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“Without these people, I would just be another black boy passing on the street”: Interview with 16 year-old Amir Randall, star of ‘The Ballad of Trayvon Martin’

5/20/2016

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“The Ballad of Trayvon Martin by Rajendra Ramoon Maharaj and Thomas J. Soto is a poetic docudrama inspired by the death of teenager Trayvon Martin inside a private gated community in Florida. Martin was shot and killed by George Zimmerman, a white neighborhood watch volunteer. With Florida’s now famous “Stand Your Ground Law” in place, Zimmerman was unsurprisingly acquitted in the murder trial. Trayvon was clearly not the dangerous thug that the shooter made him out to be. Instead of a gun, he held a bag of Skittles. His dream was to one day become a pilot. Instead, it is his legacy to be known by millions of Americans as a symbol of just how tough it is to be a young black man in this country.” 
​                                                                            –Neal Newman, in his DCMetroTheaterArts review of The Ballad of Trayvon Martin
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Henrik: You are only 16 and already starring in a major production at the New Freedom Theatre, Pennsylvania’s oldest African American theatre. Tell us about the influences that inspired you to pursue acting and keep moving forward in a tough world—both in the streets and on theater stages. 
​

Amir:  Seeing people like Denzel Washington and Sidney Poitier, symbols of the African-American culture and movements in the United States, made me very fond of theatre and the arts. Being able to portray stories, characters, and lessons gives me a sense of purpose that inspires me to appreciate and take part in theatre and a new sense of the world.
You grew up in a non-traditional family with your grandmother and great-grandmother, both of whom seem to have influenced you as a young person and an actor. Tell us about the first time you realized that you liked acting and how those two women shaped your life. 
​

When I was around ten, my grandmother randomly rode me to a sample class at Freedom Theatre in about 2010. I was very hesitant to take part in the class and open myself up to acting, but once they let the students on stage, it was an instant love. ​
​Being on such a powerful and historic stage gave me that sense of purpose that drives me to be an actor. 
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Director Rajendra Ramoon Maharaj, right, leans on actor Amir Randall, who plays Trayvon Martin after a rehearsal for ‘The Ballad of Trayvon Martin’ at the New Freedom Theatre in Philadelphia. AP Photo/by Matt Slocum.
​My grandmother and great-grandmother have always supported me in whatever I pursued, so I had an extra push in my art that allowed me to be steps ahead and really appreciate acting.
You said that the predominately African American New Freedom Theatre helped you excel as an artist. Could you give some examples?
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One of America's oldest surviving African American theaters, built in 1853, home of famous actor Edwin Forrest (1806-1872), became the Freedom Theatre in 1968
Being around so many beautiful, spiritual, and talented people of the same color as me gave me a humongous sense of belonging. There is such an intimacy and family-like aura that surrounds you when talented black performers come together in one of the last African-American theatres in America to expose their great art to the world and especially the community. It always feels like you’re united as the vision of your ancestors who have endured years of struggle, injustice, and prejudice. I have always held this knowledge close to me and accredit it to one of the many instances that have made me the actor I am today.

Could you describe the training that you experienced in the process of working on The Ballad of Trayvon Martin? What did you learn about yourself?

While not directly taught during the rehearsal process, just listening and watching the many talented actors taught me so much. The ambition of these people around me to really project the life of Trayvon Martin was staggering. People that have more experience than me felt like family and people I could consider great friends, mentors, and teachers.

The play itself taught me to cherish every moment of my life, for it can be taken away at any moment. Life is not fair, so I know now that I have to put my lessons and wisdom into the world whenever I can.
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Amir Randall, Angel Brice, Donna Cherry, and Christopher David Roche as George Zimmerman, about to murder
the unarmed 17 year-old Trayvon. Photo by www.ethimofoto.net
We saw you on stage as a child, a teenager, a member of a group of friends playing ball, a frightened young man facing George Zimmerman’s gun, a victim, a visitor in the place of the dead, and as a polished speaker, delivering an impassioned and sophisticated concluding speech to the audience. Describe the shifting mindsets of Trayvon Martin that you presented and the processes you had to go through to portray such a multi-faceted character.

It is most definitely a challenge. Having to drop into the role every night and grip the deep places inside of me to make the performance give as much justice to Trayvon, takes a lot out of me. I usually relate the actions and scenes of Trayvon to similar situations I experienced in my life. This makes it so surreal and a time for me to reflect on myself as a teenage boy.

How did any of the scenarios that Trayvon experienced in his life relate to aspects of your own life, especially against the backdrop of all the many young people of color that have been killed in the U.S. over the last few years?
​

Being the same age as Trayvon, it really affects me. It makes me sick that people still in this day and age, judge by what someone wears or where he is from. As a nation and a society, we must overcome this mental disposition of putting people in a box. As a united world, this cannot be something carried on as it is dangerous and limits the intellect and potential of so many black and minority kids today.
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For the NBC interview with Amir Randall and playwright-director Rajendra Ramoon Maharaj, click the image.
What are your goals for your future?

​
For a very long time my goal was to study Aerospace Engineering or Military Science and then join the military as an officer, and then pursue a career as an FBI SWAT member.

Yet, after going through the experience of portraying a powerful message through The Ballad of Trayvon Martin, theatre has been passing my mind as something I would like to pursue.
When the time comes, I will use my discretion to choose my path, depending on the opportunities that arise and what will be the most beneficial for myself and the messages I want to convey.

​
If you had the opportunity to address black teenagers who may be angry, especially toward authority figures such as parents, teachers, and police officers, how would you tell them to express their thoughts and feelings in such a way that they don’t endanger themselves in one of the most deadly societies for minority members in the Western world?
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Trayvon Martin and his father, Tracy Martin in Florida
I would tell them, “Listen! Understand that racial division is just that, a division. You can’t protest with Black Lives Matter and then continue the next day as if nothing had happened. If you are angry, let your lifetime goal be to make the world understand what you believe in your own way. If that way would be writing, protesting, performing, or whatever is right for you, put your frustration into that. Anger can be beautiful or horrible. It is up to you how you use your anger.”

Is there anything else you would like to share?
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Sidney Poitier
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Denzel Washington
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Kendrick Lamar
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Antonio Brown
I would just like to thank my role models like [rapper] Kendrick Lamar, [football player] Antonio Brown, [actors] Sidney Poitier and Denzel Washington—and all the major influences in my life, especially my grandmother and great-grandmother. These people do what they can every day to empower those who struggle and find passion in what they do.

​Without these people I would just be another black boy passing on the street.
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Running Time: Two hours and 15 minutes, with an intermission.
The Ballad of Trayvon Martin plays through this Sunday May 22, 2016 at New Freedom Theatre-1346 Broad Street (Broad and Master), in Philadelphia, PA. For tickets call the box office at (888) 802-8998.
​
Check out this review: The Ballad of Trayvon Martin reviewed by Neal Newman on DCMetroTheaterArts.

For this interview, originally published by DCMetroTheaterArts, click here. 
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Ireland Rising: Irish Heritage Theatre actors respond to The Plough and the Stars by Sean O'Casey

5/18/2016

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By Henrik Eger
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​Irish Heritage Theatre is preparing for its production of the third part of Sean O’Casey’s “Dublin Trilogy”.

After presenting 
The Shadow of the Gunman in 2014 and Juno and the Peacock in 2015, the company brings his THE PLOUGH AND THE STARS to Philadelphia in time for the 100th anniversary of the events it depicts. The play is set during the 1916 Easter Rising, when Irish rebels took advantage of British entanglement in World War I to proclaim an independent republic.
"Seán O'Casey; born John Casey, 30 March 1880 – 18 September 1964) was an Irish dramatist and memoirist.

​A committed socialist, he was the first Irish playwright of note to write about the 
Dublin  working classes." Wikipedia 
 
Photo by Gjon Mili—Time Life Pictures
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​We asked the actors of Philadelphia’s Irish Heritage Theatre: “What does Sean O’Casey’s THE PLOUGH AND THE STARS do for you to get in touch with Irish life and its people, culture, and/or history, and what are you bringing to the play?”
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​Flipping the emotions of a major historical moment upside down

Victoria Bonito as Nora Clitheroe
O’Casey masterfully drops his audience into an unforgiving Irish tenement environment in The Plough and the Stars.

​The people are gritty and unapologetic, their living quarters are less than desirable, and their wit, humor, and heart are incomparable. These are people that live passionately above all else, and I have the privilege of trying to unlock what Nora Clitheroe is passionate about.
Her voice is one that seems rare in accounts of the Easter Rising. The wife of a Commandant in the Irish Citizen Army, she does everything she can think of to preserve what little life and love she and her husband have, rather than buying into the rebellion. Thus, O’Casey flips back and forth between stark conversations about the bloody happenings in the streets and tender scenes between real people affected by the violence. These characters are not just statistics. This play gives the audience a somewhat critical look at the Rising’s “heroes” and asks important questions like, “what happens to everyone left at home?”  
​

The Irish theatrical canon is loaded with strong female roles, often images of Hibernia that call true lovers of Ireland to arms. O’Casey has created a different female protagonist here. She at once recognizes the prestige her husband may attain with his service to the ICA and longs for him to do anything but leave her for the fight. 

​
This may be the most striking point about this play—it takes a major historical moment and flips it upside down emotionally. Its heroes are afraid, those who would be strong unravel, and no character is an empty caricature of a distant historical icon. This story is a glimpse of Irish history involving people whose stories may not have been recorded otherwise.
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“Disillusioned men who challenge institutions”

Kevin Rodden as The Young Covey
​
This is my third of O’Casey’s plays, and in all three, I’ve been fortunate to play characters who function as surrogates for the playwright: disillusioned men who challenge institutions.

​Playing this kind of outsider provides a unique perspective on Irish life around the time of my great-grandparents. I see the hypocrisies and the self-interest, the naiveté and the hope. But I also feel the English abuse and the Irish outrage—the pride in my familial connection.  
​If nothing else, the Irish perspective is a microcosm for the human experience writ large. We all value safety and comfort, but we want to be free—God damn it.
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“A renewed pride in my Irish heritage” 

Michelle Pauls  as Mrs. Gogan
​

I was very excited to be cast in this classic play of the English language, especially after spending some time with the (lighter) Irishy work, Lafferty’s Wake by Susan Turlish, at Society Hill Playhouse. In learning more about the Rising and all the Irish men and women who were willing to spill blood—their own and others—to be free, I have found a renewed pride in my Irish heritage. I discovered that John Lavery [“an Irish painter, best known for his portraits and wartime depictions,” to whom Pauls is related] was tangentially involved in the 1916 Rising. He, apparently, painted at least one of the fighters’ portraits.
I used to be slightly embarrassed by being a quarter Irish—it seemed so ordinary, nothing special. Now, after learning just how much my ancestors were willing to sacrifice for freedom and independence, I am proud to hold up the mantle, and continue on the journey of carrying the torch of truth and knowledge through my art and the beautiful words of Sean O’Casey.
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“The Easter Rising’s influence on Ireland’s historical trajectory”

Harry Watermeier as Jack Clitheroe

Embarrassingly, before working on The Plough and the Stars, I knew next to nothing about the Irish Citizen Army or the Easter Rising of 1916.

O’Casey evokes the atmosphere and character of this particularly brutal moment in Dublin’s history with a remarkable intimacy and specificity, which has helped me understand the incalculable influence the Easter Rising had on Ireland’s historical trajectory.
 
I hope I’m bringing a positive, supportive energy into the rehearsal room, and helping to create an ensemble that will vividly conjure O’Casey’s Dublin and its inhabitants.
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“To be a Dubliner in 1916, amongst much turmoil”

Cris Welti  as the Bartender

Throughout the rehearsal process, we often discuss what is happening, to try and gain some perspective on the events leading up to The Rising as well—the poverty, the depopulation of the island, and the possibility of forced conscription into the military by the British. The [Irish] rebellion itself was not very well organized and there were many disagreements. These events were truly tragic, with over 50% of the dead being civilians, either caught in the crossfire, or mistaken for rebel soldiers, followed by the executions of many local leaders—some that had no involvement in the rebellion.
​The language is quite colorful and dynamic, full of regional slang and colloquialisms. When you least expect it, it’s quite beautiful and poetic, too. It is my hope that—by finding the intersection of tragedy, along with what daily life was like—I can find my character, and understand as best I can what it meant to be a Dubliner in 1916, amongst much turmoil.
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“The genius of O’Casey—to give voice to all sides”

Mary Pat Walsh as Bessie Burgess


I’m proud to be part of this production, especially during the centennial commemoration of the 1916 Easter Rising. The play resonates with me on many levels, including the depiction of the precarious, difficult, impoverished lives of the Dublin tenement residents … the Catholic / Protestant animosity that has been a profound part of Irish history … the clashes of political views that raged at the time … the larger context and impact of World War I … the very limited options available to women … O’Casey’s glorious language and wonderful characters …
He captured a moment in time, but one whose themes of bravery, community, love and loyalty can still speak easily to a 21st century audience.
​

My grandmother left Ireland in 1919 for a better life in the U.S. She shared very few stories of her time growing up there, and those she did tended to be sad. She never had any desire to go back, even for a visit. In fact, she had siblings who stayed behind that she never saw again. By being in this production, I feel like I’m telling some of her story. It’s a story shared by many, and one that needs to be told. I’m not sure that she’d be pleased that I portray Bessie Burgess, a Protestant character, given [Grandma’s] own devout Catholicism, but I think that part of the genius of O’Casey is his ability to give voice to all sides.
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“Exploring the Irish dialect”

Kyra Baker as Rosie

O’Casey’s language allows me to connect with the world of the play—and with Rosie. There is much revealed about these characters through the way that the playwright has them communicate with one another. Act II showcases everyday people and their enthusiasm over the looming battle layered with their need to get through the struggles of everyday life.  The research I have done has helped me to become more specific about who Rosie is, and what her relationships are to her surroundings, as well as the other characters.
I’m also enjoying exploring the Irish dialect using the Knight-Thompson Speechwork method, an effective technique that I have been studying for the past year.
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“A never-dissipating black cloud of fear”

Dexter Anderson as Captain Brennan

The process of working on The Plough and the Stars has given me a renewed respect for Ireland as a nation. Having partial Irish ancestry on both sides of my family, Plough has shown me the (possible) plight of my ancestors, and ultimately the good fortune of my existence.

In 1916 Ireland, the infant mortality rate was grossly high, and civilians were getting shot in the streets of Dublin walking from Point A to Point B. There was a constant uneasiness, a never-dissipating black cloud of fear over the heads of the people.
I want to respectfully recreate the determination, the sincerity, and the struggle of the Irish people of the early 20th Century.
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​​My Irish grandmother told me stories of “the troubles”

Mark Knight as The Man in the Window 


The Plough and the Stars reminds me of my youth. I spent a lot of time with my grandmother. She was born in the North of England of Irish parents. She taught me Irish songs and told me stories of “the troubles.”

​To this day, my memories of my grandmother and Ireland are inextricable.
***
Plays and Players, 1714 Delancey Street. May 26-June 11, 2016; irishheritagetheatre.org.
For this interview, originally published by Phindie, click here. 
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“A Shiver Goes Down My Spine”: Interview with Playwright Andrea Stolowitz on ‘Schlüterstraße 27’

5/13/2016

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By Henrik Eger
Summary: In 1936, Dr. Max Cohnreich escapes Berlin, Germany, and arrives in NYC, settling there with his immediate family. In 1939, he writes about his experiences in a diary.
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Dr. Max Cohnreich
In 2013, his great-granddaughter, Andrea Stolowitz, finds the diary at the archives of the U.S. Holocaust Memorial Museum. In 2015, she travels to Berlin to find clues about the life he describes and the people she never knew. The parallel lives of the characters create a narrative about the search for home and family, which operates at the border of reality and memory, and the intersection of national history and private lives.
​
Andrea Stolowitz, a Jewish-American playwright and professor at several U.S. colleges and universities, nurtures her playwriting students by creating an annual New Works Festival.

​She recently won a fellowship from the DAAD, the German Academic Exchange Service, to spend a year in Germany to research her family’s past, trying to find as many documents as possible about her ancestors. Stolowitz’s play, Schlüterstraße 27, chronicles her often Kafkaesque search, until, like Pirandello, she finds dozens of family members in search of an author. Returning home to the U.S., she knows who that author is.
Daniel Brunet, translator of 19 German plays since 2003, is serving as the American producing artistic director of the English Theatre in Berlin [ETB] at the International Performing Arts Center [IPAC]. He also worked for the German Theater Abroad from 2005 to 2008—a transatlantic theater company based in New York and Berlin. Brunet flew out to Philadelphia a few days ago to direct a staged reading of Stolowitz’s latest play. 

PlayPenn and the National Museum of American Jewish History: Both organizations are sponsoring the event, which features David Ingram and Leah Walton, with Caroline C. Packard, organizational change and conflict response specialist and mediator, as the associate producer.

The reading takes place at the National Museum of American Jewish History – 101 South Independence Mall East, in Philadelphia, PA, on Monday, May 16th at 7 PM. To register for your free tickets, click here. Running time is 1 hour, 50 minutes, including a ten minute intermission.
Henrik: What was the driving force behind your year-long odyssey—“reading the diary [of your great grandfather] obsessively”—researching your family’s roots in Berlin? 
​

Andrea: The initial driving force was to be able to spend the year with my family, funded, in Berlin working on a new play. As I thought over play ideas for various funding opportunities, the idea of using the diary somehow popped into my head.
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Dr. Max Cohnreich diary, first page: ‘To my dearly beloved grandchildren.” 1939.
What support did you receive from the DAAD and the English Theatre in Berlin? 
​
I was a 2014-15 playwright-in-residence at English Theatre Berlin [as a result of] a faculty research grant, which funded my Berlin expenses. During this time, I developed the play with Daniel Brunet. We had a public reading in May of 2015.

You wrote, “I don’t want to be the one to know”—an ominous statement, given your discoveries about family secrets. What did you discover? 

I found that many of my Berlin first cousins thrice removed perished in the Shoah [Holocaust]. I found that some whom I had not known about lived and emigrated. I learned that I had cousins alive today whom I could contact.

You met a wide-range of people in Berlin on your search. 
​

The Berliner archivists were extremely helpful. Everyone aided me in my search. I felt incredibly grateful to the archivists, historians, and German friends and acquaintances who took time to help me with translations, document hunts, and copying and scanning.
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Daniel Brunet & Andrea Stolowitz, ETB reading of her play in Berlin, May 2015. Photo by Elmar Engels.
What were the highlights of your time in Berlin? 

Seeing much amazing and interesting German and international theater in Berlin, creating a close collaborating relationship with Daniel Brunet, spending time with my family and my German-born husband’s family in Berlin.

Your play reveals a great deal of brutally honest information about “Andrea,” one of the two main characters, for example, “I’m worried about my job and my agent, who also represents Mamet.” How much of your creative docudrama is fact and fiction? 

It is all true—expect for the parts which are not. I call it a speculative memoir.

Schlüterstraße 27 shares a wide range of family secrets that “Mom” tries to prevent, in addition to corporeal and psychological problems that could be seen as an outcome of the terrible stress of escaping Nazi Germany. What was your family’s response to the openness of your creative docudrama?

My family has been very supportive. They are excited that I have used the diary to create a new piece of art work.

Your play, dealing with the plight of Jewish people, also connects compensation for Holocaust victims with other groups that have suffered terribly, for example, “I wonder what would happen in the US if we paid restitution. Native Americans? Slavery? Japanese-Americans? Cold hard cash.”
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Dr. Max Cohnreich with medical staff at his lab, WWI .
I just think that the Germans had a remarkable process, not dissimilar to the truth and reconciliation process in South Africa and the Gauck Commission in East Germany, which shed light into the darkest corners of history. Putting a price tag on compensation forces one to acknowledge a historical wrong. We in the US seldom do that. As Americans, we have much to acknowledge in our own history.

How tempting was it to get swept away by the flood of information, rather than shaping the material?

It is very difficult, which is exactly why the opportunities that PlayPenn provides (and New Harmony, where I will be next month) are so valuable. First drafts are messy. Workshops, actors, dramaturgs, and directors help make order out of this chaos.

You used a collage style in Schlüterstraße 27, featuring different people who represent a “fluidity of identity,” switching not only back and forth between characters, but even within characters. You integrated sound and video, but little scenery. Tell us more about this non-linear approach. 

I just knew I did not want a traditional one-person approach or a naturalist retelling. This style creates a fast paced rhythm that broke with the traditions of naturalism.

Some parts of your play, most likely, will lead to important discussions about theater. “Some days I just can’t stomach being excited about [teaching] the American Theater. It feels somehow dishonest to encourage anyone to go into this line of work. I often believe it’s some kind of pyramid scheme into which I’m obliged to recruit people, otherwise the whole system will break apart. Kind of like the one that brought down Albania.” Tell us more about your willingness as a playwright to take risks.

I don’t know if it is a risk. It is just the truth. I say what I mean, I mean what I say, and let’s all tell the truth and break up with the misinformation about our history, our lives, and the American theater.

What response did the first reading of your play receive in Berlin?

The audience was incredibly excited and the play was well received.

What are your plans for Schlüterstraße 27 in both Germany and the U.S.?

 In 2016, Daniel Brunet, the producing artistic director, will produce the world premiere in Berlin at ETB/IPAC [which was named as one of the six most popular theaters in Berlin]. In the US, it will be developed at PlayPenn [“Everything you always wanted to know about PlayPenn, but were afraid to ask”], the New Harmony Project, and in my home town, Portland, Oregon.

What did you learn about yourself as a playwright and as a Mensch?
​

 I learned that the hardest projects are the most worthwhile and that I do have the grit and determination to do this playwriting job, despite the hardships of the American theater. For me the play is about how family and its connections are our sustaining force. It is about how I go and find mine.
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Andrea Stolowitz in Portland, OR, 2014. Photo by Sabine Samiee.
You summarized your play with this thought-provoking quote, “My family is alive? First the story was no one died in the Holocaust. Then I found the ones who died. Now I’m finding the ones who lived. [. . .] I feel like I should tell someone. My Mom. David. Claire.” And then you ask: “Does anyone care?”
​

 Well, I really feel this way as a third generation Holocaust survivor. The legacies of the past, the ghosts of the past, still haunt me. Maybe this is what being “third generation” means. We see the ghosts and we want to set them free.
For this interview, originally published by DCMetroTheaterArts, click here.
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‘Machinal’: An Expressionistic Masterpiece: Interview With Director Brenna Geffers, 2

5/11/2016

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​By Henrik Eger
Machinal by Sophie Treadwell, considered one of the most important Expressionist plays in the United States, premiered on Broadway in 1928. Inspired by the life of Ruth Snyder, who was convicted of and executed for murder, this dark play captivated audiences and earned accolades from its inception, including Burn Mantle’s The Best Plays of 1928-1929. In response to the 1954 TV production, the New York Times wrote, “Sophie Treadwell’s expressionistic and bitter poem for the theatre must rank among the video season’s finest accomplishments.” ​
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Brenna Geffers.
Photo courtesy of The Artist.
Brenna Geffers, an innovative director based out of Philadelphia, has directed a wide-range of plays from classical works to contemporary productions, in addition to creating her own theatrical pieces. She has served as Associate Artistic Director for Theatre Exile, a Literary Director for EgoPo Classic Theater, and an Artistic Associate for Flashpoint Theatre. Recently, as part of EgoPo’s all-women’s drama series, Geffers directed a shockingly beautiful production of Treadwell’s Machinal.
“When these kinds of artists get into a room together, it can be a wild ride.”
Henrik: You often use a collaborative approach with the cast. Could you give a few examples where cast members presented ideas that you were able to integrate into your production?
​

Brenna: The cast for this show is incredible; their imaginations and instincts are gold mines for any director. As EgoPo has three weeks to put up a play, this is invaluable. We all have to work hard and work fast. The cast and I met with Peter Andrew Danzig’s Philadelphia Theatrical Trainer for a few hours of workshopping before the rehearsal process started. Through different exercises and improvisations, we created many gestures and movement patterns, some of which were used in the production. For example, Mary [Tuomanen]’s first moment was derived from a series she made at the workshop that resonated with me and which I recorded.
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Carlo Campbell, Colleen Corcoran, Steven Wright, Lee Minora, Mary Tuomanen, Chris Anthony,
Kirsten C. Kunkle, and Shamus Hunter McCarty. Photo by Dave Sarrafian.
​Steven Wright and I talked a lot about the movement language of the piece before we went into rehearsals and those conversations were essential to me. I had engaged Steven to work as a sort of ensemble captain with me on this piece because of the unique way he embodies his modern dance training into his own unique style. He created one of my favorite moments of the play where the four men accuse the Young Woman of being crazy and then execute this sweeping-side-step gesture. I love it and he taught the entire ensemble this sequence during the workshop day. His physical work as the priest in the final scene astounds me still.

Lee Minora, one of the funniest ladies in town, made so many strong proposals for the First Scene and really was the engine of that work. She set the bar early and high. Carlo Campbell made one of my favorite gestural proposals for a wicked moment in the Speakeasy Scene. Carlo’s natural athleticism also makes him a “Breath Captain” in the ensemble, as well as “Defense” to keep group movement strong and safe.

The first time Colleen Corcoran dropped to her knees with “morning sickness” in Scene 5, her fellow actors almost stopped the run. Colleen is one of my favorite collaborators in town; her choices come straight from the heart and have the added sugar-coating of her unflappable charisma.

Shamus McCarty is newer to me for this kind of work, so when his “ADA Jonathan Paramour” set the courtroom on fire with re-cap montage of a million gestures, I could barely take it.

Chris Anthony is truly blessed with natural scene chops as well as a physical grace and control that would make a dancer nod her head in approval. When I showed Chris my inspiration for the movement of Male Objectification, he nodded silently, thought about it, and came back with guns a-blazing.

When these kinds of artists get into a room together, it can be a wild ride. The hope is that we work together to make the rules of the language that then anyone can pull from to make a moment.
​Mary Tuomanen and her guardian angel
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Mary Tuomanen, Chris Anthony, and Ross Beschler. Photo by Dave Sarrafian.
Everyone I talked to after the two performances that I saw, went into raptures about Mary Tuomanen. Even my two guests from Germany who had never heard of her, wouldn’t stop talking about the play and Mary’s presence and performance in particular. What was it like working with her?

This is the first time I had the pleasure of working with Mary. I had seen her work many times and was always struck by it. Her work in the Arden’s Three Sisters was impeccable. Even if I see her in a script that is not my cup of tea, her dazzlingly specific work always makes me glad I came to the theater. Not only is she a brilliant performer, but I also admire her as an activist. Her work with Applied Mechanics (one of my favorite companies), Bearded Ladies, and her own solo work uses art to challenge society in a way that I find hard to even quantify. Her activism is present, but is delivered by the smart yet oh-so-delicious aesthetic, if that makes sense. I find it really inspiring as a human being. So I was really happy when she came on board for this show specifically.

Mary Tuomanen is smart, intuitive and a perfectionist. She is careful and knowledgeable about the work, but then is able to live freely and boldly in the moment in front of any audience. Her work is always her own. It is fully unique. It is a gift.

Your opera singer served as an important presence, standing on a platform, her voice flying through the theater, hovering over the cast.

One of the unique aspects of our production was the embodiment of the Guardian Angel, as played by Kirsten Kunkle. Her voice embodied the human longing within the Young Woman. Within all of the metal and harshness of the world, there was the voice calling out to the Young Woman, daring her to keep going. Kirsten is like a Siren from a dark sea, seducing the Young Woman to jump off the ship.
​Kirsten and I have worked together as part of the Philadelphia Opera Collective for a few years now. Most recently, she was in my new opera Jump the Moon for the Fringe. Kirsten is an amazing artist. Obviously she is a gifted soprano with a powerful and beautiful voice. But she is also an amazing performer. She knows how to use her whole body to tell a story, not just her voice. I personally find her to be hypnotizing on stage and she is really willing to make bold choices. I always look for excuses to have her on the team. She and I have two projects this summer, including another new opera.
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Ross Beschler and Shamus Hunter
McCarty. Photo by Dave Sarrafian.
Wilma training spreading through the theater community
Ross Beschler and Ed Swidey are members of the Hothouse group at the Wilma Theater, with its intensive sessions by Blanka Zizka, who is committed to a wide range of voices, viewpoints, and styles, providing rigorous vocal and physical training. How did the Hothouse work influence your production? ​

​I am a huge admirer of the Wilma, particularly of their dedication to the craft of theater via new viewpoints and acting methods. Blanka’s invention of the Hothouse ensemble is inspiring, but the master classes and the training she has been able to bring into the city go beyond the members of Hothouse.

​Many actors and directors have participated in Wilma master classes, workshops, and training sessions. I know my work has benefited from it, personally, but also through the actors I work with who have gone through some Wilma training. I am sure many directors also have had cast members who trained there. It makes the work all around the city stronger, deeper, and better.
For example last season, Ross Beschler and Ed Swidey led a workshop with the cast of the Hairy Ape [by Eugene O’Neill] to show some of the breath work they had learned in Athens, Greece via connections through the Wilma. Matteo [Scammel] had already been exposed to such training through the Wilma and was able to keep leading the cast though warmups for the entire process. In turn, many ensemble members from Hairy Ape returned for Machinal, bringing in that shared experience and passing it on to new cast members. They use it on their own to help each other in their ensemble work. Of course, this does not compare to the dedicated work Hothouse is doing, but I cannot thank the Wilma enough for bringing this training into Philly and allowing it [to] spread through the community.
 SoLow Fest-ing and Fringe Fest-ing with an immersive opera
What are your creative plans for this year and next year?

Next up is the SoLow Fest, which I am rehearsing for now. I am working with KO DelMarcelle on one piece, as well as Colleen Hughs and Rachel Gluck on another. I have a few projects to take me through the summer in Cape Cod, Scranton Shax, and in the Pittsburgh area. I will be back in Philly in August to start rehearsals for the Fringe. At this festival, I am making an immersive opera at the Powel House. There are a bunch of different timelines for audiences to follow throughout the historic mansion, so I am very excited to craft that. It’s called Shadow House, and I hope you will see it.
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Mary Tuomanen, Carlo Campbell, Lee Minora, Chris Anthony and Colleen Corcoran.
Photo by Dave Sarrafian.
I would be delighted, even though I can’t imagine how one can go beyond your Treadwellian Machinal—one of the best productions I have seen in years.

Running Time: Two hours, with an intermission.

Machinal played through May 8, 2016 at EgoPo Classic Theater performing at The Latvian Society – 531 North 7th Street, in Philadelphia, PA.

LINKS:

Lover, Wife, and Murderess—EgoPo’s Stunning ‘Machinal’: Interview with Director Brenna Geffers: Part 1 on DCMetroTheaterArts by Henrik Eger
​
‘Machinal’ at Ego Po Classic Theater in Philadelphia reviewed on DCMetroTheaterArts by Neal Newman.

Brenna Geffer’s website.

Originally published by DCMetroTheaterArts. 
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Lover, Wife, and Murderess—EgoPo’s Stunning ‘Machinal’: Interview with Brenna Geffers, 1

5/11/2016

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​By Henrik Eger
Machinal by Sophie Treadwell, considered one of the most important Expressionist plays in the United States, premiered on Broadway in 1928. Inspired by the life of Ruth Snyder, who was convicted of and executed for murder, this dark play captivated audiences and earned accolades from its inception, including Burn Mantle’s The Best Plays of 1928-1929. In response to the 1954 TV production, the New York Times wrote, “Sophie Treadwell’s expressionistic and bitter poem for the theatre must rank among the video season’s finest accomplishments.” ​
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Brenna Geffers.
Photo courtesy of The Artist.
Brenna Geffers, an innovative director based out of Philadelphia, has directed a wide-range of plays from classical works to contemporary productions, in addition to creating her own theatrical pieces. She has served as Associate Artistic Director for Theatre Exile, a Literary Director for EgoPo Classic Theater, and an Artistic Associate for Flashpoint Theatre.

Recently, as part of EgoPo’s all-women’s drama series, Geffers directed a shockingly beautiful production of Treadwell’s Machinal.

 Brenna’s Gefferian breakthroughs
Henrik: What were the first signs during your formative years as a child and/or teenager that made you realize you loved theater?

Brenna: I am lucky. Growing up, theater was part of my world. My family loved old musicals. I remember seeing my older and incredibly impressive cousin performing the lead role in My Fair Lady. I can still picture perfectly her standing at the edge of the stage, dressed in black and white for Ascot Opening Day--it was the most beautiful thing I had ever seen. I told my father as a pre-teen that I wanted to work in theater and his response was that I ought to know the best. Then he brought home a video of [Bob] Fosse’s Pippin. He is still right about Fosse being the best.

You have a reputation as being a highly innovative director, even doing things that no one else does. Could you describe those breakthrough moments in your life where you developed the courage to go beyond a regular script and brand the play in your Gefferian way?

Thank you for saying that. When I was younger, I think it was just pure curiosity with a dash of stubbornness, maybe. It didn’t seem to me like I was doing anything particularly different, and it didn’t make sense to me if someone suggested that that was not the way a piece ought to be done. But I think most directors feel that way.

I had a lot of great teachers, starting from my undergraduate time at Indiana University of PA, which had, and still does have, a great theater program. My time at Temple U earning my MFA was spent in the crucible with artists like Doug Wager and Bob Hedley, who challenged me to defend my choices, to really mean them. Dan Kern is a Philadelphia treasure; I am one of many who can look to him as a guiding force. Professionally, I was incredibly lucky to see Joe Canuso and Deb Block be brave and true to their choices as directors. I spent time assisting Whit [MacLaughlin] at NPL [New Paradise Laboratories] and saw what it was like for a director to really go after what he or she is feeling in their gut/soul/imagination—wherever it is that their impulses are coming from. I am so thankful to have had and still have these Masters to check in with about my work.
 “We strove to find the humanity in the play.”
What made you select Machinal this year?
​

I find Machinal particularly important right now because of how women’s bodies are being talked about in the current political landscape. It sickens and angers me to hear pundits and politicians refer to the female body as if it were something unlike the independent, god-given, male bodies that they have. When politicians speak about whether or not a man can rape his wife, or if rape is a blessing from god, or if some girls are just more rape-able than others, I get mad. When New Hampshire State Representative Josh Moore says publically that men should be legally allowed to fondle a woman who is breastfeeding, I get mad. When I see “liberal” men talk about playing the “woman card,” I get mad. When a would-be world leader refers to the workings of the female body as “disgusting,” I get mad. Machinal is an angry play, and it is a suitable response to the absolutely asinine, blathering, hateful nonsense I hear about women and women’s bodies right now.
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Carlo Campbell, Colleen Corcoran, Steven Wright, Lee Minora, Mary Tuomanen,
Chris Anthony, Kirsten C. Kunkle, and Shamus Hunter McCarty. Photo by Dave Sarrafian.
What was your overall concept for Machinal, first performed in 1928? 

I was interested in looking at the way the rules of reality worked in the piece. We often spoke about “glitches” in the reality, the way one might experience in a dream. Things that are off, but just out of the corner of your eye. Those glitches helped to inspire the movement pallet of the piece.

Could you give an example or two?

I thought of the film Jacob’s Ladder when preparing the piece for rehearsals. Also, there is a video game series called Bioshock that helped inspire me towards this dystopian 1920s nightmare. There are so many moments from horror films, a healthy dash of 90’s music videos, and old Victorian gizmo-isms.

I think theater artists in particular hobble together so many moments, inspirations, memories, and secret meanings to make the world of the play feel whole and large. I know my work has lots of “Easter eggs” in it that may not mean anything to an audience member, but have impact. It adds to the sort of secret language that an audience feels and decodes when they watch theater. I think they can feel the specificity of the moment and then are left to apply meaning to that moment themselves. It is a way to activate their imaginations. A super obvious one is in the first moment of the play, before the first line. I recreated a version of the last moment from my Hairy Ape as a sort [of] “Now what? What’s Next?” place to start my work for Machinal.

Machinal by Sophie Treadwell deals with a tough topic, based on a true story of a young woman who murders her husband and gets executed in an electric chair.

We strove to find the humanity in the play as best as we could. For example, in the Court Scene, the Young Woman confesses that she could not divorce her husband as it would hurt him too much. This stood out as an important clue in terms of understanding how the Husband needed to be portrayed. We needed to believe that statement. Casting Ross Beschler was a big step towards that; his characters just breathe across his face like clouds across the sky. He is capable of creating such human fallacy and love in front of an audience because he is relentlessly specific in his work. He digs past the generalities and unearths the very needs and fears of his characters. This makes his Husband become an essential factor in the Young Woman’s life; he is all the more inescapable. If he, or the Mother, were just monsters, we would think the Young Woman to be foolish for not leaving them. They are not monsters. They are just oppressively mediocre. Just like most people.

Women are rarely the center of any story, let alone the anti-hero. So maybe it does require extra work to come into the Young Woman’s world—but it is work worth taking.
Collaboration with Thom Weaver
​Given your free spirit, did you alter any text or re-imagine passages? The last scene floored me. I thought we would see the execution of the young woman, only to discover that she was observing her own death—a powerful ending to this extraordinary production. How did you come up with that deeply thought-provoking alteration?
We did not alter the text with the exception of cutting a few words here or there for practical purposes. We did use recorded voice overs for some places. We also did physically embody events that were implied in the text, like the sexual encounter with the lover, the birth of her child, the murder of her husband, but I think it is in line with the style to allow these events to be visually represented for the audience.

​As for the final moment of her seeing her own body, that was all Thom’s idea. He asked, “We’re gonna show the electrocution right?” and I said, “Absolutely,” and he said, “Great because there is this thing I want to try . . .”
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Thom Weaver. Photo courtesy of Wingspace Theatrical Design.
You are a strong team player who works closely with artistic teams. Tell us more about that approach for this production, which was dramatically different from any of your other theatrical creations.
​

 This was the first time as a director I worked with a single production designer for all of the elements of the design: Thom Weaver. He and I worked together for the first time on Knives in Hens to create an immersive environment with lights and sets for Studio X, along with Chris Colucci, Dan Perlstein, and Rosemary Mckelvey. That was one of my favorite designs ever.
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Chris Anthony, Kirsten C. Kunkle, Colleen Corcoran, Lee Minora, Carlo Campbell,
and Steven Wright. Photo by Photo by Dave Sarrafian.
He and I decided we wanted to work that way again, but go even further if we could. It took us this long to get the chance. The process of collaborating with him has been incredibly satisfying. It is not just because he is an amazing designer; it is also because he is an amazing theater artist at large. He intuitively understands the very nature of live theater.

That’s great. Could you give some examples of Thom Weaver’s input on Machinal and the process of both of you collaborating on this remarkable piece?
​

We decided we wanted to make a “beautiful nightmare” and wanted to see how hard we could push the line between horrifying and stunning. To me, it was a gift to have someone with me at every step of the way in the conception process, a partner with whom to hash out the rules of the world at large. Almost every moment of the piece has Thom’s input on it. While we were crafting the last moment of Machinal, Thom actually got up on stage and started shaping and directing the actors to get it. I think it was quite a moment for him to suddenly be working with live bodies, rather than design elements, but he was amazing at it.
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Carlo Campbell, Kirsten C. Kunkle, Lee Minora, Colleen Corcoran, and Chris Anthony.
Photo by Dave Sarrafian.
Machinal played through May 8, 2016 at EgoPo Classic Theater performing at The Latvian Society, 531 North 7th Street, in Philadelphia, PA.

LINKS:

‘Machinal’: An Expressionistic Masterpiece: Interview With Director Brenna Geffers, Part 2 by Henrik Eger.
‘Machinal’ at Ego Po Classic Theater in Philadelphia reviewed on DCMetroTheaterArts by Neal Newman.

Brenna Geffer’s website.
Thom Weaver’s website.

For the interview originally published by DCMetroTheaterArts, click here.
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‘The Radicalisation of Bradley Manning’: Interview with Tim Price

5/11/2016

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​Henrik Eger interviews Welsh playwright Tim Price about the genesis of his play The Radicalisation of Bradley Manning, which premiered in 2012, before Chelsea Manning's transition. The play received its U.S. premiere at Inis Nua Theatre Company and continues until May 15, 2016. Read Mark Cofta's review here.
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Playwright Tim Price.
Photo by Dan Green/National Theatre Wales.
Eger: Tell us about your background as a politically aware writer.

Price: I was brought up in the South Wales valleys, a densely populated mountainous region now in post-industrial decline. The Government never had a plan, nor any inclination to plan for places like the valleys.
​
I became a journalist on my local paper here, and wrote plays in my spare time. Like most people's route into theatre, it was a series of happy accidents, good fortune, and perseverance. 

​What attracted you to writing about Chelsea Manning, an American citizen hailed as a hero and condemned as a traitor for leaking hundreds of thousands of military and diplomatic documents to WikiLeaks?
The Collateral Murder leak really shocked me. It was at this point I understood the power of WikiLeaks. I was fascinated by their groundbreaking approach to protecting sources by never knowing who they are in the first place.

When Chelsea was arrested, I was gripped by the story because this incident disrupted WikiLeaks' reputation as the safest place to leak material. When I discovered she was Welsh, I knew I had to tell her story.

The evolution of a radical play

Tell us more about both your research and the creative process involved in writing this unusual drama.

The play was first produced in 2012 when Chelsea was in solitary confinement. You couldn't get any info about her situation, if she was being charged, or why the U.S. was treating her in a way “tantamount to torture.”

But the documents we did have were the chat logs leaked by Wired, between Chelsea and another hacker [Adrian Lamo, who reported Manning to the FBI], where she confessed to the WikiLeaks dump. She outlined her politics, gave her reasoning, but also gave an indication of her fragile mental state.

The treatment of Chelsea in prison is all based on documented evidence as Chelsea tried to complain about her treatment at the time — the removal of clothes, the waking up, etc.

I also went to West Wales where she lived when she was in the UK and met old school friends of hers. I got a sense of what she was like in school and slowly built up the character.

Tell us why you chose to present Manning’s character through six different actors.

For three reasons: first, because I felt connected to Chelsea and that she could easily have been me. Having everyone play the Bradley character reminds us that anyone could find themselves in this situation.

The second reason is that The Radicalisation of Bradley Manning is not and could not be a straight biographical play. Having everyone play the Bradley character puts the question of who and what you are watching on the stage.

Third, in a play where you are managing huge amounts of information and events, the device brings subtext and nuance, as we chart the fracturing of the Bradley character.

How tempting was it for you to take sides?

I think it's impossible to sit on the fence when writing drama. Critics often say writers are brave because they “ask questions” of society. I don't think it's brave to ask questions. I think it's brave to offer answers.

John E. McGrath, the founding artistic director of the National Theatre Wales (NTW), accepted your concept “before we had a single line.” You must have been under tremendous pressure. How did you persevere with this explosive subject?

John was incredibly brave and supportive when he switched plays and announced NTW had a play on Chelsea. The UK media put it all over the press that we had this story that will explain what motivated this person's actions when, at the time, I had as much of an idea as the next person. When I saw the press reaction, I found myself hiding under a duvet for about a fortnight, asking myself, “What the hell have I done?” I learned that, ultimately, if you feel something is right, you have to take a risk.

Tell us more about the possible impact of “radical protest” in Welsh history and its rebellion toward England on Chelsea Manning when she attended school in Wales.

Welsh history is really a long series of noble losses. We are England's oldest colony. Having such a mighty neighbor means holding onto our identity, in itself, is an act of resistance. To correct people who assume you are English is an act of resistance. Americans do not understand what it feels like to be brought up in a culture and identity that is so deeply threatened and dominated by a neighbor.

There were three million people with the same security clearance as Chelsea; yet, only she leaked any information. She was probably the only officer to have also gone through the Welsh education system. I think those two things are related.

What did Susan Manning, Chelsea’s mother, and other family members and former classmates tell you after they saw the production?

They were hugely appreciative because at the time, the UK Government was offering no consular support. They refused to recognize Chelsea's dual citizenship, and therefore this little Welsh family was cut adrift while one of their children was at the center of a global news storm. It was only a campaigning politician, Ann Clwyd, who represents my valley (you see a pattern here?) who took up Chelsea's case and forced the UK Government to support them.

What made you accept the offer to stage your play in Philadelphia?
​

I think directors are drawn to the formal innovations within the play, but are often unnerved by its politics. It takes someone with courage to want to put this on, especially in the United States, and I think [Inis Nua Theatre Company artistic director] Tom Reing is just that kind of director. 

For the interview originally published by Broad Street Review, click here.

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Working with the First National Congress in 1776: Interview with director Jennie Eisenhower

5/6/2016

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​By Henrik Eger
Through May 22, 2016, Media Theatre presents 1776: THE MUSICAL, an entertaining, thought-provoking introduction to the fights among politicians as the 13 colonies break off from Britain as the nascent United States (read Phindie reviews here and here).

Media’s director Jennie Eisenhower—a popular stage, film, and TV actor; director; and history buff—has performed off-Broadway and at regional theaters across the U.S. for over a dozen years. She has won two Barrymore awards and several Barrymore nominations.


For this production, Eisenhower directed a team of twenty-six talented Philadelphia actors who transition beautifully into famous historical characters (sometimes understudying several roles), ranging from high school junior Thomas Locke as the Courier who delivers the desperate letters from General Washington, to experienced actor Michael Fuchs as John Knox Witherspoon.
​

In this, the second of a two-part interview (read part one here), we talk to Eisenhower about the history behind the musical and her work on the production. [Media Theatre, 104 E State St., Media, PA] April 13-May 22, 2016; mediatheatre.org.
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​Eger: Tell us about your casting for this production of 1776. What were you looking for in the actors/singers?

Eisenhower: First and foremost, I was seeking strong actors. I consider this to be a play, predominantly. If people were strong actors and could carry a tune at all, they were contenders. I also attempted to cast a wide variety of personalities. Everyone is so unique in this group with their own quirks and things that make them stand out. That was important to me. All of them are so incredible and I wish I had time to praise them each individually, but there are 26 of them in total.  ​

Eger: Could you give a few examples of some of the most famous Americans during those revolutionary days with whom you worked at the Media Theatre?
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John Morrison as Ben Franklin.
Photo by Maura McConnell.
Eisenhower: In terms of the leading actors in the piece, it was a dream to get to work with Ben Dibble [who played the lead as John Adams]. We have acted opposite each other, but I’ve never worked as his director before. He is so talented, strong, intelligent, and the ultimate make-it-work actor. If I need him to cross upstage solely for sight-line purposes or something like that, he somehow makes it happen and look organic, even if it is completely illogical. I don’t know how he does it.  

Joe O’Brien is the perfect Jefferson. He is the coolest guy onstage and in person—just very dynamic. Similarly, John Morrison is an incredible Franklin—a very difficult role. At the same time, one has to be all of these: funny, highly intelligent, witty, intense, bawdy, and stately.  It is such an odd mix, and he absolutely captured him in auditions. Then, fast forward to dress rehearsal when he walked out in his wig and costume. I couldn’t believe how he physically transformed into Franklin as well. It was incredible.
Eger: Directing a large cast of 26 actors, with 11 of them also serving as understudies, sounds like an organizational and psychological headache, especially as 1776 demands a strong ensemble performance. What did you do to keep the show moving?

Eisenhower: I think the most difficult thing about 1776 is that every character is important and larger than life. It is difficult to keep the pace of the piece moving if anyone lingers too much in a moment or lays too hard into it. I kept reminding the cast not to play the end of the piece, even though the audience knows the outcome. Independence and the gravity of what that meant for America was not a forgone conclusion, and therefore each moment in the piece doesn’t need to be “deep!”  The actors were very generous about keeping the energy moving and “passing the baton,” as I referred to it.

Eger: Edna Snidebottom, a critic of the DelcoCultureVulture writers’ collective, pointed out that “Peter Stone added two very thinly written roles for women. Under Eisenhower’s direction, the very talented Elyse Langley as Abigail Adams and Meredith Beck as Martha Jefferson find more to their characters than what is written.” Tell us about your input and how it made these scenes so memorable.
​

Eisenhower: I was very happy when I read Edna’s remarks about the women in the piece. I consider myself a feminist director and never want the female presence in a play to be weak, no matter how underwritten. In casting, one of my main focuses was on women who were able to lend those roles some added depth. We—Meredith, Elyse and I—also discussed the historical inaccuracies in the play, particularly with Martha Jefferson’s character, and then made a pact to be aware of them, but also not to let them get us hung up.  I’m thrilled with both ladies’ performances, and glad they are able to hold their own—amidst the many strong males in the piece.
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Ben Dibble as John Adams and Elyse Langley as Abigail in 1776 The Musical. Photo by Maura McConnell.
​Finale

Eger: Which task is more demanding—acting or directing—and why, especially now that you are the mother of little Chloe?
Eisenhower: Directing is more all-consuming, but for a more concentrated period of time. And a lot of the prep work I am able to do after hours, while Chloe is asleep. I also like being able to be home to put Chloe to bed—another perk of directing and not performing. I LOVE acting, but it isn’t as toddler-friendly.

Eger: Looking back at the entire experience of developing concepts on how best to direct this historical musical, your work with the artistic team, and the actors, what would you say were the most important things that you have learned about yourself as a director and as an American?

Eisenhower: One thing that is remarkable about this piece is that it is about great but flawed Americans. There isn’t one character without some fault, some unappealing characteristic. Yet, they were all about to work with each other, to compromise, and to bring a nation together. Adams, for example, is “obnoxious,” Franklin is a bit of a windbag, Jefferson is a hypocrite, Wilson is a coward, etc. These qualities, however, did not stop them from working together. The spirit of compromise exhibited by the delegates during the editing of the Declaration of Independence is a great example of a functioning democracy and I think modern politics could use a bit of that spirit.

In that same spirit, I was able to let go of my pursuit of perfection on this project, which is something that sometimes plagues me as an artist. I just create, get messy, and discover 1776 with this wonderful cast and creative team. The result was, like America, not some pristine and perfect thing, but a piece with a lot of heart that just works. It was freeing to work in this way.
Eger: Is there anything else you would like to share?

Eisenhower: This is such a great group of people telling an important story. I hope people will come out to Media to see it before it ends its run. 

And thank you, Henrik, for taking the time to ask these questions.
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Jennie Eisenhower. Photo by Kim Carson.
[Media Theatre, 104 E State St., Media, PA] April 13-May 22, 2016; www.mediatheatre.org
Running Time: Two hours and 40 minutes, including an intermission.

For this interview, originally published by Phindie, click here.
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1776 And All That: Interview with director Jennie Eisenhower

5/4/2016

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​By Henrik Eger
Picture
Through May 22, 2016, Media Theatre presents 1776: THE MUSICAL, an entertaining, thought-provoking introduction to the fights among politicians as the 13 colonies break off from Britain as the nascent United States (read Phindie reviews here and  here). Media’s director Jennie Eisenhower—a popular stage, film, and TV actor; director; and history buff—has performed off-Broadway and at regional theaters across the U.S. for over a dozen years. She has won two Barrymore awards and several Barrymore nominations.

For this production, Eisenhower directed a team of twenty-six talented Philadelphia actors  who transition beautifully into famous historical characters (sometimes understudying several roles), ranging from high school junior Thomas Locke as the Courier who delivers the desperate letters from General Washington, to experienced actor Michael Fuchs as John Knox Witherspoon.

​In this, the first of a two-part interview, we talk to Eisenhower about her background and work on the production. [Media Theatre, 104 E State St., Media, PA] April 13-May 22, 2016; 
mediatheatre.org.
Picture
Jennie Eisenhower. Photo by Kim Carson.
1776: Research into American History

Eger: How long have you and your family lived in the greater Philadelphia area and how much did your relationship with this historic city influence your directing 1776 in Media?

Eisenhower: I’ve lived in the Philly area since my parents and I moved here when I was two years old. I have lived in other cities (Chicago for college, New York City, and Tampa) but love Philadelphia. I’ve always had a great interest in our nation’s history, and I am sure growing up near where it all began contributed to that interest.

Eger: Tell us about your background research for 1776.

Eisenhower: I read a lot in prep for 1776. The two books that came the most highly recommended and were the most useful were 1776 by David McCullough and Revolutionary Summer by Joseph J. Ellis. I also visited Independence Hall to just breathe the same air these historic giants breathed and be present in the space where everything happened. It was incredible to be able to do that so easily, living in Philadelphia.

Eger: Did you consult with historians, including your parents who know more about U.S. history than most Americans?

Eisenhower: I’ve always been interested in US history and, of course, my family background plays into that interest. We were more of a Civil War nerd family—my father took us to Gettysburg when I was twelve and gave us an on-site blow by blow of Pickett’s Charge—as well as WW2 junkies.  So the Revolutionary War, for me, took a little more digging to feel fully prepared to direct a piece about it.

My father, David Eisenhower [President Eisenhower’s only grandson], was the person who recommended I read 1776 by McCullough.  I also consulted with Stephanie Muntone, who is an historian, a costume designer, and a friend. She sent me quite a bit of background research on Washington’s letters.  I was lucky to have direct access to two brilliant historians.

Eger: When you direct, do you usually steep yourself in as many materials as possible, including watching videos, interviews, etc., or do you prefer to rely on the script and your own imagination?  
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Eisenhower:
 It’s interesting because, when I am acting, the minute I book a role, I cut myself off from any other interpretations of it, be it cast recordings, movies, YouTube, etc. As a director, however, I feel it is my responsibility to have an awareness of what choices were made with the piece prior to my work on it. It is helpful to see what others did with it, and also allows me to avoid unknowingly making the same choices. If I’m going to steal great ideas, I want to know I’m doing it! I watched the archival recording of the Broadway revival (on file at Lincoln Center), the movie, and clips of several other productions online.
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Ben Dibble stars as John Adams, in 1776 The Musical. Photo by Maura McConnell.
Working with the artistic team

Eger: What stands out for you about the team that recreated the world of Philadelphia in 1776—often with a touch of delicious satire—especially the six directors: scenic design (Matthew Miller), sound design (Carl Park), costume design (Katie Yamaguchi), lighting design (Shawn Butcher), music (Christopher Ertelt), and stage management (Tim Haney)?

Eisenhower: This was an impressive team because of their willingness to be collaborative and adaptable.  Matthew Miller and I were on the same page from the beginning with the design of the set--and Matthew was able to meet the challenge of fitting both the gigantic Independence Hall set-up and several other locations into one space.

Chris Ertelt, our music director, did an excellent job with orchestrations.  

Katie Yamaguchi worked theatre magic to bring an opulence to the costumes.  

Carl Park was able to mix a play that sounds like everyone was wearing a body mic, even though that wasn’t feasible with a cast of 26.  

Shawn Butcher was able to capture my vision that Independence Hall never really goes away throughout the piece (because it is the main focus of the story), but also doesn't steal focus when other scenes are playing downstage.

Tim Haney is awesome at wrangling everyone--dealing with the scheduling conflicts, illnesses, etc. of 26 actors.  He was a great grounding force. I was lucky to have such an adaptive, talented, and fun group to work with.

Eger: Your production of 1776 ends in a most spectacular, unexpected way. Tell us about the split-second precision by your technical staff, which is necessary to pull off that feat.

Eisenhower: This is another example of how adaptive my team is. I basically explained to Chris Ertelt, Carl Park, Shawn Butcher, and Tim Haney what I wanted the ending to sound like and then told them to “take it away!” They were able to coordinate everything beautifully.

Eger: As if the above were not enough, you also did the choreography. What inspired you?
Eisenhower: Whenever I choreograph, I try to allow the movement to come out of what is happening dramatically.

​I was also interested in the dance vocabulary of colonial America, including the minuet, which was inherited from England, and folk/square dance which is more American. I incorporated square dancing into the song, “But Mr. Adams,” because I thought that was how those characters would probably express themselves physically in a goofy and casual moment.
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Jennie Eisenhower. Photo by Kim Carson.

​[Media Theatre, 104 E State St., Media, PA] April 13-May 22, 2016; mediatheatre.org

Running Time: Two hours and 40 minutes, including an intermission.

For this interview, originally published by Phindie, click here.
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