Stage Banter: The Arena Stage Blog

Congrats to Karen!

by Janine Sobeck

 Last night at the Humana Festival, Karen Zacarias was awarded a citation from the Steinberg/ATCA Award for her play Legacy of Light! Recognizing the best plays of the year that premiered outside of New York, The Steinberg Foundation and the American Theatre Critics Association picks one winner and two citations.  We're all so proud of Karen and her work, which was described as an "intellectual joyride" by one of the critics there. Congratulations Karen!

 

 

Women in Charge

by David Dower

With all the talk of late in the theater press about the gender gap in American plays and productions, I thought this short clip from the Making of The Quality of Life made a pretty succinct statement about where Arena Stage sits on the issue. Meet Jane, the playwright, Molly, Arena's Artistic Director, and Lisa, the play's director. The Quality of Life follows on the heels of The Legacy of Light, our world premiere of Karen Zacarias' new play. Oh, and no coincidence that Karen Z. is the first Resident Playwright in Arena's new Mellon-sponsored initiative The American Voices New Play Institute. For more on the play and the people behind it, you can now visit the Sub/Text site.

DCTS votes "Legacy of Light" one of top new plays this season

by Janine Sobeck

Some of you may know that DC Theatre Scene holds an annual "Audience Choice Awards."  Since voting starts on Monday, they have started a 3 part series giving their own opinions on the top plays, musical and performers seen in DC this season.  The first part, posted yesterday, listed their top 15 new plays - and Legacy of Light was listed number 3!  Congrats to Karen and the whole company.

For the full article, click HERE

More Mother/Daughter Stories for Legacy of Light Contest

Enjoy the final story submitted to the contest, written by Jessica Haney. The winners will be announced shortly!

The fear of turning into my mother has always guided my choices. In my childhood, my mother, it seemed, slept often and had no passions. She didn’t go out with friends or have anyone over.

By the time I was in college, I understood that my mom had been dealing with depression the best way she could, but I’d also already started working hard to avoid her fate. Ever involved in too many clubs and pursuits, I tired out my mom just telling her what I was up to. She sighed in pity; I defended my busy-ness as exactly what I wanted.

We never much understood one another, but once I entered my thirties, I came to a new place of acceptance and respect. I realized that I had not become the person I was – someone I liked – in spite of my mom, but because of her. My journey was cast as one of opposition to my mother’s model, but I wouldn’t be the same without that differentiation. We became friends.

The birth of my son, to my surprise, set us into a temporary tailspin; old roles and wounds were resurrected. Eventually, though, my mom and I found new ways to accept and love one another. I recently published an essay about my efforts as a mother to establish healthy patterns in my family. My mother felt both hurt and also grateful to learn more about my perspective on my childhood. We’re hopeful for whatever future we have left together.

 

Last Week in Legacy of Light

by Jennifer Mendenhall, actress in Legacy of Light

I will keep this short and sweet, as I am falling over with exhaustion and that wired feeling after doing a show.

Last Sunday was the closing matinee of Woman and Scarecrow at Solas Nua. Dan Pruksarnukul, casting czar of Arena Stage, came to see it and waited for me afterwards. When I was done washing off the blood and feathers (don't ask) and rinsing my costume out, I said hello. He congratulated me on the show and asked if we could speak.

As soon as the words "Carla Harting" and "bike" came out of his mouth, I knew what was coming. I had seen Carla a few times at Tunnicliffe's, and we had talked about how the show was going. I was planning to see her in it. I had auditioned for the role, and was 
looking forward to seeing the play. I was so sorry to hear that Carla had been injured: it sounded awful, but she was in good hands at GW hospital, with cast members keeping her company.

Naturally, I said I'd do it. How could I not? I have loved Karen Zacarias ever since I met her a few years ago and I care about her play, I admire Molly Smith and the work that Arena is doing, Carla is a friend of mine who was originally from here so we've known each 
other for many years, and my husband generously offered to shoulder the burden of domestic chores and children - thank you, Michael! When my children, Henry and Vivian, heard that I would be paid to do this, they said "Do it!" (I keep telling them actors don't make any money). Frankly, I didn't think it was possible to truly effect a replacement. But I'm a good sight reader, so I thought at least the show could limp along with one actor on book. And I would give it my best shot.

Susan White, the stage manager extraordinaire, came to my house that night to deliver a script and talk over our strategy. She said I should ask for whatever I needed to help me do this, and we would plan on my doing the show Tuesday night with book in hand, no 
pressure to get off book until I was ready. I would be given a "handler", the amazing Jenna, who would accompany me everywhere except actually onstage, telling me where to go next, what clothes to wear, handing me the lines for the next scene, a glass of water, a tissue, the works. Tuesday afternoon the cast would rehearse with me from noon till five so we could all get used to this strange situation. I suggested she and I go through the play together onstage all day Monday, repeating each scene until I had a sense of it. There would also be some fittings with the costume department. And that's what Monday was. From ten am till eight pm, with breaks for tea and lunch and fittings (some of the pants worn by the more svelte Carla were deemed "too aggressive" on me, according to Steve, so the costume guys went shopping). Sue and I did the Olivia bits over and over, till it started to stick. Everyone was so welcoming, so focussed, so calm. At the end of the day I went to visit Carla, who is amazing, and whose sense of humor was intact even though her tibia was not. Got home late and heard a message from Molly, thanking me for stepping in.

Tuesday I got a close-up look at the incredible team at Arena, and the meticulous planning that had gone into making this transition as seamless as possible. The cast and crew is the most generous, supportive group of people you could imagine, and everyone was 
patient and helpful. Of the cast, I knew Michael (for many years) and Lise and the two young women, Katie and Maddy, who play the valets (in a nice gender-bending period costume I adore); I was meeting  Steve, Lindsey and David for the first time; Molly and Karen were also there. They were all so concerned about Carla, and all so committed to the play. We went through it until it felt solid, Molly directed me and gave adjustments so I would be on the right track, we worked out the intricate backstage journeys, scrapped the costume changes for Olivia, figured out the best way to hold the script, broke for dinner.

Tuesday night we did the show. And felt like rock stars, got a standing ovation from the audience, and thought this was actually doable. Wednesday and Thursday and Friday and Saturday I would meet with Sue before the show and go through all the scenes with her. Thursday I got the script out of my hand except for the two speeches where Olivia is addressing the audience and can have notes without it looking odd. I got notes from Sue every day, and from Molly when she saw the show again on Saturday. Meanwhile, the cast is making meals for Carla, visiting, plumping pillows, keeping her company. Sunday night Sue gave a champagne toast in the Green Room after the show.

It has been an incredible week of learning and leaning on each other, of patience and generosity, of willingness to play and take risks. And we are successful: the show is up and running, not limping, toward its closing a week away. I have never experienced anything quite like it; everyone is wearing a halo as far as I am concerned. I hope they are all very proud of what we have done. I am looking forward to next week.

Mother/Daughter Contest Stories begin

As promised, here are our first to entries for the Legacy of Light Mother/Daughter Story Contest.  The contest goes until Monday June 8th, so don't miss your chance to send in your story.  Details here.

A Legacy of Spring Rolls - by Kim O.

Few aromas evoke my childhood as strongly as the oniony odor of my Vietnamese mother's spring rolls, frying on her spattered stove.  Brown, cruncy, and hot, dipped in fish sauce, her spring rolls were intensely satisfying.  I couldn't know then how those rolls would sustain me as an adult, when my family had become fractured and estranged.

To an American-born girl like me, my mother was an exotic creature, offering me treats that I could get nowhere else in my suburban town. When I was old enough, we made spring rolls together—chopping, mixing, rolling, and frying. 

By the time I reached high school, however, I was more interested in pizza with my friends than spring rolls. My parents had divorced, and my mother and I argued frequently. I was too American, she said, and not deferential enough. She was too Vietnamese, I thought, and didn't understand me. We became estranged.

Yet I made her rolls. Doing so, I felt her presence at my shoulder, guiding my hands. I came to view the rolls as an essential part of my family legacy. When my son was born, I envisioned a day when I could pass the recipe on to him.

Not too long ago, my mother called me, expressing her wish to heal the breach and know her grandchild. “Let's get together,” she said. “We'll make spring rolls.” Later, in my kitchen, thick with the pungency of fish sauce and regret, we did just that.

 

by Sherri S.

We love each other dearly.  I can't wait till she comes home from college. The first week, it is like a romance.  She wants to go out to lunch with me, talk, walk in a park, and go shopping together.  She even tells her friends, "I can't do that now, I'm with my mom."  The second week, it wears off and mostly she tells me where she is going and what time she'll be back.  I sigh and love her energy and busyness and fade into the background until I'm needed.
 
The good thing is she listens to my opinion on the big things and takes my suggestions sometimes (but definitely never on fashion).  She saw the close relationship I had with my mom and I hope that lets her know that we will always be close also.  I love her and
admire her and learn from her too (especially about fashion).

All is for the best, part 2: An indescribable night

by Janine Sobeck

We're minutes away from the second curtain with Jennifer stepping into the role of Olivia for Legacy of Light.  In fact, the curtain will probably be up by the time I actually end up posting this.

Last night was...indescribable.  But I'm going to try anyways.  Molly made a touching speech at the top of the show, explaining to the audience what had happened and what was to be expected from the performance that night - particularly the fact that Jennifer, who would have her script in hand most of the night, would not be doing an "understudy" performance (or a re-creation of Carla's performance) but had been given the freedom to bring her own personal interpretation to the role.  The lights dimmed and the adventure began.

I'm happy to report that we made it through.  A big contributing factor was the fantastic audience that joined us for the ride.  You could feel the support emanating from the room - everyone was rooting for Jennifer and the cast to succeed.  In the lively discussion that followed the show, we had several people comment on how thrilling the performance had been for them.  One woman said that she had been praying for Jennifer through the whole show, that she wouldn't drop her script or forget where she was supposed to go.  Another couple commented on the fascinating experience it had been for them - they had seen Jennifer on stage at Solas Nua on Friday (in a show that closed on Sunday).  Now, four days later, the opportunity to see her at Arena, in a very different role, was unlike anything they had ever experienced in their theatre going history. 

The cast also commented on what it was like for them.  Since Jennifer was not giving an "understudy" performance, everyone had to be on their toes, making sure they were listening carefully to how Jennifer interpreted her role and responding appropriately - while still staying true to the work that they had done throughout the rehearsal process.  All of them could feel the heightened energy on stage, along with that which was radiating from the audience.

All of this on top of the genuine enjoyment the audience experienced from seeing Karen's play.  As we sat in the theatre afterwards, lights up, actors and audience talking together (and joined by Karen, the backstage crew, and some members of the costumes shop who all wanted to be in the room forthe discussion) I knew that we were all experiencing something special.  Jennifer will continue to need support through the next few days as she commits her lines to memory and grows into the role, but there won't be anything quite like this first night.

So I was right.  By now, the curtain is up.  Once again I will be going down to moderate the post-show discussion after the show - and I fully admit to being just as curious today as I was last night to how people are going to respond. 

All is for the best?

by Janine Sobeck

 

Today is what you would call a surreal day.  I just got back from a double destination visit.  First stop?  George Washington University Hospital to visit actress Carla Harting.  Carla, who has been playing Olivia in Legacy of Light, was biking to the matinee performance on Sunday when she was hit by a car.  Though emergency surgery was required to fix the compound fracture in her leg, I was relieved to see that her spirits were high (she is finding percocet to be a good thing) and that there has been a constant stream of support from her family, the cast, and Arena staff members.

After a brief visit we left with playwright Karen Zacarias (who was also visiting Carla) to the emergency rehearsal at the theatre, where actress Jennifer Mendenhall is valiantly preparing to step in at the last minute and take on the challenge of continuing in the role of Olivia.  She will begin tonight, script in hand. 

 

This is the stuff that live theatre is made of.  The relief that Carla is going to be ok is immense.  The fact that we were able to find an actress who could step in as a replacement so quickly is incredible.  And the rallying together of the cast, crew (the stories that the costume shop has of making sure Jennifer had the right clothes to wear!), and staff has been amazing to watch.  And through it all, Voltaire's famous quotation "All is for the best in this best of possible worlds" has been running through my head.  Obviously, the experience that put Carla in the hospital is not one that we would wish on ANYONE.  But we all know it could have been worse.  And the response, and the opportunity that is unfolding, is definitely one that is testing and pushing everyone here in a way that is truly binding.  We've all come to realize how fragile things can be - and how much we depend on one another.

 

It is also turning out to be an opportunity for the audience.  As it turns out, we have three post show discussions left for the run of this show - tonight, tomorrow matinee, and thursday night.  I am grateful for that fact.  Everyone is rallying around Jennifer, wanting her to succeed, and it will be a priceless opportunity to speak with the audiences that support her through these first performances.

 

So, is all really for the best?  There is definitely going to be some debate on that topic.  But as we continue on this journey with Emilie, Voltaire, Millie, Peter...and Olivia...we are at least finding that making the best out of the situation makes for a crazy...and a surreal...ride.

Win tickets to Legacy - the blog contest returns

Share your mother/daughter story with us for the chance to win tickets to Legacy of Light!

Close? Fun? Supportive? Bittersweet? What best describes your mother/daughter relationship? In Arena Stage's critically acclaimed production of Legacy of Light, the characters Émilie, Pauline, Olivia and Millie find both challenge and comfort in their mother/daughter bonds. So what's your story...and what's your legacy?

Please submit your entry to contest@arenastage.org. Entries will be posted on Stage Banter.

 

Deadline: June 8

Limit: 250 words

DC Theatre Scene talks to Karen and Lindsey

by Janine Sobeck

DC Theatre Scene's Lorraine Treanor has delved into the creation and process of Legacy of Light by talking with playwright Karen Zacarias and actress Lindsay Kyler.  Take a moment to check out the interviews and find out what these two ladies have to say about the show...