was “the wrong statement” at this time.

What play did fit the bill? Thornton Wilder’s Our Town, which Edelstein defended (against those who hear the title and think “high school production”) as perhaps the greatest play in the U.S. canon, a play “misunderstood” as “folksy” when in fact it was conceived by its author, who attended Yale and is buried in Hamden, as engaging with avant-garde literature of its time. What’s more, set in “all white” New Hampshire in the early 1900s, Our Town has come to seem a bit of a relic of a more homogeneous America. Edelstein intends to change all that by directed an interracial, multicultural Our Town that “looks like our town now.” He admitted to being “nervous as hell” about tackling this perhaps over-familiar chestnut with new vision as the first play of the season, then added a further wrinkle: the play would be cast using only Long Wharf “alum”—actors and crew who had worked there before. The combination of American classic, Long Wharf familiars, and a more contemporary approach should add up to an Our Town that—if you live in this town—you will not want to miss. Edelstein assured us that we “will not be disappointed.”

OUR TOWN BY THORNTON WILDER DIRECTED BY GORDON EDELSTEIN CLAIRE TOW STAGE IN THE C. NEWTON SCHENCK III THEATRE OCTOBER 9-NOVEMBER 2, 2014 PRESS OPENING: WEDNESDAY, OCTOBER 15, 2014

Ting, still the interviewer, set up the next play on the bill by restating a “story” he heard that author, comedian, actor, playwright Steve Martin, upon seeing Edelstein’s version of Martin’s The Underpants at Hartford Stage last year decided that he must have the director do Martin’s Picasso at the Lapin Agile. Edelstein recounted how he met Martin at a production of The Underpants and knew that Martin felt the show had been done to perfection. Next thing he knew, he heard that Martin told the producers planning a revival of Lapin Agile that, it’s hoped, may go to Broadway for the first time, that Edelstein was the man for the job. Consequently, Long Wharf audiences will find another clever Martin comedy offered up with a sense of both its verbal absurdities and its slapstick pace, as was The Underpants. And if it does get to Broadway, you can say you saw it here first.

PICASSO AT THE LAPIN AGILE BY STEVE MARTIN DIRECTED BY GORDON EDELSTEIN CLAIRE TOW STAGE IN THE C. NEWTON SCHENCK III THEATRE NOVEMBER 26-DECEMBER 21, 2014 PRESS OPENING: WEDNESDAY, DECEMBER 3, 2014

Next is the return of Dael Orlandersmith, the playwright, actress, and poet, whose works have “quite a fan base in New Haven,” where Yellowman and The Blue Album were staged at Long Wharf. Forever will be on its world premiere run, beginning in LA and stopping in New Haven en route to New York. Centered around the Père Lachaise Cemetery in Paris, where, it so happens, American expats such as rock star Jim Morrison and renowned African-American author Richard Wright are buried among French literary figures and other notables, Forever deals with the ghosts of the past, and the sense of family—“the ones we were born into, the ones we create for ourselves”—and is, Edelstein says, Orlandersmith’s “most powerful piece yet.”

FOREVER BY DAEL ORLANDERSMITH DIRECTED BY NEEL KELLER WORLD PREMIERE STAGE II JANUARY 2-FEBRUARY 1, 2015 PRESS OPENING: WEDNESDAY, JANUARY 7, 2015

Called by the New York Times one of the best comedies of the 2013-14 season in New York, Joshua Harmon’s Bad Jews takes up the theme of legacy where two cousins, one male and one female, battle over a religious necklace, an heirloom that their late grandfather, a survivor of the Holocaust, kept concealed on his person throughout his years of captivity. The jousting between the staunchly Hebraic Daphna and her less observant cousin Liam fuels a play of the comic ties and trials of blood relations. The except on stage at the Long Wharf preview readily attested to the comic potential of Daphna’s belligerence and the hapless niceness of Liam’s non-Jewish girlfriend in the face of such superior attitudes.

BAD JEWS BY JOSHUA HARMON STAGE II FEBRUARY 18-MARCH 22, 2015 PRESS OPENING: WEDNESDAY, FEBRUARY 25, 2015

For the penultimate production of the season, director Eric Ting brings us a play that has its finger on the dismaying news events that continue to surface in the supposedly “post-racial” America of the Obama presidency. Kimber Lee’s brownsville song (b-side for tray) tells of the aftermath, for an interracial family, of the loss of young, engaging and promising Tray. Revealed to us in flashbacks, Tray’s life involves, in the scene enacted for us at the preview, managing a Starbucks where his step-mother, who abandoned Tray and his younger sister to their grandmother’s care, shows up, looking for a job. An “issue play on some level,” Ting said, “at heart it’s about family,” and the role it plays in dealing with tragic events and the hardships of contemporary life.

brownsville song (b-side for tray) BY KIMBER LEE DIRECTED BY ERIC TING CLAIRE TOW STAGE IN THE C. NEWTON SCHENCK III THEATRE A co-production with Philadelphia Theatre Company MARCH 25-APRIL 19, 2015 PRESS OPENING: WEDNESDAY, APRIL 1, 2015

The final play of the season, directed by Edelstein, will be the world premiere of The Second Mrs. Wilson, a play that revisits an interesting historical situation. President Woodrow Wilson’s first wife died while he was in office and he became the first president to woo and wed a woman while president. That would be interesting enough, perhaps, but the situation of the play is more pressing: not long after the wedding, Wilson suffered a stroke and was largely incapacitated. Di Pietro’s play looks at a situation in which a woman, persona non grata to the Cabinet and others trying to run the president’s administration, has to take charge in a man’s world in her husband’s stead as de facto head of the Executive Branch. In the scenes enacted at the preview, we saw Edith Boling Galt, a widow, charm the donnish president Wilson; in the second we watched her take command, delicately but firmly, of a meeting with one of the chiefs of staff. A play about the kinds of tests and resources in life that demand strong resolve, the play is relevant to the changing role of women in American politics.

THE SECOND MRS. WILSON BY JOE DiPIETRO DIRECTED BY GORDON EDELSTEIN CLAIRE TOW STAGE IN THE C. NEWTON SCHENCK III THEATRE WORLD PREMIERE MAY 6-31, 2015 PRESS OPENING: MAY 13, 2015

Subscriptions are already on sale. Single tickets will go on sale Monday, August 4. For more information about the 50th anniversary season, visit www.longwharf.org or call 203-787-4282.

40 Years On: A Preview of Yale Summer Cabaret, 2014

This year marks the 40th anniversary of the Yale Summer Cabaret, a theatrical entity separate from Yale Cabaret (or “term time Cabaret”), which began life in 1974.

In tribute to the four decades of its existence, the current Yale Summer Cabaret, led by Artistic Directors Jessica Holt and Luke Harlan, with Managing Director Gretchen Wright and Associate Managing Director Sooyoung Hwang, will be staging plays by living American authors, beginning with Christopher Durang, who was one of the founding members of the Summer Cabaret 40 years ago. Today, of course, he’s celebrated for plays such as his most recent, the Tony Award-winning “Best Play” of 2013, Vanya and Sonia and Masha and Spike (which Summer Cab wanted to mount this year but Hartford Stage got there first), but, once upon a time, he was a YSD student working in the Summer Cabaret.

The decision to feature contemporary American playwrights follows nicely on last year’s program, which was a kind of syllabus of world theater, from the neoclassicism of Molière through naturalism, symbolism, and ending with the absurdist and pointed work of contemporary British playwright Caryl Churchill. The note reached at the end of last year’s Summer Cab, with Churchill’s Drunk Enough to Say I Love You looking askance at American dominance since WWII, sets up nicely this year’s program of “voices at the forefront of American theater,” works that encapsulate complex perspectives on our cultural heritage, our place in the world, our self-image, and our values, as a nation.

The shows will, like last year, open sequentially and play for about two weeks each. At midsummer, a break will give the company time to reconfigure the space so that, unlike last year, the seating arrangements will not remain fixed for the entire summer but will alter midway. This, Holt and Harlan feel, gives audiences the best of both worlds: the stage-like setup of last year’s Summer Cab, for two shows, and the more amorphous arrangements typical of term-time Cab for the next two shows. Capping off the two months of contemporary full-length plays will be a four-day program of very recent short plays, all by YSD alums, including the three playwrights currently featured at this year’s Carlotta Festival, Hansol Jung, Mary Laws, Kate Tarker.

The Program

First up, in June, is Christopher Durang’s 2009 absurdist comedy Why Torture is Wrong and the People Who Love Them which Holt, who will direct, describes as a “wildly funny, wacky, and zany” comedy about such laughing matters as torture, terrorism, gun violence, domestic dysfunction, male domination, and the fraught nature of interracial or cross-cultural marriage in America. In Holt’s view, the play is “grappling with what it means to be American,” and so, ultimately, fits the Summer program better than Vanya and Sonia and Masha and Spike would have.

We meet Felicity (Ariana Venturi), a young woman who has apparently married the unsettling Zamir (James Custati-Moyer) while drunk, so that she seems to be meeting him when we do, as she has no previous recollection of him. Then, of course, we go home to meet the folks: father (Aaron Bartz) and mother (Maura Hooper), with support from Aubie Merrylees as the seedy Reverend Mike, Celeste Arias as Hildegarde, dad’s “colleague,” and Andrew Burnap providing the cartoonish voice over. The play takes on most of the things the news keeps Americans fretting about, as stories of violence and the threat of violence are as American as television. From 5 June to 15 June

Next, still in June, Luke Harlan will direct Erin Courtney’s A Map of Virtue (2012), a New England premiere. Harlan calls the play a “journey into darkness” that mixes genres—romantic comedy, horror story, mystery, docu-drama—to keep the audience guessing. Narrated by a bird statue, the play tweaks expectations at every turn, but is also structurally symmetrical, with 6 scenes leading to a major event and 6 scenes following that key moment. With a cast of 7, the play mainly focuses on Sarah and Nate, a stranger named Mark and a house in the woods. An “exploration of evil,” the play, Holt says, is also “charming, brilliant, and ebulliently written,” and addresses the effect on relationships of traumatic events. From 19 June to 29 June

After 11 days off, including the 4th of July weekend, the Summer Cabaret returns with Jackie Sibblies Drury’s We Are Proud to Present a Presentation about the Herero of Namibia, formerly known as Southwest Africa, from the German Sudwestafrika, between the Years 1884-1915. Director Jessica Holt calls the play, which played at SoHo Rep in 2012, directed by Eric Ting of the Long Wharf, a “meta-theatrical inquiry into cultural anthropology” as we watch a theatrical troupe in the process of creating a play about the “first genocide of the twentieth century.” Germany, during the inclusive years in the play’s title, controlled what was then called Deutsch-Südwestafrika, which is today the nation of Namibia, and during that time found cause to destroy the Herero tribe. With a ruthless efficiency that seems the prototype for genocide against Jews and Poles in WWII, German soldiers were put in the position of executioners of a native population. But the only record of what took place can be found in the soldiers’ letters home. In Drury’s play, the actors’ difficulties with imagining and inhabiting the roles dictated by the extreme situations—particularly with gaps in knowledge and motivation—leads to obvious analogies to violence against native and slave populations in the U.S. Holt sees the play within the play as an ingenious device to bring the audience into the situation through the comic and seemingly improvised interactions of rehearsal, inviting the audience to consider the implications of their own presence in the room with the actors. From 11 July to 26 July

The final full-length play is Will Eno’s Middletown, the author’s breakthrough play. Eno has been called, by Charles Isherwood, “the Samuel Beckett of the Jon Stewart generation,” and, while I don’t know that many see themselves as defined generationally by watching Stewart, the notion of unsettling existentialism rubbing up against the self-aware ironies of the American media does strike a chord. Eno’s The Realistic Joneses, currently on Broadway, debuted at the Yale Rep in 2012 and was one of the best new plays to show up there in recent memory. Middletown dates from 2010 and is a kind of Our Town for an edgier era. In director Luke Harlan’s view the play asks, as does Our Town for an earlier time, “what does it mean to be alive right now?” Without romanticizing or dismissing everyday lives, but with real “humor and fear,” Harlan says, Eno’s play looks at normal people living normal lives in an “Anytown U.S.A.” but lets them say things no one says aloud. With a cast of 10 actors playing 20 characters, the show will be an opportunity to sample the excellent ensemble work of YSD and Cabaret shows. From 31 July to 10 August

Finally, the Summer Cabaret closes with Summer Shorts, a four-day festival of new short plays by six playwrights “whose work was first nurtured and developed at the Yale School of Drama.” Divided into Series A and Series B, there will be at least three plays in each Series (or evening), and on the last two days, Saturday and Sunday, August 16th and 17th, all the plays will be staged in two sequences, at 4 p.m. and 8 p.m., respectively, both evenings. The line-up of plays will be previewed here during the Summer Cab’s July interim. This part of the program should be very interesting, seeing what can be done in a short compass by playwrights that Holt and Harlan regard as the future of theater. From 14 August to 17 August

The Team

Jessica Holt, rising third year directing candidate, and Luke Harlan, rising second year directing candidate, met at the meet-and-greet last spring when Harlan visited Yale as a prospective YSD student. They hit it off then, with their belief in new plays that had been fostered by their work in, respectively, the San Francisco and New York theater scenes. By the time Harlan was midway through his first year, the two had begun to plan a proposal for the Summer Cabaret, where Holt put in time working last summer. Their mission statement focused on the virtues of new and challenging works that had enjoyed successful and highly regarded first or, at most, second runs.

Very aware that they are presenting the 40th anniversary season of the beloved experiment that is the Summer Cabaret, the Co-Artistic Directors wanted to provide a provocative line-up of plays that tell stories. Both directed plays in last year’s term-time Cabaret: Holt directed Edward Bond’s darkly comic dystopian play Have I None, a U.S. premiere, and Harlan reached back to The Brothers Size, an early play by YSD alum Tarell Alvin McCraney that gave Yale Cabaret 46 a strong finish. Holt’s and Harlan’s choices showed the commitment to current plays and youngish playwrights demonstrated by the Summer Cab line-up.

For their Managing Director, Holt and Harlan asked around “and heard and observed good things” about Gretchen Wright, whose background in choreography may afford participation beyond the key role of keeping the Cabaret running smoothly. As regular patrons of the Summer Cabaret know, the summer is a different animal from the term-time Cabaret, becoming a welcome oasis in a college town whose median age ratchets up considerably in the summer months. Other entertainments of the “afterhours” variety may be added later.

With its first offering, the 40th anniversary Summer Cabaret will touch base with its origins before taking us on a journey that will demonstrate some of the contemporary values of theater—bending genres, looking at the problem of historical enactment, re-imagining the “domestic quotidian,” and demonstrating the resources of short but powerful recent pieces.

The key terms for the 40th Summer Cabaret, devised by Holt and Harlan, are Community. Excellence. Imagination. Innovation. Investigation. Wonder. Providing excellent theater to the New Haven community through innovative works that investigate our ways of life with a sense of imaginative wonder, the Summer Cabaret will up and running in three and a half weeks.

Prepare to be challenged.

The Yale Summer Cabaret 2014 Voices at the Forefront of American Theater

Photographs by Christopher Ash

Passes and single tickets are available online at summercabaret.org, by phone at (203) 432-1567, by email at summer.cabaret@yale.edu, and in person at the Yale Summer Cabaret box office (217 Park Street, New Haven, Connecticut 06511).

Carlotta Festival: New Plays Soon to Open

Carlotta is coming! The annual festival of new plays by the three playwrights graduating from Yale School of Drama—this year, Hansol Jung, Mary Laws, Kate Tarker—opens next week, May 9th and continues till May 16th. The plays are directed by the three graduating directors whose thesis shows were staged earlier this school year: Cole Lewis, who directed Dürrenmatt’s The Visit, directs Jung’s Cardboard Piano, Katherine McGerr, who directed Ibsen’s Hedda Gabler, directs Laws’ Bird Fire Fly, and Dustin Wills, who directed Barrie’s Peter Pan, directs Tarker’s Thunderbodies.

According to Hansol Jung, the plays for this year’s Carlotta began as “Not-Carlotta Plays”—for their final play to be produced as students at YSD, all three playwrights returned, as chance would have it, to plays written in their second year for a workshop with Sarah Ruhl; at the time, none were consciously writing a play for Carlotta, nor felt the plays would eventually become their Carlotta plays. Working on the plays in such close proximity may have had its effect, however, as all three plays are concerned to some degree with war, and each features a soldier amongst its characters.

The inspiration for Jung’s play came from documentaries she had watched about “The Bang Bang Club”—a group of photographers who placed themselves in harms’ way to take hard-hitting photographs of parts of Africa facing war and famine. Jung also points to the viral online video about Joseph Kony and his depredations, involving child soldiers and other crimes against humanity. At the time when Carlotta proposals were due, Jung “had three plays, in various states of draft, on the table.” Director Lewis and dramaturg Whitney Dibo, Co-Artistic Director of Yale Cabaret 46, as well as faculty advisors, were unanimous in seeing Cardboard Piano as the play Jung should go with.

Jung says the play “gravitates toward trauma”; Cardboard Piano begins on New Year’s Eve, 2000, in a cathedral where two teen-aged girls, one the daughter of missionaries, have gone to unite themselves in marriage, only to be interrupted by child soldiers, hiding out. Part two opens, after an intermission, 14 years later as the girls, women now, return to the scene. For Jung, one challenge in writing the play is its strict adherence to “the unities” of time, place, and duration. Each part occurs in one location and in real time, offering “a day in the life” quality that should also resonate, in the second part, as a recognition scene with “super high stakes.” Large in scope and execution, the play retains something of the stagecraft minimalism that Jung prefers.

Jung worked as a director’s assistant in South Korea before coming to the States, where she received an MFA in Directing at Penn State before embarking on play-writing. She has done extensive work with musicals and always finds a place for song in her plays, but none so far have been musicals—though she is working on a musical side project at present. Her play’s title comes from a story told to calm one of the soldiers, and she finds in the image of a fragile, artful thing that can be destroyed but also restored a figure for the effect her play achieves.

Cardboard Piano plays Fri, 5/9; Mon, 5/12; Thurs, 5/15, at 8 p.m. and Wed, 5/14, at 2 p.m.

Mary Laws’ play Bird Fire Fly departs rather notably from the three unities. A short play in three parts, with a cast of three male actors, Bird Fire Fly’s tripartite title indicates the three distinct segments of the play, the 1st, “Bird,” depicting children, the 2nd, “Fire,” young adults, and “Fly,” soldiers.

“The three character names stay the same,” Laws says, though they are not the same people nor played, from section to section, by the same actor. The choice to avoid even the most basic unity of character identity was spurred by Laws’ interest in creating “a larger landscape less about individuals, and in following the arc of an experience.” The play, in her view, depends more on its poetry, its symbols and metaphors, rather than on static characterization. “There’s a contained story in each part, each a piece of the puzzle” that is the question of the whole play.

Of her plays that might have worked for Carlotta, Laws chose the one she wrote in the same workshop with Sarah Ruhl that spawned the other Carlotta plays this year. Laws finds the play well-suited to the Carlotta format, and is excited by her “last chance” at YSD to work with director Katherine McGerr. The violence in the play—Laws says her theme is “crushed innocence”—is necessary because, Laws says, the play treats “things that scare me and provoke questions I might not know how to ask in real life.” The presence of war in our time is one such frightening aspect of modern life, and Laws aims for a cathartic exploration of her theme, which may leave the audience somewhat troubled. Her second-year play, Blueberry Toast, was violent in a more satiric way, and—as directed by Dustin Wills—went for extremes of behavior.

Key to Bird Fire Fly is its tempo and rhythm, in Laws’ view of her work. And to achieve her ends she’s willing to take risks with the conventions. Educated at Baylor in Texas, her home state, Laws was encouraged by generous teachers to write plays and then worked for three years at the Rattlestick Playwrights Theater in New York to hone her craft further. She recently had the experience of seeing an early play of hers worked on in a drama class at Baylor and looks forward to the day when one of her plays will be given a full production in Texas, where theater, she says, is an important part of the local culture.

Bird Fire Fly plays Sat, 5/10, and Wed, 5/14, at 8 p.m., and Tues, 5/13, and Fri, 5/16, at 2 p.m.

Kate Tarker calls her play Thunderbodies “a fun play” and “a little war comedy.” Originating in the same workshop class with her Carlotta colleagues, the play received a reading with professional actors and was viewed by everyone as “clearly my breakthrough play.” The anarchic style of the play was nurtured by the Clown class Tarker took with Christopher Bayes, YSD’s master of extremely energetic comedy. At ninety minutes, Thunderbodies is “an epic one act” consisting of separate scenes that “come together at the end.” The approach is satiric, “topsy-turvy,” with “lots of physical comedy, body talk, and lower body energy.”

The play derives from both physical and intellectual inspirations. Written when, in fall of her 2nd year, she broke her foot, the play was influenced by an experience that, Tarker says, made her much more aware of her body and the physics of doing formerly simple tasks. At the same time she was reading M. M. Bakhtin’s study of Rabelais, in which Bakhtin formulates his ideas of the “carnivalesque” as a subversive force and the “grotesque body” as a means of liberating that force. Reading that work, Tarker says, gave her “more permission to create ravenous characters.” And to set her play in what she calls “the medieval now.”

With her background in visual art, Tarker comes to theater from a somewhat different perspective and says she likes to write about “outsiders looking in.” Her “origin story” as a playwright, she says, occurred when she went to an African chimpanzee sanctuary to work on a visual art project. For half of her time there, the art supplies did not arrive and so she spent a lot of time writing detailed journal entries. The act of writing took her toward other interests, such as the varied arts approach the Interlochen Arts Academy, her high school in Michigan, fostered. In addition to play-writing, while at Yale she directed a play by Phillip Howze at the Cabaret and acted in a show, The Most Beautiful Thing in the World, devised with Gabriel Levey, this past fall.

Thunderbodies plays Sun, May 11, Tues, May 13, and Fri, May 16, at 8 p.m., and Thurs, May 15, at 2 p.m.

This year’s Carlotta plays, while having in common, perhaps, a willingness to address the theme of war to provoke rawer or more visceral emotions from the viewer, take three decidedly different approaches to their themes and offer three unique theatrical experiences. The shows, besides adding to the challenging work of the three graduating directors, feature casts of first and second-year actors, many of whom have been seen in thesis shows or at the Cabaret, such as Celeste Arias, Aaron Bartz, James Cusati-Moyer, Melanie Field, Christopher Geary, Jonathan Majors, Julian Elijah Martinez, Yahya Abdul-Mateen II, Tom Pecinka, Bradley James Tejeda, Shaunette Renée Wilson.

Look forward to interesting offerings this year at the Carlotta Festival of New Plays.

The Carlotta Festival of New Plays Yale School of Drama May 9-May 16, 2014 The Iseman Theater 1156 Chapel Street

[Note: an earlier version of this article erred in the chronology of Kate Tarker's trip to the chimpanzee sanctuary (before college, not after), the location of her high school (Michigan not Colorado), and her studies at Reed (Literature-Theatre, not Visual Arts). Our apologies for any confusion.]

A Challenging Musical Comes to Long Wharf

For James Sampliner, musical director for Jason Robert Brown’s The Last Five Years, which opens previews May 7 at the Long Wharf, directed by Artistic Director Gordon Edelstein, taking on the assignment is “a major milestone.” Sampliner, who will be performing the show eight times a week, conducting from his piano’s keyboard, sees the complicated and varied score as both an immense pleasure and a challenge.

In Sampliner’s view, the show is a test of a musician’s stamina as, among devotees of musical theater, The Last Five Years is known for its demanding piano score. What’s more, the show is a “two-hander,” meaning that there are only two characters on stage throughout, and the entirety of the show consists of the songs each character sings about their relationship. For Cathy (Katie Rose Clarke), the story of her relationship with Jamie (Adam Halpin) is told from their break-up backwards to her first date with him, while for Jamie the sequence follows a chronology of first to last.

The challenges of the show, for a musical director, entail not only the physical task of playing the show each night—which Sampliner views as a good cardiovascular workout—but also reacting sensitively, even intuitively, to the singers/actors as they tell their parallel stories in song. Sampliner has never worked at the Long Wharf before but has worked with Brown on the latter’s Honeymoon in Vegas adaptation, and feels that his grasp of Brown’s music is important to the show’s delicate dynamic.

“Jason’s music is very carefully written,” Sampliner stresses, so that the musical director’s task is not so much interpreting the music as communicating to the other musicians the different emphases of the actors in performance. One begins to see at once what he means by “complicated.”

Drawing on blues, jazz, rock’n’roll, and classical techniques—all the musical forms he and Brown share a love for—the show, Sampliner says, is “one I needed to do.” Rehearsing with Edelstein, Clarke and Halpin, they have been asking lots of questions of the material, finding their unique way of bringing the show to life. “It’s not so much a question of new layers that other productions haven’t discovered, but asking ‘what do you think this is about,’” finding their own answers to the questions that arise.

The play’s structure is “a brilliant idea,” Sampliner finds, with Cathy moving from her lowest point to her highest and Jamie following the opposite trajectory. “They sing together at the middle point between the two extremes,” and each song offers its individual challenges, so that, for Sampliner, it’s not a question of finding the show’s highpoints, as each song has its highpoints and its rewards. “In so many ways,” Sampliner says, “The Last Five Years is Brown’s magnum opus,” the kind of musical that has musical directors “champing at the bit” for a chance to perform it.

When it comes to conducting, Sampliner finds that being able to conduct his ensemble of six players from the keyboard is the kind of skill necessary at a time when theater demands versatility and smaller orchestras. “It’s not uncommon,” he says and rising to the challenge of playing as well as conducting has him very excited by the opportunity to be, as he says, “the bus driver.”

“At the meet-and-greet when rehearsals began, everyone asks one another what they do, and I like to say ‘I’m the bus driver.’” Making sure the show gets where it needs to go and that all parts of this tuneful, challenging, funny, and moving show get there in concert is not unlike the task of steering an unwieldy vehicle to its proper destination, come what may.

Meanwhile, fans of musical theater and of Jason Robert Brown—currently enjoying a hit on Broadway with The Bridges of Madison County, and likened to Stephen Sondheim in his crowd-pleasing grasp of musical theater—should be lining up to take the ride.

The Last Five Years Written and composed by Jason Robert Brown Directed by Gordon Edelstein

The Long Wharf Theatre

May 7-June 1, 2014

Tuesdays and Wednesdays: 7 pm Thursdays, Fridays, Saturdays: 8 pm Wednesdays, Saturdays, Sundays: 2 pm

Shipwrecked! with New Haven Theater Company

Ensconced in their home at the back of the English Markets, the New Haven Theater Company now have the rights—and the right space—for their production of New Haven resident Donald Margulies’ Shipwrecked! An Entertainment: The Amazing Adventures of Louis de Rougemont (As Told By Himself). Margulies, a Pulitzer-winning playwright and a professor at Yale, first debuted the play in 2008, and there was a Long Wharf production that same year. Among the audience of the latter was Peter Chenot, who will be directing the NHTC production, which opens two weeks from today. For Chenot, the show accentuates the idea of the power of the imagination. With all the mechanics of the theater occurring onstage—including the sound effects of Foley art—the audience is not asked to suspend their disbelief in the usual fashion. Everything that Rougemont (Christian Shaboo) tells us, in his fantastic adventures involving, among other things, an attack by a giant octopus, is portrayed for the audience not as if it’s real but as if it’s an elaborate act of storytelling, happening before our very eyes.

Chenot was drawn to the play—which NHTC was initially slated to produce last spring at the Whitney Arts Center before the rights became unavailable—by the kinds of challenges and rewards it presents. It forces the troupe “to be more creative onstage” as well as “adding improv techniques” to their rehearsals—techniques that are part of the background of Chenot’s involvement with the group, as he’s a veteran of The Funny Stages, the improv comedy group that included Shaboo and Erich Greene, also a featured player in Shipwrecked! Also in the show is Margaret Mann, who directed Almost, Maine in the winter and was in the cast of NHTC’s production of Our Town, as was Mallory Pellegrino, also in Shipwrecked! and Almost, Maine. The NHTC regulars are joined by three debuts with the company: Jesse Gabbard, Katelyn Marshall, and Trevor Williams.

NHTC’s work on Our Town is an appropriate reference point, as Margulies himself references Thornton Wilder’s great play in his intro to Shipwrecked! The concept of theater freed of the effort to replicate realism in favor of imaginative flight unites both. As Chenot says, the stagehands are part of the play and seeing Drew Gray’s projections from an old-time magic lantern, or puppets made from found objects in two big steamer trunks onstage lets us know that the show is partly a matter of a willful redirection of reality. That element is significant for the story of Rougemont, a real person of Victorian England whose memoir chronicling his adventures was celebrated in his day, only to find the public turn against him when doubts about the veracity of his tale began to circulate.

Chenot likens Rougemont’s tale to the Odyssey where, famously, Odysseus tells his own “sea story” of strange lands and fantastic creatures. Uniting both is a love of storytelling for its own sake and the ability of a sailor to spin a yarn for the sake of his own skill. “For the players,” Chenot says, “it doesn’t matter if it’s true.” The troupe becomes “a family of believers in Rougemont” who are interested in the value of a good story and not in duping a gullible public.

NHTC is aiming the show for ages 8 and up, and indeed Shipwrecked! is the kind of show that might be said to be aimed at the child in us all, the one who is willing to be awed by reality’s potential to be more than we expect it to be. Is Rougemont a charlatan? Only if he doesn’t deliver the kind of entertainment we expect of the fabulous and incredible.

As Chenot comments, Shaboo, onstage the entire time as Rougemont, has to keep us enthralled and willing to follow his lead. A bit perhaps like the main character in NHTC’s most recent production, The Magician, Rougemont is trying to convince us that magic is what happens in our own minds, and this time all the sleight-of-hand will be right before our eyes.

Shipwrecked! An Entertainment: The Amazing Adventures of Louis De Rougemont (As Told By Himself) By Donald Margulies Directed by Peter Chenot

Showtimes: Thurs, May 1 and Thurs, May 8: 8 pm Fri, May 2 and Fri, May 9: 8 pm Sat, May 3 and Sat, May 10: 5 pm and 8 pm

New Haven Theater Company At The English Building Markets 839 Chapel Street, New Haven

$20, adults; $12, students, children

For tickets and information:new haven theater company