Villanova Theatre Talk

2012-01-18T12:19:00.012-05:00

Hi, friends!

Emily again, this time writing about Villanova Theatre's upcoming production of MUSEUM! MUSEUM, which is written by one of America's most inventive female playwrights, Tina Howe, is directed by Joanna Rotté, one of Villanova Theatre's most experienced faculty members. Joanna was taught by legendary acting teacher, Stella Adler, so it's pretty cool to be learning from and directed by someone with so much knowledge!

What's really crazy about MUSEUM is that it features 42 (yes, 42!) actors that range in age all the way from 18-72 years old. Our first read through was such a joy ride--it was so neat to come together and actually hear the silly antics and moving moments all the characters go through. As we read, and at subsequent rehearsals since, Joanna was sure to remind us that our characters are real people experiencing art. "Don't play the comedy; it's about the art," she keeps telling us. That piece of direction is really helpful for me--when the actors are staying true to reality and actually understand their characters, the comedy definitely comes out! Without forcing it, each and every actor is able to bring some kind of comic intent to the play. But behind the comedy lie some really poignant ideas.

Another fun fact (maybe the MOST fun fact!) about our production is that the art in the show's exhibit is being created by actual artists. Pretty cool, huh? Joanna and the production team found real artists who fit the playwright's description of the artists in MUSEUM perfectly. There's Villanova Theatre Prop Master (and painter/sculptor) Ward Van Haute, who is "playing" the Steve Williams character. Ward (and Williams) created hanging soft sculptures that intrigue and delight several of the characters on stage. Lawrence Anastasi is Zachary Moe (well, and his father, "Mr. Moe"... you'll see what I mean when you see the show)--he has created some abstract white paintings that are visited by some very special people. Finally, there's Heather McLaughlin, who is Agnes Vaag. Heather is in the process of creating seven found-object sculptures for the exhibit. My character, Tink, is especially interested in Agnes' artwork--something pretty neat happens when I'm checking out her sculptures, so you'll just have to see the show to find out exactly what it is! All of the artists will appear in the show each night--so it'll be especially fun for the audience to look for them every night!

The best part about this show is the sense of community we're fostering among the cast, crew, production team and the artists. With over 50 people involved, that can be pretty hard to do! But I truly feel that everyone's understanding of the process and respect for the art is helping to foster a great sense of togetherness. I can't wait to see what this week of rehearsal brings! I'll be sure to keep you updated with awesome revelations and the fun and moving moments we encounter.

Talk to you soon!

Photo by Jen Jaynes

Emily

P.S. Want tickets to the MUSEUM? Go online or call 610-519-7474. They're going fast, so get to it! :)

An "outsider's" perspective.

2011-11-07T11:57:00.002-05:00

Hi, everyone! My name is Emily and I run the light board for WOMAN AND SCARECROW.

This past weekend was "tech" for the show -- where all the costumes, lights, sound and props were layered into the work that the actors had been perfecting for the past few weeks. This weekend was the first time I was exposed to WOMAN AND SCARECROW and, let me tell you, I was seriously blown away.

The level of intensity at which the actors work is incredible. Felicia (Woman) and Jessica (Scarecrow) possess such beautiful and magnetic energy that captivated me from the very beginning of the show. Their connection is palpable. Felicia's commitment to her character brought tears to my eyes. Jessica's characterization and absolutely chilling portrayal of Scarecrow is fierce. Their relationship drives the show.

The support that Ahren (Him) and Lizzy (Auntie Ah) bring to the performance is equal parts refreshing and heart-wrenching. The way each character relates to Woman sheds light on haunting moments in her past. Ahren's ability to weave his inherent charm into Him gives his seemingly spiteful character a softer, more vulnerable edge. Lizzy's unique vocal qualities allow her to mold Auntie Ah's words into a striking melody that can, in one instance, both comfort and sting.

Never before have I been so awe struck by a play. The show offers so much to its audience -- humor, intensity, artistry and compassion. Each of the technical elements of the show combine to make the production a real "must-see." The student designers (Vandy Scoates/Set and Valerie Cavooris/Costumes) should be extremely proud of their amazing artistic work. Congratulations to Fr. David for creating such a gorgeously haunting production!

Please don't miss WOMAN AND SCARECROW (it's the Philadelphia premiere of the show -- how cool!) Thank you to everyone involved for creating such a brilliant and stunning piece of theatre!

-Emily

Light board operator

"Intensity and passion"

2011-11-02T10:40:00.002-04:00

Hello all, Lizzy (Auntie Ah) here...

Initially, I read my character "Auntie Ah" as a strict, God-fearing Catholic Aunt. But as rehearsals began, I started to see her in a new light. She is definitely a 'no nonsense' type gal, but the tender connection with her niece (Woman) is subtle yet endearing. Auntie Ah is fulfilling her destiny in life -- after her own sister died, she took on taking care of the ailing Woman, which she considers her destiny. In this instance, Dan's dramaturgy was crucial to understanding this world's fascination with death. (Dan -- You're awesome!!!)

Working with Felicia, Jessica and Ahren has been an uplifting and humbling experience. Felicia is heart-wrenchingly tender and emotionally perfect. Jessica is captivating as she moves about the stage like a force to be reckoned with. Ahren is so cool, calculated and oozing with 'old Hollywood' charisma.

Father David is so wonderfully generous as a director. His intensity and passion for this piece is so deeply rooted in his efforts to get us 'into the world' of the play. He doesn't let us 'off the hook.' He finds ways for us to discover crucial elements of the play, characters and relationships.

With only a week of rehearsals left, I hope to achieve Father David's vision for Auntie Ah and will remember this experience with fondness and appreciation of working with such an amazingly dedication team.

Thanks to Allie Ward and her team (Maddie and Erin) for keeping all of us on task. Allie gets the job done but adds an element of understanding and compassion to this grueling rehearsal schedule in combination with grad school demands...

'Til next time!

Woman & Scarecrow ~or~ "I wish I wasn't in this play."

2011-11-01T10:41:00.002-04:00

So, let me qualify the title of this post before we go any further.

Every once in a great while actors have the distinct privilege of being a small part of an amazing piece of theatre. On those occasions where I happen to be in that position, I say to myself, "Man, I wish I wasn't in this play." I say that because I desperately want to see the production in its totality...to experience it as an audience would. To be moved by it, rather than being a part of what moves it. That is, of course, a testament to great writing, wonderful production ideas and execution, sensitivity to process, and keen and thoughtful acting.

I am aware, too, that it’s a selfish thing to say and I hope it isn't misconstrued as a means of alluding to some augustness concerning my small part in the play.

More to the truth, it is a statement born from intense desire to have the soul stirred on some deep level.

But it is also (if I’m going to be completely honest) a statement born in a small way out of fear.

When something, anything, is worthy of your full attention, mindfulness, and care...can you rise to meet it? Do you have the ability to turn off (or at least tone down) the inner critic that says, "You can't, you can't, you can't. It isn't safe to be open and vulnerable." And that’s a constant struggle no matter who you are or what you do. I try my best to laugh at that part of me...to put on boxing gloves and challenge it in the ring, when I have the strength...to distract it with something shiny when I don't. And sometimes there is success and other times there are utter failures and complete breakdowns. When those breakdowns manifest in a process (and they always manifest) being in the wrong company can be devastating to an actor’s journey.

Fortunately in this instance, in Woman & Scarecrow, I am surrounded with wonderful, adventurous, and supportive people; in particular my cast mates. So, I'd like to talk about them for a moment.

I’ll be upfront about it…this play is scary. Scary in terms of the piece demanding sensitivity and an openness that only comes at great personal cost. It can be a terrifying place to live. It’s draining. Raw. Fragile. Points to the heart of individual sufferings. And asks for incredible trust and courage. My cast mates are willing to live in that emotionally expensive place night after night and I’m in awe of that, really. They don’t pull punches and they’re tenacious practitioners who attack this play. The exploration in the room is an amazing thing to be a part of and I’m very excited for people to come and see the nuance that these women breath into their roles. The work is phenomenal.

Last night I was re-reading Art & Fear, by David Bayles and Ted Orland, and I came across this quote, which reminded me of something Fr. David said when we started rehearsals:

“To make art is to sing with the human voice. To do this you must first learn that the only voice you need is the voice you already have. “

Folks...get ready to be sung to.

~Ahren Potratz (Him) first year Graduate Acting Scholar

Artistic Representations of Death

2011-10-22T08:30:00.007-04:00

This is Dan, the dramaturg for Woman and Scarecrow.

Throughout the play Carr continually mentions different pieces of death-related art, specifically Caravaggio's "Death of the Virgin". About this painting, Woman says, "Oh the grief, terrible to look on... frightening, because the miracle is over...Still there's something sacred going on. Not with her. She's just another of those invisible women past their prime. But the mourners are appalling."

Much of my research was devoted to exploring death-related pieces of art- visual art, poetry, music. On the first day of rehearsal, I framed my dramaturgical presentation with the fact that this play is Carr artistic representation of death, by showing one of my favorite dance pieces: Martha Graham's Night Journey. This classic of Modern Dance is Graham's exploration of the moment when Jocasta dies in the Oedipus Rex myth.
If you've never seen it, check it out:

http://www.youtube.com/watch?v=fFNsKeMbW20

In Vasey 206, the bulletin board is covered with a collage of death related pieces of visual art and poetry that I've asked the actors to build upon, integrating their own text and images about death. This blog is a great way to extend this discussion. Does anyone else want to mention any other pieces of art that has inspired or changed them?

October 19, 2011: WHAT A DAY!

2011-10-20T11:16:00.002-04:00

Jessica/Scarecrow here...

Yesterday I had an incredible opportunity to meet with Patrick Mason from the Abbey Theatre in Ireland. He spent two hours with the cast of Woman and Scarecrow, our director, Father David, and our stage manager, Allie, about character, language, and motivation. We all had a chance to work on a scene with him and hear his insight on diving further into the situation and the text.

He helped me to realize that the text of our particular play is its strongest asset, and that the beautiful language in Woman and Scarecrow can help carry it through. My character is out of the ordinary, so this helped me to get a new perspective on her. He told us, in reference to our audience, that we should strive to, "Grab them tightly, and let them go lightly."

What is most amazing about the entire experience I'm afraid I'm unable to truly articulate. He somehow got right to the core of me and floored me. When he left the room I felt as though I was coming out of a trance; it was one of those times where you know that something astounding had just happened. A heartfelt thank you goes out to everyone who made it possible.

Jessica

"Unboundable" Inspiration

2011-10-19T21:03:00.001-04:00

Hey All!
Allie here, your lovely Stage Manager!
So I am actually blogging right now from one of our rehearsals! The cast and Father David are deep in conversation about language and motivation. They are reflecting on our lovely and AMAZING morning meeting with Tony Award Winning Director, Patrick Mason!
To witness the conversation that happened this morning and the conversation that is happening now is an honor; today is a day that I will never forget!!
The cast and I were deeply moved by the passion and intellect that Patrick Mason showed to us. At one time or another, some of us were even moved to tears. The inspiration that Patrick Mason gave us is “Boundless” or “Unboundable” as some might say! ;)
Okay, have to get back to my stage management duties!
Till later, Break Legs!!
~Allie

We are BACK in action.

2011-10-14T14:04:00.000-04:00

After a brief hiatus, our blog is BACK. There are lots of exciting things happening around here: a new chair, a new season, a new partnership with The Abbey Theatre in Ireland, and a new certificate program in Nonprofit Management.

For more on all of the above, be sure to visit us at www.villanovatheatre.org and www.facebook.com/villanovatheatre!

Also, stay tuned for some behind-the-scenes blog entries by the cast & crew of WOMAN AND SCARECROW by Marina Carr, on stage Nov. 8 - 20, 2011.

Woman and Scarecrow

2011-10-14T13:56:00.001-04:00

Hello.

We are now four rehearsals into Villanova's second production, Woman and Scarecrow by Marina Carr. The play is a powerful journey through the last moments of a woman's life as she prepares to die. This week the cast,crew and our dramaturg Dan Ciba, spent many fruitful hours doing script analysis. We also began to build the shape of the production with some simple blocking. And yet, this play exist on an existential level that propels the actor beyond words and into the physical in order fully explore meaning. So this weekend we will take the blocking and with our work on Given Circumstances together to explore through body work the shapes and interactions that objectives and obstacles have without words. My plan is to use digital recording in the rehearsal process so the actors can use the video as a text by which to make choices around their bodies in motion. Ultimately I would like the play to have moments of interaction and physical expression that function as exposition for relationships beyond language. Stay tuned to see how this adventure works out!

Fr. David

Congratulations, Mark Costello!

2010-01-20T14:16:00.002-05:00

The Villanova University Theatre Department is proud to announce that second-year M.A. student Mark Costello has won first place in the 2010 Region II Kennedy Center American College Theater Festival (KCACTF) O'Neill Critics Institute! He has been invited to attend the KCACTF National in April.

The Kennedy Center American College Theater Festival is a national theatre program dedicated to the improvement of collegiate theatre in the United States. Focused on the celebration of diverse and exciting theatre, KCACTF involves students from more than 600 colleges and universities throughout the United States. Region II includes schools in Delaware, the District of Columbia, Maryland, New Jersey, New York, and Pennsylvania.

Read more about this year's Regional Festival at Wendy Rosenfield's blog. Wendy is a freelance arts and lifestyle features writer and theater critic for the Philadelphia Inquirer.

Congratulations, Mark! You've made us proud!

Introducting (drum roll)... Chris Serpentine!

2010-01-20T12:15:00.007-05:00

Over the next few weeks, Villanova Theatre will be posting blogs from some of our wildly talented, incredibly intelligent, super-charming students. Their insights will shed some light on the production process, the academic load, and the all-around experience here in the Villanova University Theatre Department. Our first contributor is second-year student Chris Serpentine, who has been see this season as Jerry in The Zoo Story (seen standing at left with Will Windsor Erwin, who played Peter) and Oliver in As You Like It. Here goes!
------------------------------

'Sup all,

So none of you know me, which is totally cool -- we'll become fast friends I'm sure. This blog, I assume, is a way into the awesome world of Villanova Grad Theatre. And, I guess the way this lays out, that makes me a sort of tour guide. Sweet. So strap down, and let's take this journey together.

I'm Chris Serpentine, and I'm a second-year here at 'Nova.

(What?! You're a second year?! But that's a two-year program! Does that mean we're only going to have, like, one more semester to read your amazing insights?)

Calm down, there, bucko. You're in luck. I will be here one more year because I was only part-time last year, and that's really the best part about this whole program - they're very flexible. There are a ton of students here who work full-time and attend classes part-time to better suit their schedules. So, really, this program isn't the life-sucking abyss that some programs can become. In fact, if you're anything like me, you'll find that this place is a second home, and rapidly involve yourself in all complete facets (like, say, a blog).

I started doing theatre late - in college at La Salle University. It kind of happened by accident. I made friends with this delightfully large-built, raspy-voiced guy (like Harvey Fierstein...It was Harvey Fierstein...I made friends with Harvey Fierstein). He was master carpenter on some weird show I had never heard of at the time (turns out it was The Laramie Project), and he essentially dragged me into theatre. I was involved for four years with The Masque of La Salle University. When I graduated, I started bartending full-time. Then one day I was sitting on my couch eating Frosted Mini Wheats (which, little known fact, is a part of a balanced breakfast) and watching Maury. It was a fat baby episode.

Mid-way through Maury I realized my life was missing something. Once I came to the realization it wasn't a fat baby of my own, I figured the best way to fill that void would be applying to Grad school. I had heard a lot of really great things about 'Nova, and it was close (I resided in Havertown at the time, before moving to Devon, and now Brookhaven). So on a complete whim, I sent an application to 'Nova. And they accepted me! I dove in with as much force as I could, and I haven't looked back since.

This place really does become a second home. I realized that at the end of last year, when once again I was dragged into a new theater - this time by professor Valerie Joyce. She was directing Cabaret, and told me I was in it. I still thank her silently in my head for doing that, because I didn't know what I was missing by not being able to fully participate in the program. Shortly after that, I quit my bartending job, and pledged myself to 'Nova full time. And I have had incredible luck here.

I had the amazing opportunity to play Jerry in Edward Albee's The Zoo Story, directed by Joanna Rotte; Oliver in Shakespeare's As You Like It, directed by Harriet Power; and I am currently playing Jason in Euripides' Medea, directed by Shawn Kairschner. I also work here in the Prop Shop, which is another great opportunity - you can work where you go to school; it makes life so much easier.

The program also offers, in addition to its mandatory courses, a ton of electives. So far, I'd have to say my favorite class here was Characterization. It really delved into what it is to become a different character, and the many different techniques available to an actor to do so. The number of characters I got to encounter in that class alone was worth a lifetime of acting. But it's tough to choose a favorite class, because, honestly, the people who surround you inside the classroom are the best part.

So now we're in present day. I am working incredibly hard, but I'm loving every second of it. Doors are continually opening on every side of me, and it's really difficult to choose which one to go through. Just this semester I was cast in Medea, which is a huge opportunity. I am given the humble task to portray Jason, who some could describe as "a fellow who wants to leave his wife and marry another woman for political gain." It's difficult to have to portray a character who everyone else on stage is against. No one really agrees with what Jason has done, or how he has handled it. So the only person I have to believe is myself. It's interesting to have these objectives - to convince, to win, to persuade, to conjure - knowing that my efforts are probably going to fail. Jason is a man fighting for his family. It's cliched, but the moment I begin to see him in a negative way as an actor is the moment my performance will wane.

So, that's me. I'm a twenty-four year old Grad student, with hopes to act until there's not breath in me anymore. I'll probably teach somewhere in there. I definitely want children to pass on my insanity. I want to, one day, get an M.F.A. But for the time being, I'm trying to compose some normalcy in an otherwise hectic and spontaneous lifestyle.

Until next.

-CS

Schechner's Coming!

2009-12-11T16:17:00.002-05:00

On Tuesday, January 12, 2010, Villanova's Theatre Department will be holding its 4th annual Philadelphia Theatre Research Symposium. Much to our delight, this year's keynote speaker will be performance studies legend Richard Schechner. Stay tuned for more information on the schedule for the day -- planned panels include an emerging scholars' panel and, of course, papers on performance studies -- and in the meantime, save the date on your calendar. Richard Schechner is a fellow you don't want to miss when he's in town!

An "Annie Get Your Gun" cast - Yeehaw!

2009-12-09T14:08:00.004-05:00

And whaddya know? We now have a cast list for ANNIE GET YOUR GUN, too! I've already got "Anything you can do, I can do better ..." on a loop in my head, and I'm sure it'll only get more entrenched as the rootin', tootin' rehearsal period gets a-movin'.

ANNIE OAKLEY -- Kathryn M. Lyles
FRANK BUTLER -- Tim Rinehart
WINNIE TATE -- Mary Lamb
TOMMY KEELER -- Michael Libonati
DOLLY TATE -- Jennifer Huth
CHARLIE DAVENPORT -- Ben Smallen

ENSEMBLE:
Jessica Bedford
Amanda Curry
Lizzy Dalton-Negron
Danielle DeStefano
Valerie Eichelberger
Will Erwin
Alex Frangoulis
Jaqueline Kelliher
Cassie Lovering
Seth Martin
Emily Poworoznek
Andy Shaw
Tom Saporito

We have a Medea cast!

2009-12-08T12:31:00.004-05:00

Medea auditions took place last week, to a flurry of excitement, and we now have a cast!

Nurse -- Danielle DeStefano (1st-year in the M.A. program)
Tutor -- Tom Saporito (1st-year)
Medea -- Kim Fairbanks (1st-year)
Older Son -- Alex Barnett (son of a VU faculty member)
Younger Son -- Gabriela Petrone (the youngest newcomer to Villanova)
Chorus:
Jessica Bedford (2nd-year)
Lizzy Dalton-Negron (2nd-year)
Stephanie King (1st-year)
Gigi McGraw (2nd-year)
Kathleen Mulhearn (2nd-year)
Creon -- TBA
Creon's Herald -- Nelson Barre (2nd-year)
Jason -- Chris Serpentine (2nd-year)
Aegeus -- Tim Horner (faculty member at VU)
Messenger -- Will Erwin (2nd-year)

Rehearsals started yesterday. We'll post some in-progress shots as soon as we can!

-Meg Devine Maxwell

And the Brian Morgan Award Goes to ...

2009-11-20T13:52:00.009-05:00

...Jessica Bedford!

Congratulations to the luminous Jessica Bedford, the 2009-2010 winner of the Brian G. Morgan '67 '70 Award. You've already made us proud, and we can't wait to follow your future achievements!

On Saturday, November 14, following the 8pm performance of As You Like It, the Villanova Theatre Department held our annual Brian Morgan Award reception. After Fr. Richard welcomed the roomful of guests, we all watched the video about Brian that the department produced last year (you can watch it online here). Tears were shed. Next, Mary Anne Carlson Morgan - Brian's widow and the woman whose considerable efforts keep the award growing - spoke briefly about Brian and the history of the award. Then, finally it was time! Fr. Richard began with, "This year's award winner is ..." but he became too overwhelmed and simply gestured toward Jessica. Applause! After the cheering died down (it took a while), Harriet Power, who directed Jessica in Le Dindon last season and in As You Like It this year, shared her thoughts about Jessica's meaningful contributions to the department on- and off-stage. Hugs, photos, and the consumption of wine and cheese ensued.

Many thanks to everyone who attended the event, and to all the donors who have contributed so generously to the Brian G. Morgan '67 '70 Award Fund. We could not be more grateful for your thoughtfulness and your excitement.

Here are a few more photos from the evening:

Mary Anne Carlson Morgan and Harriet Power talk at the award reception.

Mary Anne congratulates Jessica as Fr. Richard stands by.

Harriet offers her congratulations to Jessica.

Last year's winners, Luke Moyer and Kristen O'Rourke congratulate Jessica in their own way.

Luke, Kristen, Mary Anne, and Jessica

Exploring the Everyday Miracles

2009-10-16T12:04:00.009-04:00

posted by Meg Devine Maxwell, Director of Marketing & PR

It's fall break at Villanova, which means that the rest of campus is quiet. Here in the theatre department, though, we just keep on chugging. We've got props to create (ex., a small deer that looks real), a set to build (with a black floor so shiny you could fix your hair in the reflection), and costumes to create (i.e., more doublets than you can shake a stick at).

What, you ask, are we getting ready for? Why, the run of Shakespeare's As You Like It, of course! It runs November 10-22, 2009, which -- in theatre time -- is right around the corner. It features girls dressing as boys; a nasty, usurping Duke; a jester in the forest; and one of the strongest female characters in Shakespeare's work. All the good things you expect from the Bard, and then some. But director Harriet Power is quick to point out that it's not all fluff and fun. There's an emotional core to As You Like It that has the potential to move audiences deeply.

According to Prof. Power: "We often think of Shakespeare’s comedies as delightful romps peopled by infatuated innocents, testy elders, and zany fools – but Shakespeare’s more mature comedies, including As You Like It, also explore complex, profound ideas. In As You Like It, Shakespeare brings together an astonishing range of characters: old men and young lovers, courtiers and shepherds, thinkers and doers, the educated and uneducated, the happy and the melancholy. And underneath each character’s particular pursuit – of love, certainly; of comfort, perhaps, or power, or accolades, or enlightenment– is that essential question 'How is life best lived?' Shakespeare seems to have recognized that there are no easy answers to this largest of human questions, instead presenting a range of actions and choices that invite us, as audience members, to contemplate what we value most dearly (and, also, what might obstruct our happiness or fulfillment or capacity for selflessness). For all the ambiguities that help make his plays timeless, Shakespeare, in As You Like It, reminds us that generosity, friendship, risk, and especially, forgiveness, are the everyday miracles that enrich our existence, as
'...from hour to hour we ripe and ripe,
And then from hour to hour we rot and rot ...' (Jacques, Act II scene 7)"

Something to ponder, no?

Almost ILLUSION time!

2008-04-07T16:53:00.004-04:00

The Illusion starts in just a week, and it's going to make quite the finale to our 2007-2008 season. With a set by Frank McCullough, costumes by Cloe Fox Wind, lighting by Jerry Forsyth, and sound by Jorge Cousineau, it's a stunning piece of artwork. Of course, what director Harriet Power has done The Illusion is also pretty magical. You'll laugh, you'll cry, you'll want to slap Carl ... you'll love it!

Here's the cast, who are all familiar (and beloved) faces here at Villanova Theatre:
Pridamant -- Dr. James F. Schlatter
Amanuensis/Geronte -- Jeffrey S. Paden
Alcandre -- Paul Guerin
Calisto/Clindor/Theogenes -- Carl C. Granieri
Melibea/Isabelle/Hyppolyta -- Rachel Anne Stephan
Elicia/Lyse/Clarina -- Kristen O'Rourke
Pleribo/Adraste/Prince Florilame -- Charles B. Illingworth IV
Matamore -- Luke Moyer

** Special note: Congratulations to Carl and his wife Meredith, who welcomed baby Judah into the world on Thursday!

Baby's First Rave Review!

2008-02-18T12:12:00.003-05:00

Hooray! StageMagazineOnline.com sent reviewer Arnie Finkel to see BABY over the weekend, and he loved the show. Some salient points:

"The cast is uniformly excellent. Janet McWilliams and Brian Kurtas as Lizzie and Danny were young and yearning, modern and motivated, appealing and absolutely wonderful. Kurtas did a super job on 'I Chose Right' and McWilliams did justice to 'The Story Goes On' (which is really the point of the show).

Sheila Egan as Arlene and Andy Joos as Alan were adult and adept, confused and concerned, resigned and really terrific. Joos did very well with 'Easier To Love' and Egan did a superior job on the difficult number 'Patterns'.

Rachel Ann Stephan and Charles Illingworth IV as Pam and Nick were athletic and attractive, resolute and romantic, personable and perfectly cast. They wrung every possible nuance out of 'Romance I II and III.'

The 10 person ensemble was incredible. Their harmonies and bit parts added immeasurably to the total effect."

Visit this link to read the whole review.

Our BABY photos

2008-02-18T10:53:00.001-05:00

Rachel's Insights: "What a journey!"

2008-02-05T15:04:00.000-05:00

Wow. This process is seriously a never-ending journey for me. Just when I feel I've unlocked something in the character, something else pops up as a result. For instance, I really started to get a handle on the despair of infertility so that I could live truthfully in each moment. However, then it became apparent that I was missing the complete joy of the beginning, when Pam and Nick believe they ARE pregnant after two years of trying. This realization caused my research to take a different turn--from searching the frustration and heartbreak of infertility to unlocking the joys and ecstasy of pregnancy. Now, after the run from last night (which was extremely exciting, as well as revealing), we realized that I need to temper the level of the outward expression of emotion.

Here's the thing: I'm 23; Pam is 30. As a 23-year-old, if I feel something, I bare it completely. Pam's been wounded more; scars have been built up and she is tired. The emotion is still there and just as deep, but she's not going to put her entire body into expressing that emotion--not only because of her age, but also because of the ordeal she and Nick have to go through. When Pam opens herself up to Nick at the end, she's spent. Completely--emotionally, physically, mentally. She's done. The run-through really was an eye-opening experience. I can't wait for the chance to do it again tonight!

Another exciting thing: the costumes are rolling in!! One of the key elements for me is putting on those costumes; sometimes I never quite sink into a character's body until I put on their clothes. It might sound silly, but clothing effects the way you walk, the way you sit, the way you want others to see you, etc. They not only effect the body of a character, but are quite telling of the character's personality.

2nd Annual PTRS

2008-01-29T12:23:00.000-05:00

PTRS

What a success! Congratulations to Fr. David Cregan, Ph.D., who organized and hosted the 2nd Annual Philadelphia Theatre Research Symposium here at Villanova last Friday. The schedule began with a new scholars panel, with "emerging" scholars Deborah Braak, Valerie Joyce, and Mitch Matson. Their papers - on real-world dramaturgy, Americanized British theatre, and Forum theatre, respectively - offered fresh perspectives from which to approach their topics.

Next, Toby Zinman, theatre critic for the Philadelphia Inquirer and professor at the University of the Arts, delivered the keynote address. She touched on her philosophy about being a critic (it involves having enough bravery to voice an honest opinion), and spoke engagingly about Edward Albee's importance to American theatre. (To read her Philly Inquirer review of Albee's latest, Me, Myself and I, look here.) For those of us who have been Toby's dedicated (sometimes indignant) readers, it was a wonderful opportunity to encounter her as a passionate, good-humored theatre-goer, who is excited about the future of Philadelphia theatre. I daresay she made some friends she never knew she'd lost.

Finally, Toby was joined by Mark Cofta (Philadelphia City Paper), Nancy Furey (www.talkinbroadway.com), and Fr. David himself (Main Line Times) for a critics' roundtable. Several members of the audience posed challenging questions (In what sense do you see yourself as an advocate for theatre? Is it possible to review a show without prejudices or pre-formed expectations? What's your opinion about the current state of Philadelphia theatre?), which the panel answered with admirable candor.

The whole afternoon lasted beyond its slated 3 hours, to no one's dismay. Keep your eye out next spring for the third annual PTRS.

Rachel's Insights: "Infertility is truly tragic."

2008-01-24T11:11:00.000-05:00

Infertility is truly tragic.

Recently, I’ve been delving into extensive character research and development. I have such a heart for Pam’s story, and I want to lift her and Nick up as truthfully as possible, yet I realize I do not hold the resources inside myself alone to do so. Since my mother dealt with a number of miscarriages before she had me, I turned to her for any insights—emotional, physical, etc. She has proven to be a useful and honest outlet. I’ve also been going onto infertility support blogs/message boards. Sometimes reading these posts—or dealing with the reality of what Pam had to go through—hits me to my core. In my gut. It’s horrendous—the things these people have to go through, when all your life it’s almost a given: You grow up, get married, and have kids. One woman said something to the effect of (keep in mind, I’m paraphrasing), “I did everything right. I played by the rules of life. I feel like my body is playing a cruel joke on me.”

That statement hit the nail on the head, as far as Pam is concerned ... I would say especially where Pam is concerned. Pam is a team player--a person who plays by the rules of the game, and therefore usually sees results. She is an excellent athlete and has experienced great success in life, except in the baby race. Another thing the women keep saying over and over again is how difficult and painful it is to see other women get pregnant so easily. One woman commented on how she can’t even see a baby on TV without bursting into tears. It made me wonder last night (as we staged the finale of the show) how Pam would truthfully react to seeing Lizzie's baby. Honestly, if I were Pam, I don't know if I could handle it. Yet then there is that part of her that wants to support others, and I also believe Pam is stronger than me in many regards. Still, I think it would be a battle that she would keep to herself-- the battle of getting over herself and her tragedy to be there for Lizzie.

Introducing (drum roll) Rachel!

2008-01-24T10:56:00.000-05:00

The weeks of rehearsal leading up to the opening of any show here at Villanova Theatre are busy, tiring, and exciting, all at once. I get a second-hand buzz from everyone working so diligently to build the set, create costumes, and sell tickets, but the part I think is really interesting is that dang rehearsal process. What goes on in there? How do our actors prepare to make a story like Baby come to life? What's it like to sink into the experience of a character?

For anyone out there who wonders the same thing, we've got a special treat: Rachel Anne Stephan, who plays Pam in our production of Baby, will be a blog contributor during the rehearsals and run of the musical. Hooray!

Pam and her husband Nick have a really interesting place in the arc of the musical. While Danny & Lizzie and Alan & Arlene are trying to figure out what to do about their growing babies, Pam & Nick are trying desperately to conceive ... and not having much luck. Rachel will take us through the process of getting inside Pam's head, to make her joys and struggles very real and personal. Look for Rachel's first post later today.

And as always, please share your thoughts, too!

Bringing up BABY

2008-01-18T13:35:00.000-05:00

It's a new semester, which means that things are buzzing in Vasey Theatre. Rehearsals for our 2007-2008 musical are in full-swing, and the set is looking pretty amazing (I'll post pictures soon). The cast is in the excellent care of director Peter Reynolds, who directed our toe-tapping production of The Robber Bridegroom last year. After hearing just a few notes of one of their vocal rehearsals, I can confidently say that this cast is going to make a beautiful Baby.

(Er ... I didn't mean that quite the way it came out ...)

Here's the cast list in alpha order:
Sheila Egan - Arlene
Katherine Glavin - Nurse, Ensemble
Carl Granieri - Ensemble
Jennifer Huth - Ensemble
Charles B. Illingworth IV - Nick
Andy Joos - Alan
Brian Kurtas - Danny
Mary Lamb - Ensemble
Thomas J. Matousch - Ensemble
Janet McWilliams - Lizzie
Kristen O’Rourke - Ensemble
Jeffrey S. Paden - Dean Webber, Mr. Hart, Ensemble
Kate Reynolds - Ensemble
Matt Silva - Prof. Weiss, Ensemble
Rachel Anne Stephan - Pam
Heather White - Ensemble

m.d.

Congrats to Carrie!

2008-01-09T15:52:00.000-05:00

We got this message recently from our Business Production Manager, Elisa:

"We have just received our first great news of 2008! Carrie Chapter has won first place in the Critics Institute at the American College Theatre Regional Festival!!! She will now attend NCI workshops at the Kennedy Center in Washington D.C. and compete with other regional winners to attend the Eugene O'Neill Theatre Center during the national playwriting conference this summer."

It's a big deal, and we're all thrilled for Carrie, whose writing and critical skills are top-notch. She's certainly deserving of the recognition. Way to get the New Year off to a great start!

MD

Thanks ...

2007-12-06T13:48:00.001-05:00

Thank you to everyone who came to see Mother Courage and Her Children. We were terribly proud of the production and hope that you enjoyed your time in the theatre.

Recently, local critic Jim Rutter penned an interesting piece for the Broad Street Review. In it, he points out how few theatres in Philadelphia have strong track records for producing plays with meaty, interesting, lead roles for women. He praises our Joanna Rotte and Kristen O'Rourke, both in Mother Courage, and wonders why two recent grads, Marcie Bramucci and Jessica Dal Canton, haven't appeared in Philly yet. (The answer to the Marcie question is easy -- she moved to New York!)

Read the article here, then let us know what you think about the topic. Actresses: Are you starving for good, hefty roles?

m.d.

Mother Courage is not quite like this.

2007-11-08T17:15:00.002-05:00

Anyone see Disney's Bedknobs and Broomsticks when you were little? I came across this video while I was looking for YouTube clips that might be relevant to MoCo. I watched it and laughed, and thought, "Wow. Really awesome, but not relevant."

But you know, in a funny way, see, it is relevant. It's one of the many, many ways that war has been treated in theatre/film. We've had some other great examples around Philly recently. Just last month, Temple's grad program produced a powerful production of In Conflict, a play about the war in Iraq. InterAct is currently doing Last of the Boys, which wrestles with the aftermath of Vietnam. Mother Courage was Brecht's way of using the Thirty Years War to comment on what was going on around him during WWII. Each a very different approach to a similar topic, and each with its own unique impact.

Bedknobs and Broomsticks was made in 1971, but set during WWII. As a Disney film, it had much more to do with escapism (ex., children who fly out of a warzone on a magical bed, and who later "magic" household items into battling some easily-confused Germans) than with epic theatre. (Okay, let's be honest: It has nothing to do with epic theatre.) All the same, it makes you think: How did I process the concept of war when I was little? How do I process it now? And how does the art I participate in help me do that? Come to think of it, can it hinder the process? Wait ... what is the process?

And finally, where'd Angela Lansbury get those moves, and will someone please, please incorporate them into a Solo Performance assignment?

m.d.

The creation continues!

2007-11-06T16:29:00.000-05:00

I'm fascinated with the way things continue to come together. In the span of a single weekend, the floor was transformed from a blank slate into a gorgeous map of Europe during the Thirty Years War (the setting for Mother Courage). The costumes and props that we used for our recent press photo shoot aren't quite complete, but they sure are looking beautiful. -m.d.

The Many Faces of Mother Courage

2007-10-31T20:31:00.000-04:00

Down 'n' Dirty with Bertie

2007-10-31T19:24:00.000-04:00

Hi everybody!

My name is Carrie Chapter, and I'm the dramaturg for Villanova Theatre's production of Mother Courage. What the heck is a dramaturg, you say? Well, a dramaturg is someone who spends a lot of time on the internet and in the library....but is also a theatre nerd! So, a dramaturg (or the family-friendly synonym "literary manager") works on all the research required for a production, and then some. The job description is a bit fuzzy, but all you really need to know about me is that I'm here on the blog to answer any questions you might have about the play, and also to give you the inside scoop on all things Brecht. Because there is soooo much information needed for a play like this, I'll be posting a lot of random stuff on the blog. It would range from fun facts on Brecht the man to cool-looking past productions to some links to YouTube videos on war footage and political cartoons.

Let's start with this Bertolt Brecht guy. Anything you've heard about him (if you have heard of him) is pretty pretentious, right? He is hailed as a god among mere mortals in theatre history, simply because he did something that most contemporary artists to today: in order to draw attention to his art, he broke the rules.

But, in my opinion, his personal life is just as freaky and fascinating as his work.

1.) Brecht had more lovers than he had fingers. He was married twice, but was always unfaithful. There are all kinds of rumors about possible illegitimate baby Brechts floating around, as well as some weird attitudes Brecht himself had about women and pregnancy. Apparently, he applauded his lovers if they became pregnant,because it meant his progeny would "flourish" (he was extremely self-centered). Of course, it's one thing to want a child, but raising it....Brecht liked the idea but struggled with fatherhood. He had one known illegitimate son named Frank, who spent his life bouncing around foster homes and who eventually died fighting in World War II. But, there are several reports of his mistresses having miscarriages and even abortions (his first wife, Marianne Zoff, aborted Brecht's 2nd child; Brecht was having an affair at the time with his future SECOND wife, Helene Weigel *the most famous and original Mother Courage).

2.) Brecht was a very jealous man. Although his women were well aware of his other lovers, they were forbidden by Brecht to see other men. One of his lovers left Brecht to marry another man, and Brecht followed her, barricaded her in her room, and refused to leave her bed until she came back with him. He stayed for three days, and he won back his lady. He did these things not for true love (while he was doing all this, he had 2 other lovers waiting for his return), but because he felt as if he was losing something that BELONGED to him. Crazy, huh?

3.) Helene Weigel, the original Mother Courage and Brecht's "rock", was an unbelievably strong woman...and Brecht knew that. She knew all about his affairs, but instead of leaving him, she would invite the mistresses into their homes in order to create some twisted family unit - all to make Brecht happy. Despite it all, Brecht refused to divorce Weigel; he needed her too much. She eventually took over control of Brecht's Berliner Ensemble theatre company when he became too sick or too busy with other projects. In dealing with a man as difficult as Brecht, she had to become Mother Courage, in a sense.

4.) Brecht has said (supposedly) that his most beloved companion was not a woman, but rather his dog. A German shepherd named Rolf. :)

* If you have time or Netflix, check out this 2000 German film, which talks about the end of Brecht's life in a semi-factual way. The actors playing his mistresses look EXACTLY like the real women, it's scary. It's called "The Farewell." Here is a link with more information about the movie:

http://www.prairienet.org/ejahiel/abschied.htm

Who is this Brecht guy, anyway?

2007-10-30T21:29:00.000-04:00

Isn't that a great photo? It's Bertolt Brecht, playwright, poet, political fire-starter, and ladies' man. That's right, ladies' man.

Though he married Helene Weigel, the leading lady in many of his plays, he didn't, shall we say, limit himself in the world of romance.

Read a little more about Brecht here. Our dramaturg for the production, grad student and research scholar Carrie Chapter, will post some of her copious research here soon. Some of the stories she's come up with are pretty great.

Turning nothing into everything.

2007-10-26T17:08:00.000-04:00

Our set, props, and costumes assistants have amazing stores of creativity. Don't believe me? Check out our photos from today's set and costume progress. When our audience walks through the doors, they'll see a stunning finished product. Before that can happen, though, there are hours upon hours of work to be done.

Even when you know how many magicians it takes, it's still a pretty cool trick.
m.d.

Mother Courage is Coming to Town

2007-10-25T17:49:00.000-04:00

Mother Courage and Her Children will be on stage for two separate weeks, November 13-18 and November 27-December 2. (There's a break in there for Thanksgiving.)

The official blurb for Mother Courage (commonly nicknamed around here as "MoCo") goes like this:

"In Brecht's epic masterpiece, a war rages on while the worldly-wise Mother Courage seeks her fortune selling goods to the soldiers. But the war exacts a price - as war always does - and Mother Courage's soaring profits are tempered by searing loss. First performed in 1941, Mother Courage remains deeply moving and powerfully relevant. "

It's true, too. Mother Courage hasn't lost any of its power over the years. It still makes you think critically about the effect of war on communities, families, and individuals. It still makes you wonder who's benefiting from the violence. It still makes you view attitudes about war from a new perspective. I promise, you'll leave Vasey Hall with plenty to think and talk about.

m.d.

A New Blog, A New Forum!

2007-10-25T17:32:00.000-04:00

Welcome to Villanova Theatre's brand new blog!

We'll be posting information about upcoming shows, like rehearsal photos, set and costume designs, and background information that will let our audiences get a glimpse of all the millions of things that happen backstage.

Our first set of posts will be about our upcoming production of Mother Courage and Her Children, Bertolt Brecht's powerful drama that details the intersection of conflict and commerce - and the resulting effect on the lives of individuals.

Please check in with us often, and participate in the conversation!

Talk to you soon ...
meg

Meg Devine
Director of Marketing & Public Relations
Villanova Theatre