Saturday, July 31, 2004
An Interview with "Red" Director: Robert Kelley
As you might know, "Red" is closing August 8th, and if you haven’t seen it - buy your tickets now, because they are going fast!
We were able to snag some time with director Robert Kelley (who is also, of course Artisic Director for TheatreWorks.).
When asked why "Red" is an important piece of theatre to produce today, Kelley was eager to talk about the cultural, political and artistic reasons to produce this piece of art:
"It's a play about the value of art in society and specifically theater art - the art of the Beijing Opera. It’s a political world in opposition to and devaluing art of all kinds while at the same time trying to harness them...the acknowledgement of the power of arts and then trying to control them. This is a danger in our own country."
Beyond the political story, though, Kelley is interested in the script's ability to tell a powerful human story and show people under incredible pressure. He also mentioned that working again with Francis Jue, who has had much history with TheatreWorks in productions such as "Cabaret" and "Kiss of the Spider Woman", was amazing.
The "Red" script does represent a huge challenge for a director. While many directors might see this play on a blank stage with the variety of different scenes Kelley remarked: "I tended to see it visually...I wanted the set to keep changing, so the production could have a lot of different looks."
Kelly also commented. "I was worried whether I would have enough energy and creativity to work on back to back plays." (Kelley just recently directed Tom Stoppard's "Arcadia".)
Given the challenges and the opportunities, how does Kelley think it all turned out? When asked about the results he remarked finally, "I'm very proud of the production. It came out beautifully...there are very challenging, dark, political themes and very inspiring human themes...the actors are superb, and the design is exceptional."
See it in its remaining 8 days...and don’t miss Kelley's next directing event - "Shakespeare in Hollywood" by Ken Ludwig!
We were able to snag some time with director Robert Kelley (who is also, of course Artisic Director for TheatreWorks.).
When asked why "Red" is an important piece of theatre to produce today, Kelley was eager to talk about the cultural, political and artistic reasons to produce this piece of art:
"It's a play about the value of art in society and specifically theater art - the art of the Beijing Opera. It’s a political world in opposition to and devaluing art of all kinds while at the same time trying to harness them...the acknowledgement of the power of arts and then trying to control them. This is a danger in our own country."
Beyond the political story, though, Kelley is interested in the script's ability to tell a powerful human story and show people under incredible pressure. He also mentioned that working again with Francis Jue, who has had much history with TheatreWorks in productions such as "Cabaret" and "Kiss of the Spider Woman", was amazing.
The "Red" script does represent a huge challenge for a director. While many directors might see this play on a blank stage with the variety of different scenes Kelley remarked: "I tended to see it visually...I wanted the set to keep changing, so the production could have a lot of different looks."
Kelly also commented. "I was worried whether I would have enough energy and creativity to work on back to back plays." (Kelley just recently directed Tom Stoppard's "Arcadia".)
Given the challenges and the opportunities, how does Kelley think it all turned out? When asked about the results he remarked finally, "I'm very proud of the production. It came out beautifully...there are very challenging, dark, political themes and very inspiring human themes...the actors are superb, and the design is exceptional."
See it in its remaining 8 days...and don’t miss Kelley's next directing event - "Shakespeare in Hollywood" by Ken Ludwig!
Friday, July 30, 2004
One More Great "Red" Review
Here's a review I just heard about from the Palo Alto Weekly.
Warning: There is a major plot point spoiler in this. If you haven't seen it, beware.
Now, maybe some folks weren't as surprised by this twist as I was, but on the premise that I'm about the average bear, don't say you weren't warned!
Here it is.
Warning: There is a major plot point spoiler in this. If you haven't seen it, beware.
Now, maybe some folks weren't as surprised by this twist as I was, but on the premise that I'm about the average bear, don't say you weren't warned!
Here it is.
Thursday, July 29, 2004
An Interview with "Red" star Francis Jue
"Red" plays for two more weekends at the Lucie Stern Theatre and stars the critically acclaimed Francis Jue as Beijing Opera Diva, Hua. If you haven't seen this visually and emotionally compelling show yet, click on the link to the left and get your tickets now. To intrigue you even further, be sure to read this entry, an interview with Jue.
We asked Jue about the art and the craft behind "Red". I think you'll find his responses thoughtful, articulate and fascinating:
Q1. Had you any exposure to the movements and style of Beijing Opera before you first performed in "Red"?
A1. My first exposure to Beijing Opera was when I understudied in the Broadway production of M. BUTTERFLY. Jamie Guan, our choreographer for RED, was also the original choreographer of M. BUTTERFLY. So it has been fantastic working with him again, and building on what I'd begun to learn from him way back in 1989. Since then, working on touring and regional productions of M. BUTTERFLY, I have worked with a couple of other Beijing Opera choreographers, but Jamie has been my strongest teacher.
Q2. After such a long run on Broadway, what's it like to be back in the regional world, and for a short run?
A2. I am so grateful to TheatreWorks for bringing me back home to do RED. I'm glad I got to leave THOROUGHLY MODERN MILLIE before it closed. I was emotional enough leaving after over 2 years of doing that show on Broadway, but I would probably have been a sobbing mess if I'd had to close the show after having worked on it from workshops, to its pre-Broadway tryout, to its successful Broadway run. Originating a role in a huge Broadway musical was certainly a dream, and my experience was fantastic. But my commitment to the work is the same, whether it's on Broadway or elsewhere. I have loved working at TheatreWorks, which is one of the most supportive and adventurous environments I've experienced. Doing a long run gave me a great deal of confidence, and has helped me learn faster with the shorter process and performance schedule here.
Q3. You've done some amazing roles in both musicals and straight plays. That's pretty rare. Does it feel the same to you? Do you approach the role the same? Do you prefer one style over the other?
A3. For me, the proverbial "grass is always greener." When I'm doing a musical, I often wish I were doing a play, and vice versa. When I'm doing a drama, I often wish I were doing a comedy, and vice versa. It's not that I get bored, so much as I am endlessly curious about all sorts of theatre, all sorts of roles, all sorts of people. TheatreWorks has given me fantastic opportunities in many different kinds of roles and genres, and I have worked hard to honor the intentions of each script. In many ways, it's the script and the director's vision of the production which guide my approach to each role, since different scripts have such different demands, styles, use of language, etc. I was an English Literature major in college, and so I have a deep respect for text. Script analysis is usually where I begin my process, building upon a show's themes and storyline, figuring out my character's role within that scheme, using the language to help identify physical, emotional, even aural clues to the character. I like all kinds of musicals and plays, from fluffy entertainments to difficult dramas. If I have any preference at all, it is for roles and scripts that allow me to be most human, rather than simply functionary.
Q4. How does the story of "Red" resonate personally with you and your background?
A4. With our production of RED, I want to honor those who suffered during the Cultural Revolution, both the oppressed and the oppressors, honor the idealism and artistry it took to maintain a way of life while dreaming of a better one. I want to understand through the play how we make families and how we deal with the families into which we are born. Like Master Hua, I am in awe of the power of art to transform and elevate, even in the face of destruction and brutality. With this show, I want to celebrate the creative impulse, the instinct to endure, in the face of feckless, violent circumstances. The show doesn't say that ideals are possible. It merely suggests that hope is all we've got.
We asked Jue about the art and the craft behind "Red". I think you'll find his responses thoughtful, articulate and fascinating:
Q1. Had you any exposure to the movements and style of Beijing Opera before you first performed in "Red"?
A1. My first exposure to Beijing Opera was when I understudied in the Broadway production of M. BUTTERFLY. Jamie Guan, our choreographer for RED, was also the original choreographer of M. BUTTERFLY. So it has been fantastic working with him again, and building on what I'd begun to learn from him way back in 1989. Since then, working on touring and regional productions of M. BUTTERFLY, I have worked with a couple of other Beijing Opera choreographers, but Jamie has been my strongest teacher.
Q2. After such a long run on Broadway, what's it like to be back in the regional world, and for a short run?
A2. I am so grateful to TheatreWorks for bringing me back home to do RED. I'm glad I got to leave THOROUGHLY MODERN MILLIE before it closed. I was emotional enough leaving after over 2 years of doing that show on Broadway, but I would probably have been a sobbing mess if I'd had to close the show after having worked on it from workshops, to its pre-Broadway tryout, to its successful Broadway run. Originating a role in a huge Broadway musical was certainly a dream, and my experience was fantastic. But my commitment to the work is the same, whether it's on Broadway or elsewhere. I have loved working at TheatreWorks, which is one of the most supportive and adventurous environments I've experienced. Doing a long run gave me a great deal of confidence, and has helped me learn faster with the shorter process and performance schedule here.
Q3. You've done some amazing roles in both musicals and straight plays. That's pretty rare. Does it feel the same to you? Do you approach the role the same? Do you prefer one style over the other?
A3. For me, the proverbial "grass is always greener." When I'm doing a musical, I often wish I were doing a play, and vice versa. When I'm doing a drama, I often wish I were doing a comedy, and vice versa. It's not that I get bored, so much as I am endlessly curious about all sorts of theatre, all sorts of roles, all sorts of people. TheatreWorks has given me fantastic opportunities in many different kinds of roles and genres, and I have worked hard to honor the intentions of each script. In many ways, it's the script and the director's vision of the production which guide my approach to each role, since different scripts have such different demands, styles, use of language, etc. I was an English Literature major in college, and so I have a deep respect for text. Script analysis is usually where I begin my process, building upon a show's themes and storyline, figuring out my character's role within that scheme, using the language to help identify physical, emotional, even aural clues to the character. I like all kinds of musicals and plays, from fluffy entertainments to difficult dramas. If I have any preference at all, it is for roles and scripts that allow me to be most human, rather than simply functionary.
Q4. How does the story of "Red" resonate personally with you and your background?
A4. With our production of RED, I want to honor those who suffered during the Cultural Revolution, both the oppressed and the oppressors, honor the idealism and artistry it took to maintain a way of life while dreaming of a better one. I want to understand through the play how we make families and how we deal with the families into which we are born. Like Master Hua, I am in awe of the power of art to transform and elevate, even in the face of destruction and brutality. With this show, I want to celebrate the creative impulse, the instinct to endure, in the face of feckless, violent circumstances. The show doesn't say that ideals are possible. It merely suggests that hope is all we've got.
Wednesday, July 28, 2004
TheatreWorks in the News
Today's San Francisco Chronicle carried an item giving its own sneak peek into bringing "A Little Princess" to the stage.
Check it out at the link above.
Check it out at the link above.
London circa 1838; the Different World of "A Little Princess"
"A Little Princess" takes place in London, England and Timbuktu, circa 1838.
Every aspect of a theatre production is impacted by knowing where and when a play takes place. Clearly the costume designers must research an era and locale to determine how the particular characters in a play would dress. The scenic designers do the same, trying to approximate the how the interiors of the day would look.
One could say: well, most people in the audience won't know the difference..why go to the trouble? But it's about more than pleasing the few in the audience who might be experts in a particular historical era. It's also about providing the actors more tools with which to build their characterizations and assist the director and cast in creating another world up on stage.
London 1838 was a very different social setting that our own casual Silicon Valley culture in 2004. Frankly it's even quite different from the London of today, starting with the fact that a major setting is a school for young women. This kind of school was actually a rarity - typically women were only educated so that they could become good wives. Much was said about how women should be conversant only insofar as they could please their husbands with conversation and appreciate exactly how knowledgeable their husbands were.
London society was built on rules. Everything from appropriate dress to how many times a lady should stir her tea had a rule for it (twice if you want to know.) Those who ignored these rules were considered vulgar and lower class. In a cast where most of the young ladies wear jeans and tank tops - there will be a lot to learn...and get used to!
For example, coming back to costumes, from the outside it might not be easy to tell if a woman is actually wearing a corset underneath her period-looking dress. So why bother? It's certainly not the most comfortable thing for an actor to wear through a two-hour show. But that's partly the point. When you wear a corset, it changes your posture, it makes you more aware of your breathing (and certainly makes it clear why women of the era fainted a lot and needed smelling salts!)
The city of Timbuktu is a large part of this production (I won’t tell you how for fear of spoilers) and something to remember is the word "globalization" was not around in 1838. Timbuktu was a crossroads of many trades in Africa but barely known to Europeans and had a mystique to it. Many French and Englishmen had ventured out to see if the rumors of gold were true but almost no one had succeeded.
This look at a society and world no longer familiar to us should be fun to see, and the design staff do their homework to make sure you're seeing a fair representation of it (even if most of us wouldn't know the difference!)
Every aspect of a theatre production is impacted by knowing where and when a play takes place. Clearly the costume designers must research an era and locale to determine how the particular characters in a play would dress. The scenic designers do the same, trying to approximate the how the interiors of the day would look.
One could say: well, most people in the audience won't know the difference..why go to the trouble? But it's about more than pleasing the few in the audience who might be experts in a particular historical era. It's also about providing the actors more tools with which to build their characterizations and assist the director and cast in creating another world up on stage.
London 1838 was a very different social setting that our own casual Silicon Valley culture in 2004. Frankly it's even quite different from the London of today, starting with the fact that a major setting is a school for young women. This kind of school was actually a rarity - typically women were only educated so that they could become good wives. Much was said about how women should be conversant only insofar as they could please their husbands with conversation and appreciate exactly how knowledgeable their husbands were.
London society was built on rules. Everything from appropriate dress to how many times a lady should stir her tea had a rule for it (twice if you want to know.) Those who ignored these rules were considered vulgar and lower class. In a cast where most of the young ladies wear jeans and tank tops - there will be a lot to learn...and get used to!
For example, coming back to costumes, from the outside it might not be easy to tell if a woman is actually wearing a corset underneath her period-looking dress. So why bother? It's certainly not the most comfortable thing for an actor to wear through a two-hour show. But that's partly the point. When you wear a corset, it changes your posture, it makes you more aware of your breathing (and certainly makes it clear why women of the era fainted a lot and needed smelling salts!)
The city of Timbuktu is a large part of this production (I won’t tell you how for fear of spoilers) and something to remember is the word "globalization" was not around in 1838. Timbuktu was a crossroads of many trades in Africa but barely known to Europeans and had a mystique to it. Many French and Englishmen had ventured out to see if the rumors of gold were true but almost no one had succeeded.
This look at a society and world no longer familiar to us should be fun to see, and the design staff do their homework to make sure you're seeing a fair representation of it (even if most of us wouldn't know the difference!)
Monday, July 26, 2004
Behind the Scenes at the "A Little Princess" Design Meeting
Last Tuesday Theatre Works HQ was abuzz, as the staff attended the eagerly anticipated "A Little Princess" Design Presentation meeting.
All of the production team members presented to both the cast and the TheatreWorks staff.
From composer Andrew Lippa ("The Wild Party") to director Susan Schulman, the team was incredibly excited. This production has evolved from being presented by a few people sitting on stools, score laid out in front of them on music stands, to the full blown production that will be opening at TheatreWorks in late August.
Broadway director Susan Schulman ("The Secret Garden") spoke about how dear this musical is to her heart; how it’s about an individual surviving, in a world that urges you not to be an individual.
Choreographer Andy Blankenbuhler reminded the cast that this production isn’t just going to be an emotionally touching story - but a physically challenging experience! The entire cast is on stage for nearly the whole show. Blankenbuhler predicted a strenuous rehearsal and production shedule, and therefore urged all cast members to take better care of themselves than usual and to stay healthy! Sounds obvious, but you'd be surprised at how hard it is.
Stay tuned for a more formal introduction to those involved artistically in "A Little Princess."
All of the production team members presented to both the cast and the TheatreWorks staff.
From composer Andrew Lippa ("The Wild Party") to director Susan Schulman, the team was incredibly excited. This production has evolved from being presented by a few people sitting on stools, score laid out in front of them on music stands, to the full blown production that will be opening at TheatreWorks in late August.
Broadway director Susan Schulman ("The Secret Garden") spoke about how dear this musical is to her heart; how it’s about an individual surviving, in a world that urges you not to be an individual.
Choreographer Andy Blankenbuhler reminded the cast that this production isn’t just going to be an emotionally touching story - but a physically challenging experience! The entire cast is on stage for nearly the whole show. Blankenbuhler predicted a strenuous rehearsal and production shedule, and therefore urged all cast members to take better care of themselves than usual and to stay healthy! Sounds obvious, but you'd be surprised at how hard it is.
Stay tuned for a more formal introduction to those involved artistically in "A Little Princess."
Sunday, July 25, 2004
The Good Reviews for "Red" Keep Coming In
Check out the one from the Mountain View Voice here.
The consensus has been really positive for "Red", and the praise being heaped on Francis Jue's star turn is lavish.
You still have two more weekends in which to see the show, and all of these critics seem to be urging you to make it.
But let me tell you the reaction of my companion the night I saw the Preview, so you can also get the Everyman view.
This companion is a woman in high tech here in the Valley, originally in engineering , now in marketing. Hailing originally from Israel, she has been dealing a lot with Asian clients in her work, including several trips to Asia in the last couple of years. Although someone who generally appreciates the arts, as a 12-hour-day high tech worker and a mother of two, it's not like she gets out to live theatre all that often.
After the show ended, her first comment was "It was beautiful. I loved it."
But her next comment was very interesting. She remarked how the show gives you a perspective on the recent historical context of people who we deal with now as adults, who may have grown up in the time period depicted in the play. It fosters an understanding of their background.
I thought that was an illuminating comment, and one that confirms the power of art to transform reality!
The consensus has been really positive for "Red", and the praise being heaped on Francis Jue's star turn is lavish.
You still have two more weekends in which to see the show, and all of these critics seem to be urging you to make it.
But let me tell you the reaction of my companion the night I saw the Preview, so you can also get the Everyman view.
This companion is a woman in high tech here in the Valley, originally in engineering , now in marketing. Hailing originally from Israel, she has been dealing a lot with Asian clients in her work, including several trips to Asia in the last couple of years. Although someone who generally appreciates the arts, as a 12-hour-day high tech worker and a mother of two, it's not like she gets out to live theatre all that often.
After the show ended, her first comment was "It was beautiful. I loved it."
But her next comment was very interesting. She remarked how the show gives you a perspective on the recent historical context of people who we deal with now as adults, who may have grown up in the time period depicted in the play. It fosters an understanding of their background.
I thought that was an illuminating comment, and one that confirms the power of art to transform reality!
Friday, July 23, 2004
More "Red" Reviews Are In
Here's one from the Examiner. Check it out here.
And here's one from the popular web site: TalkinBroadway.com
If you haven't bought your tickets yet (Box office link is in the left hand side bar...hint...hint) these reviews should convince you!
Although I don't know why MINE wouldn't!
And here's one from the popular web site: TalkinBroadway.com
If you haven't bought your tickets yet (Box office link is in the left hand side bar...hint...hint) these reviews should convince you!
Although I don't know why MINE wouldn't!
Thursday, July 22, 2004
So Who Is the "Revered" Joel Fram?
We threw a lot of sterling adjectives Joel Fram's way in our earlier entry, so we figured we would take a step back and introduce you formally to the Musical Director for "A Little Princess."
It’s not a coincidence that Fram is so good at working with the young ladies that have been in music rehearsal for the last week. He has had a lot of experience working with kids on Broadway in shows such as "The Secret Garden" and "Falsettos."
As Fram himself put it: "For a while there, I felt like I worked with every little boy and girl in show business." Despite having worked with many a professional young performer, Fram has a special respect for our "Little Princesses".
"These girls are a particularly talented lot - they are all very warm, interesting performers, but each girl has a distinct personality, which makes for an intriguing group. They pick up music very quickly, and happily, they seem to grasp the need not just to learn the notes, but to perform them in a very, very specific way."
Fram never patronizes his younger colleagues, simply believing that honest critiques enable good learning and improvements. And the ladies have risen to his challenge, taking each notes without defensiveness or discomfort.
Fram has worked on "A Little Princess" before, but he says "I try not to refer to my old scores - I like to keep my ear open to new thoughts and spur-of-the-moment ideas. If an idea is worth repeating, your ear will hear it again...but your mind is free to come up with better ideas in the moment."
The cast of "Little Princess" is not only getting to work on a world premiere piece, but with a world-class team, including our revered musical director, Joel Fram!
It’s not a coincidence that Fram is so good at working with the young ladies that have been in music rehearsal for the last week. He has had a lot of experience working with kids on Broadway in shows such as "The Secret Garden" and "Falsettos."
As Fram himself put it: "For a while there, I felt like I worked with every little boy and girl in show business." Despite having worked with many a professional young performer, Fram has a special respect for our "Little Princesses".
"These girls are a particularly talented lot - they are all very warm, interesting performers, but each girl has a distinct personality, which makes for an intriguing group. They pick up music very quickly, and happily, they seem to grasp the need not just to learn the notes, but to perform them in a very, very specific way."
Fram never patronizes his younger colleagues, simply believing that honest critiques enable good learning and improvements. And the ladies have risen to his challenge, taking each notes without defensiveness or discomfort.
Fram has worked on "A Little Princess" before, but he says "I try not to refer to my old scores - I like to keep my ear open to new thoughts and spur-of-the-moment ideas. If an idea is worth repeating, your ear will hear it again...but your mind is free to come up with better ideas in the moment."
The cast of "Little Princess" is not only getting to work on a world premiere piece, but with a world-class team, including our revered musical director, Joel Fram!
Wednesday, July 21, 2004
Sneak Preview of "Striking 12"
Do you like to have the inside scoop before everyone else? Probably you do, or you wouldn't be reading this blog. Well, we're about to give you a 6-month head start on knowing about TheatreWorks' December show: "Striking 12."
Oh sure, you could go to the TheatreWorks page on the show found in the link above. There you would learn that "Striking 12" is a "rewired version of 'The Little Match Girl' by Hans Christian Andersen'" featuring the band GrooveLily. This is their third season presenting "Striking 12", and last year it was a big hit at San Diego's Old Globe Theatre. This year they're bringing it to the Lucie Stern in Palo Alto. GrooveLily is a trio comprised of Valerie Vigoda (vocals/violin), Gene Lewin (drums/ vocals) and former local guy Brendan Milburn (piano/vocals.)
But if you want to be even more plugged in than that, you can get a sneak preview of their awesome brand of music in three local gigs in August. Here are the dates/venues:
Thursday, August 5, 2004, 8:30 - 11:30 PM
GORDON BIERSCH (GrooveLily Duo - Brendan & Valerie)
33 E. San Fernando in downtown San Jose
FREE at the door
408-294-6785.
Friday, August 6, 2004; Doors: 7:30 PM. Showtime: 8 PM
FREIGHT & SALVAGE COFFEE HOUSE (GrooveLily Duo - Brendan & Valerie) Opening for Lowen & Navarro
1111 Addison St. in Berkeley
Tickets: $15.50 Advance Purchase, $16.50 At the Door.
510-548-1761
Email: info@freightandsalvage.org.
Saturday, August 7, 2004; 7:30 PM
HALFLAB HOUSE CONCERTS (GrooveLily Duo - Brendan & Valerie)
Santa Clara, CA
Tickets: $15-20 sliding scale, advance purchase.
650-814-4355
Email: concerts@halflab.com.
Advance reservations and payment required. To make a reservation, send email (preferred) or call and leave a message. Halflab will contact you with directions and payment options.
Oh, and for those of you who read all the way to the bottom? Here's some of their tunes you can listen to online:
Live Through This
Apocalyptic Love Song
It's All Right
Oh sure, you could go to the TheatreWorks page on the show found in the link above. There you would learn that "Striking 12" is a "rewired version of 'The Little Match Girl' by Hans Christian Andersen'" featuring the band GrooveLily. This is their third season presenting "Striking 12", and last year it was a big hit at San Diego's Old Globe Theatre. This year they're bringing it to the Lucie Stern in Palo Alto. GrooveLily is a trio comprised of Valerie Vigoda (vocals/violin), Gene Lewin (drums/ vocals) and former local guy Brendan Milburn (piano/vocals.)
But if you want to be even more plugged in than that, you can get a sneak preview of their awesome brand of music in three local gigs in August. Here are the dates/venues:
Thursday, August 5, 2004, 8:30 - 11:30 PM
GORDON BIERSCH (GrooveLily Duo - Brendan & Valerie)
33 E. San Fernando in downtown San Jose
FREE at the door
408-294-6785.
Friday, August 6, 2004; Doors: 7:30 PM. Showtime: 8 PM
FREIGHT & SALVAGE COFFEE HOUSE (GrooveLily Duo - Brendan & Valerie) Opening for Lowen & Navarro
1111 Addison St. in Berkeley
Tickets: $15.50 Advance Purchase, $16.50 At the Door.
510-548-1761
Email: info@freightandsalvage.org.
Saturday, August 7, 2004; 7:30 PM
HALFLAB HOUSE CONCERTS (GrooveLily Duo - Brendan & Valerie)
Santa Clara, CA
Tickets: $15-20 sliding scale, advance purchase.
650-814-4355
Email: concerts@halflab.com.
Advance reservations and payment required. To make a reservation, send email (preferred) or call and leave a message. Halflab will contact you with directions and payment options.
Oh, and for those of you who read all the way to the bottom? Here's some of their tunes you can listen to online:
Live Through This
Apocalyptic Love Song
It's All Right
Tuesday, July 20, 2004
Another Peek: The Ladies in "A Little Princess"
"A Little Princess" includes many roles for the young girls who play Sara Crewe's classmates. If you walked into music rehearsal a few days ago, however, you might easily mistake these young ladies as professional adult actors.
Given away only by the occasional tell-tale exchange of stickers, these ladies keep their excitement quietly to themselves and are focused in a way that most teachers can only wish their students might be.
When asked if there were any guidelines set down for rehearsal, we learned that Musical Director Joel Fram is "a compelling presence; he expects his associates to be as quick on the uptake as he is, and because he is charismatic and extraordinarily talented, he tends to get the results he wants."
These actors are definitely doing all they can to keep up with Fram- some of the girls tape-record the rehearsal, and all of them take notes to make sure they don’t disappoint the revered music director. The next time they run a number, they are doing their best to get the notes or the phrasing just the way Fram asked for.
Of course there is the incredible pride in working on a world premiere. Cast member Linsday Faye remarked "we're all tremendously excited because the material is so good. It's one thing to work on a new show you feel iffy about, one that has structural problems or musical problems...but this show is just so absurdly good. It's ridiculous, really. We love it."
I'm kind of admiring her vocabulary myself! Perfect for a young lady at an exclusive private school like the one in "A Little Princess."
Given away only by the occasional tell-tale exchange of stickers, these ladies keep their excitement quietly to themselves and are focused in a way that most teachers can only wish their students might be.
When asked if there were any guidelines set down for rehearsal, we learned that Musical Director Joel Fram is "a compelling presence; he expects his associates to be as quick on the uptake as he is, and because he is charismatic and extraordinarily talented, he tends to get the results he wants."
These actors are definitely doing all they can to keep up with Fram- some of the girls tape-record the rehearsal, and all of them take notes to make sure they don’t disappoint the revered music director. The next time they run a number, they are doing their best to get the notes or the phrasing just the way Fram asked for.
Of course there is the incredible pride in working on a world premiere. Cast member Linsday Faye remarked "we're all tremendously excited because the material is so good. It's one thing to work on a new show you feel iffy about, one that has structural problems or musical problems...but this show is just so absurdly good. It's ridiculous, really. We love it."
I'm kind of admiring her vocabulary myself! Perfect for a young lady at an exclusive private school like the one in "A Little Princess."
Monday, July 19, 2004
"Red" Opens, Capturing the Critics' Imaginations
"Red" opened Saturday night.
I was raised on movie scenes of shows opening, and casts/directors waiting up into the wee hours of the morning to read the reviews. If that was ever the reality, it's not anymore, or maybe just not here.
While it would have been nice to get the reviews into the most widely-read paper of the week, the Sunday edition, they came out today. Both the Merc and the Chronicle give "Red" very positive reviews, commenting on its sweeping themes, its grand performances and its intriguing plot construction.
Spoiler Alert:
Like most reviews, these do mention plot points. If you like to be completely surprised by plot twists, then I would wait to read the reviews until after you see the show. the you can see if you agree with the critics!
The San Jose Mercury review
The San Francisco Chronicle review
I was raised on movie scenes of shows opening, and casts/directors waiting up into the wee hours of the morning to read the reviews. If that was ever the reality, it's not anymore, or maybe just not here.
While it would have been nice to get the reviews into the most widely-read paper of the week, the Sunday edition, they came out today. Both the Merc and the Chronicle give "Red" very positive reviews, commenting on its sweeping themes, its grand performances and its intriguing plot construction.
Spoiler Alert:
Like most reviews, these do mention plot points. If you like to be completely surprised by plot twists, then I would wait to read the reviews until after you see the show. the you can see if you agree with the critics!
The San Jose Mercury review
The San Francisco Chronicle review
Sunday, July 18, 2004
Don't Forget Tonight's $10 Offer
The show is open, and reviews (other than mine) should soon start pouring in.
And that is when tickets get harder to come by.
So don't miss out on tonight's special offer of $10 seats for the 7PM show.
Buy them online at TicketWeb or print the offer and bring to the Lucie Stern box office.
TicketWeb.com
And that is when tickets get harder to come by.
So don't miss out on tonight's special offer of $10 seats for the 7PM show.
Buy them online at TicketWeb or print the offer and bring to the Lucie Stern box office.
TicketWeb.com
Don't Miss This SJ Mercury Feature on TWorks
If you didn't see it, The Merc had a great feature on TheatreWorks and Kelley yesterday.
This, after all TheatreWorks' 35th year in business, quite an achievement.
Here it is: The SJ Mercury Article
I just thought I'd share my earliest memory of TheatreWorks. I went on the TheatreWorks site to figure out what year this was. (They have a listing of every season dating back to the beginning here.)
So back in 1978 my parents had these friends whose son had written the incidental music for this wacky production of Shakespeare's "Twelfth Night" in Palo Alto. I think at that time TheatreWorks may have been performing in the City Council chambers!
I recall this long stage with seats on each side, and I think we might have been sitting on the floor, although I'm not sure. To be honest my primary memory is that they had this big inflated beach-bally-type set piece on stage. And when Olivia was going on in one of her speeches about her lust for Viola she was leaning up against the ball at least for part of it.
Granted this was 26 years ago, so my memory may be a little off.
I do remember it all felt very modern; very avant-garde. And I don't think that was only to me, a little 13 or 14 year old, but also to my parents.
Anyway, feel free to share your earliest memory of a TheatreWorks production. I'm sure some of you have a much better memory than I do.
This, after all TheatreWorks' 35th year in business, quite an achievement.
Here it is: The SJ Mercury Article
I just thought I'd share my earliest memory of TheatreWorks. I went on the TheatreWorks site to figure out what year this was. (They have a listing of every season dating back to the beginning here.)
So back in 1978 my parents had these friends whose son had written the incidental music for this wacky production of Shakespeare's "Twelfth Night" in Palo Alto. I think at that time TheatreWorks may have been performing in the City Council chambers!
I recall this long stage with seats on each side, and I think we might have been sitting on the floor, although I'm not sure. To be honest my primary memory is that they had this big inflated beach-bally-type set piece on stage. And when Olivia was going on in one of her speeches about her lust for Viola she was leaning up against the ball at least for part of it.
Granted this was 26 years ago, so my memory may be a little off.
I do remember it all felt very modern; very avant-garde. And I don't think that was only to me, a little 13 or 14 year old, but also to my parents.
Anyway, feel free to share your earliest memory of a TheatreWorks production. I'm sure some of you have a much better memory than I do.
Friday, July 16, 2004
Another Sneak Peek
TheatreWorks is soon to mount their biggest production ever, the world premiere of a new musical version of "The Little Princess".
Technical design work is already underway, the props people are pondering parasols.
There will be many highly decorative handheld parasols, large and small. It's a little early to be sure, but parasols could be a useful symbol in the production, as they were traditionally a sign of royalty in Africa. If you owned a parasol- you could always make your own shade in the hot sun.
When talking with Caela Fujii about the design of these parasols she said that that the main two designs would be parasols in African patterns and Colonial patterns, and that they will be used for a dance number in the production. Fujii will have quite a lot of freedom picking colors and designs, as she has noted that the set does not have many colors that stand out and are difficult to meld with.
So, to give you an idea, here's a couple of pics of potential parasols being considered:
Technical design work is already underway, the props people are pondering parasols.
There will be many highly decorative handheld parasols, large and small. It's a little early to be sure, but parasols could be a useful symbol in the production, as they were traditionally a sign of royalty in Africa. If you owned a parasol- you could always make your own shade in the hot sun.
When talking with Caela Fujii about the design of these parasols she said that that the main two designs would be parasols in African patterns and Colonial patterns, and that they will be used for a dance number in the production. Fujii will have quite a lot of freedom picking colors and designs, as she has noted that the set does not have many colors that stand out and are difficult to meld with.
So, to give you an idea, here's a couple of pics of potential parasols being considered:
Thursday, July 15, 2004
My "Red" Review
I've had more time for my impressions of "Red" to sink in, but I also realize that not everyone want to see a detailed review before they go see something. So as a compromise, I have posted a review in my personal blog, and you are free to click on the link to read the entire review.
Elisa's Personal Review of "Red"
Now if you'd like just a teaser, here are a couple of excerpts from the review:
"The set and lighting combine to help the stage resemble something once beautiful, but long forgotten."
"There's an art to withholding enough to keep people intrigued, but revealing enough to keep them satisfied. Yew has mastered that particular art."
"Somehow I wasn't expecting to laugh, but I did...often."
"Truly a wonderful performance."
Check it out.
See the show.
Post your comments here.
Elisa's Personal Review of "Red"
Now if you'd like just a teaser, here are a couple of excerpts from the review:
"The set and lighting combine to help the stage resemble something once beautiful, but long forgotten."
"There's an art to withholding enough to keep people intrigued, but revealing enough to keep them satisfied. Yew has mastered that particular art."
"Somehow I wasn't expecting to laugh, but I did...often."
"Truly a wonderful performance."
Check it out.
See the show.
Post your comments here.
Wednesday, July 14, 2004
Great, Big Audience at Tonight's Preview
Just got home from seeing the preview of "Red."
I need a little more think-time before writing all of my impressions of the show (first impression, in case you're really impatient: really good. Really rich with unexpected humor and some stand-out, I mean first-rate performance. And it was SO cool to see all of the technical aspects come together as we've been describing them separately in this blog.)
Anyway, I did want to say the house was pretty close to completely full, so I hope a lot of blog readers took advantage of the $10 offer.
If you didn't, get moving on buying your tickets for Sunday's $10 performance (the 7Pm show.) If tonight was any indication it is going to be well-sold.
I need a little more think-time before writing all of my impressions of the show (first impression, in case you're really impatient: really good. Really rich with unexpected humor and some stand-out, I mean first-rate performance. And it was SO cool to see all of the technical aspects come together as we've been describing them separately in this blog.)
Anyway, I did want to say the house was pretty close to completely full, so I hope a lot of blog readers took advantage of the $10 offer.
If you didn't, get moving on buying your tickets for Sunday's $10 performance (the 7Pm show.) If tonight was any indication it is going to be well-sold.
$10 Ticket Offer Also Extended For Sunday Evening's Performance
Great news!
Tonight's preview is still available for $10, but now so is the Sunday at 7PM performance.
Same drill as the last offer. Buy them online at TicketWeb or print the offer and bring to the Lucie Stern box office.
TicketWeb.com
Make sure any of your friends who love theatre but sometimes don't love the price are aware of these great offers!
Tonight's preview is still available for $10, but now so is the Sunday at 7PM performance.
Same drill as the last offer. Buy them online at TicketWeb or print the offer and bring to the Lucie Stern box office.
TicketWeb.com
Make sure any of your friends who love theatre but sometimes don't love the price are aware of these great offers!
Another Peek at the Visual Splendor of "Red"
We've talked to the scenic designer, the lighting designer, the costume designer...and in those stories we relied on words to help you imagine what you'll be seeing on stage.
But, as they say, a picture is worth...etc. etc., so let's not talk about the intricate make-up design required to recreate the Beijing Opera, let's show you:
Here's a before shot: (That's costume designer, Jill Bowers, by the way.)
And here's the after:
But, as they say, a picture is worth...etc. etc., so let's not talk about the intricate make-up design required to recreate the Beijing Opera, let's show you:
Here's a before shot: (That's costume designer, Jill Bowers, by the way.)
And here's the after:
Monday, July 12, 2004
NEWS FLASH!!! COME SEE THIS WEDNESDAY'S PREVIEW OF "RED" FOR $10!!
This is great news. They just released this last minute offer for Wednesday evening's Preview of "Red."
There are two ways to purchase $10 tickets:
Order online at
TicketWeb.com
(It's the first performance on the list.)
Print out this offer and bring to the Lucie Stern box office before the show.
Seating is General Admission, and this offer is subject to availability.
And you can feel perfectly free to pass this offer along to your friends/fellow theatre buffs.
Actually, I'm going that evening myself, so I'm sure I'll blog about it the next day...and expect at least some of you to comment on what you saw!
There are two ways to purchase $10 tickets:
Order online at
TicketWeb.com
(It's the first performance on the list.)
Print out this offer and bring to the Lucie Stern box office before the show.
Seating is General Admission, and this offer is subject to availability.
And you can feel perfectly free to pass this offer along to your friends/fellow theatre buffs.
Actually, I'm going that evening myself, so I'm sure I'll blog about it the next day...and expect at least some of you to comment on what you saw!
One down...
Just a brief note: Saw season opener "Arcadia" this weekend (it closed Sunday.)
Tom Stoppard is a modern-day Shakespeare. His language is so complex and rich. The play skips from mathematics to physics to poetry and literature to affairs of the heart in quite nimble fashion. It's very rare that a play ends, and I immediately want to go read it. But this was one of those occasions. I wanted to experience the dialog again.
I went with my step-dad who builds set for the high school where he used to teach. He was incredibly jealous of the high quality production values. There are lots of scenes with doors opening and closing, and sometimes quite forcefully. He especially oohed and ahhhed over how the walls around those doors didn't shake after each slam!
So, let's see...a tough and brilliant work, tackled with high quality? Sounds like TheatreWorks!
Tom Stoppard is a modern-day Shakespeare. His language is so complex and rich. The play skips from mathematics to physics to poetry and literature to affairs of the heart in quite nimble fashion. It's very rare that a play ends, and I immediately want to go read it. But this was one of those occasions. I wanted to experience the dialog again.
I went with my step-dad who builds set for the high school where he used to teach. He was incredibly jealous of the high quality production values. There are lots of scenes with doors opening and closing, and sometimes quite forcefully. He especially oohed and ahhhed over how the walls around those doors didn't shake after each slam!
So, let's see...a tough and brilliant work, tackled with high quality? Sounds like TheatreWorks!
Saturday, July 10, 2004
Lighting It Up
More in our continuing series on what goes on behind the scenes to put a show together:
Each of the "Red" designers has agreed on two things:
1. Compromise is a huge part of being a successful designer
and
2. The set design is the first component to consider in a production’s overall blueprint
Meet lighting designer, Steve Mannshardts:
"Think of the set design as a canvas and the lighting design as the paint. The set designer gives me a shape, texture and base color and I add many things to the visual look to create more imagery."
I guess when you thrown in costumes & make-up, you're talking about muti-media art!
So, where does compromise come in? When you're reconciling artistic vision with physical reality.
Here's an example to look for when you see "Red."
Upstage you will see what we're calling the "opera box." It's literally an enclosed box with only the fourth-wall open to the audience, a "theatre" up on stage. Set designer Ching -Yi Wei envisioned this theatre to be lit, just as the actual theatre, with beautiful colors and textures.
But how would the light get in to this closed space? If you look around the Lucie Stern theatre you will see lights everywhere, but this "opera box" has only the one side open to access that light. Ultimately, to light this box as desired, there will need to be secret openings in the box to allow light in. The challenge is to maintain the impression of a closed box, yet have it lit with beautiful colors.
Yes, this presents Mannshardt with a challenge, but also the opportunity to really tap into his most creative impulses. And how are those creative impulses coming along? Well, in his own words:
"Imagine me, at this point in time, as a painter, standing in front of a blank canvas. I am laying out my work table with the various tubes of paint and brushes that I intend to use as I create these pictures. Right now, there are hundreds of images flashing through my mind that I want to create onstage. Only after ten days of technical rehearsals when I am painting, carving and sculpting with light, will I be able to answer that one. And that night, of course, would be opening night."
Each of the "Red" designers has agreed on two things:
1. Compromise is a huge part of being a successful designer
and
2. The set design is the first component to consider in a production’s overall blueprint
Meet lighting designer, Steve Mannshardts:
"Think of the set design as a canvas and the lighting design as the paint. The set designer gives me a shape, texture and base color and I add many things to the visual look to create more imagery."
I guess when you thrown in costumes & make-up, you're talking about muti-media art!
So, where does compromise come in? When you're reconciling artistic vision with physical reality.
Here's an example to look for when you see "Red."
Upstage you will see what we're calling the "opera box." It's literally an enclosed box with only the fourth-wall open to the audience, a "theatre" up on stage. Set designer Ching -Yi Wei envisioned this theatre to be lit, just as the actual theatre, with beautiful colors and textures.
But how would the light get in to this closed space? If you look around the Lucie Stern theatre you will see lights everywhere, but this "opera box" has only the one side open to access that light. Ultimately, to light this box as desired, there will need to be secret openings in the box to allow light in. The challenge is to maintain the impression of a closed box, yet have it lit with beautiful colors.
Yes, this presents Mannshardt with a challenge, but also the opportunity to really tap into his most creative impulses. And how are those creative impulses coming along? Well, in his own words:
"Imagine me, at this point in time, as a painter, standing in front of a blank canvas. I am laying out my work table with the various tubes of paint and brushes that I intend to use as I create these pictures. Right now, there are hundreds of images flashing through my mind that I want to create onstage. Only after ten days of technical rehearsals when I am painting, carving and sculpting with light, will I be able to answer that one. And that night, of course, would be opening night."
A "Little" Sneak Peek
TheatreWorks is presenting a World Premiere later this season.
Even the grandest events start with a few small steps, and here's the very birth of the show's scenic design in the shop:
We'll show you more as the bits & pieces come together for what promises to be a lavish and lovely production!
Even the grandest events start with a few small steps, and here's the very birth of the show's scenic design in the shop:
We'll show you more as the bits & pieces come together for what promises to be a lavish and lovely production!
Thursday, July 08, 2004
Take a Walk on the Technical Side
"Red" covers a lot of ground, and a lot of time. Considering that, one might imagine the set of "Red" as a blank stage with different set pieces flying or rolling in to represent the many different locales within the play.
Theatre Works, however, has gone in a completely different and creative direction. When asked about her vision for her set design, Ching- Yi Wei said she wanted to "bring the viewers to the world in Sonja's mind instead of the real locales." (Sounds like Jill and the costume design process too!)
Last week the three primary actors were brought into the shop to see what would happen when this vision met reality. "Red" is a very physical play, and the actors needed to test if they could move among the faux rocks that the shop had finished. It’s a good thing that the actors scheduled this into rehearsal because some of these rocks were judged a little too slippery to jump upon and the shop is working on roughening them up. The devil is in the details.
Besides these rocks, there is also a big, red, raised box in the center of the stage. Wei commented that she wanted this box "in the center of the scrim wall to indicate the importance of this place in Sonja's heart. The color on the scrim is gold and patina. I want to create the nostalgic feeling by the combination of these color and the material itself. So the red box is like a precious jewel in her mind…”
The scenic painting and construction taking shape in the shop are already quite breathtaking. Come check out "Red" which begins previews July 14th.
Remember the link to the box office is in the left hand bar of this blog.
Theatre Works, however, has gone in a completely different and creative direction. When asked about her vision for her set design, Ching- Yi Wei said she wanted to "bring the viewers to the world in Sonja's mind instead of the real locales." (Sounds like Jill and the costume design process too!)
Last week the three primary actors were brought into the shop to see what would happen when this vision met reality. "Red" is a very physical play, and the actors needed to test if they could move among the faux rocks that the shop had finished. It’s a good thing that the actors scheduled this into rehearsal because some of these rocks were judged a little too slippery to jump upon and the shop is working on roughening them up. The devil is in the details.
Besides these rocks, there is also a big, red, raised box in the center of the stage. Wei commented that she wanted this box "in the center of the scrim wall to indicate the importance of this place in Sonja's heart. The color on the scrim is gold and patina. I want to create the nostalgic feeling by the combination of these color and the material itself. So the red box is like a precious jewel in her mind…”
The scenic painting and construction taking shape in the shop are already quite breathtaking. Come check out "Red" which begins previews July 14th.
Remember the link to the box office is in the left hand bar of this blog.
Tuesday, July 06, 2004
Keeping It Authentic...Meet Jill Bowers, Costume Designer
If you were to see two productions of Shakespeare’s Romeo and Juliet you might find that the two Mercutios donned entirely different styles of clothing - yet you would still easily recognize each of them as the braggart Mercutio. The sartorial style of even traditional opera has been played with of late, as anyone who saw Baz Luhrmann's "La Boheme" can tell you.
But such a concept - changing the time or locale and particularly the costumes - is non-existent within the Chinese Opera. Each costume within the Chinese Opera is specifically associated with a single character and every time you see that character on stage they would look exactly the same. (It's similar to the commedia dell arte tradition where characters such as Harlequin, Pierrot and Pantalones always looked and behaved the same way.)
This historic tradition presented both challenges and opportunities for "Red" costume designer, Jill Bowers.
Take the traditional opera costume which the character Hua will wear in "Red." It is authentic, just one of the pieces rented to achieve an accurate depiction of the Chinese Opera. The head dress that accompanies this gown weighs around five pounds, which may not seem like a lot, until you find out that the actor must dance in this costume. (Remember the earlier post about rigorous physicality?)
This production also features realistic Red Guard uniforms. Actual characters wear these, but stagehands will also be wearing variations of such uniforms. Bowers and director Robert Kelley agreed that the stagehands should at times be "invisible" while handling props and set pieces, but will sometimes become part of the action on stage.
Bowers stated that many things influenced her on this design- she used books, information from other productions of "Red", and aspects of other designs. For example after seeing the set design, Bowers honed her color choices. The red background of the set is a strong choice and dictated what colors would help a character "pop out" against the background and what colors would help them blend.
Designers look at their design issues from many different angles, and Bowers is no exception. When in a quandary about a costume choice, Bowers "thought about how the costume would look in Sonja’s mind". (Sonja being the modern-day Chinese-American novelist protagonist, of course!)
When production designers have done their job, the audience may not even be aware of the amount of research, thought and imagination that goes into their design. But now you may have just a small inkling.
But such a concept - changing the time or locale and particularly the costumes - is non-existent within the Chinese Opera. Each costume within the Chinese Opera is specifically associated with a single character and every time you see that character on stage they would look exactly the same. (It's similar to the commedia dell arte tradition where characters such as Harlequin, Pierrot and Pantalones always looked and behaved the same way.)
This historic tradition presented both challenges and opportunities for "Red" costume designer, Jill Bowers.
Take the traditional opera costume which the character Hua will wear in "Red." It is authentic, just one of the pieces rented to achieve an accurate depiction of the Chinese Opera. The head dress that accompanies this gown weighs around five pounds, which may not seem like a lot, until you find out that the actor must dance in this costume. (Remember the earlier post about rigorous physicality?)
This production also features realistic Red Guard uniforms. Actual characters wear these, but stagehands will also be wearing variations of such uniforms. Bowers and director Robert Kelley agreed that the stagehands should at times be "invisible" while handling props and set pieces, but will sometimes become part of the action on stage.
Bowers stated that many things influenced her on this design- she used books, information from other productions of "Red", and aspects of other designs. For example after seeing the set design, Bowers honed her color choices. The red background of the set is a strong choice and dictated what colors would help a character "pop out" against the background and what colors would help them blend.
Designers look at their design issues from many different angles, and Bowers is no exception. When in a quandary about a costume choice, Bowers "thought about how the costume would look in Sonja’s mind". (Sonja being the modern-day Chinese-American novelist protagonist, of course!)
When production designers have done their job, the audience may not even be aware of the amount of research, thought and imagination that goes into their design. But now you may have just a small inkling.
Friday, July 02, 2004
Getting a Workout Doing "Red"
The physical rigors involved in rehearsing "Red" are substantial.
When you hear "opera" you might not be thinking of a lot of physical activity, especially if you're most familiar with such opera stars as Pavoratti (who hardly looks like he's ready for a work-out.)
But the "Beijing Opera" is a different story. The genre involves lots of movement and dance.
To achieve authenticity, TheatreWorks has brought Jamie Guan, a former member of the revolutionary opera in China, to work with the cast on the dance sequences. Jamie is ably assisted by his son, Nick.
Each dance sequence takes both flexibility and coordination...and an ability to manage a pole. A five foot long bamboo pole, that is. And a pole that is an integral part of the choreography. And sometimes is used to punctuate the starts and stops of dance sequences. Overall, the poles enhance the graceful nature of the dances, but the learning process can be somewhat less than graceful, and can be frustrating. Poles have been dropped, and cast members sometimes have to dodge getting hit with someone else's pole.
But when it all works, and the cast is concentrating and in synch, the poles add a beautiful fierceness to the dance.
The poles aren't the only difficult aspect of learning this new art form. When asked what was most difficult, Rinabeth, understudy for the role of Ling, said, “picking up the details, a sudden flick of the hand or the subtle position of the fingers is what makes it so interesting…and Jamie is so graceful and good at it.”
Returning the compliment, Jamie and Nick say that the cast "is doing exceptionally well considering all of the stances are new."
But they add, "sometimes they are also afraid of the poles."
I know I would be!
When you hear "opera" you might not be thinking of a lot of physical activity, especially if you're most familiar with such opera stars as Pavoratti (who hardly looks like he's ready for a work-out.)
But the "Beijing Opera" is a different story. The genre involves lots of movement and dance.
To achieve authenticity, TheatreWorks has brought Jamie Guan, a former member of the revolutionary opera in China, to work with the cast on the dance sequences. Jamie is ably assisted by his son, Nick.
Each dance sequence takes both flexibility and coordination...and an ability to manage a pole. A five foot long bamboo pole, that is. And a pole that is an integral part of the choreography. And sometimes is used to punctuate the starts and stops of dance sequences. Overall, the poles enhance the graceful nature of the dances, but the learning process can be somewhat less than graceful, and can be frustrating. Poles have been dropped, and cast members sometimes have to dodge getting hit with someone else's pole.
But when it all works, and the cast is concentrating and in synch, the poles add a beautiful fierceness to the dance.
The poles aren't the only difficult aspect of learning this new art form. When asked what was most difficult, Rinabeth, understudy for the role of Ling, said, “picking up the details, a sudden flick of the hand or the subtle position of the fingers is what makes it so interesting…and Jamie is so graceful and good at it.”
Returning the compliment, Jamie and Nick say that the cast "is doing exceptionally well considering all of the stances are new."
But they add, "sometimes they are also afraid of the poles."
I know I would be!
