Stage Banter: The Arena Stage Blog

Top Ten Things to Look For Next Season

by Amrita Ramanan, Literary Manager

My fearless leader, David Dower, always carries the mantra of replicating best practices throughout Arena Stage, whether it's learning how to integrate audiences in the new play development process with Theater 101 from a model shared generously with us by our friends at Steppenwolf Theatre Company or learning from you, our audience and blogosphere readers, what we should add to Sub/Text or the post show discussions. So with that guiding principle, I'm here to replicate a best practice from two Davids, Dower and Letterman, with my highlights of what's coming around the bend next season: 

1) Plays about art, and how we make it

As we've continued to explore the content and research for the plays in the 2011/2012 season here in the literary office, we've noticed a strong thematic connection of how they all interact with the process of developing and creating art. Plays within plays. Documentaries within plays. Plays about artists making art in a variety of ways (music, visual art, just to name a few). Plays about the political ramifications or commercialization of art. You'll see more blog posts from us that expound upon this idea, but it's definitely something to look for, dwell on, and talk about throughout the year as you go from show to show.

2) The Dr. is in

Many of you shared your congratulatory tweets when the news broke out that Dr. Polly Carl would be joining Arena Stage as the Director of the American Voices New Play Institute and she's going to be riding the tide with us starting this season! You'll mostly see her around the productions of The Book Club Play by Karen Zacarías and You, Nero  by Amy Freed (both are playwrights in residence), as well as Theater 101 and our upcoming round of convenings. She's a new play mover-and-shaker that's already bringing some great energy, wisdom, and kick-ass tatoos to Arena. 

3) OK! back at the ranch

Never thought I'd say this, but a second time around can be just as good, or even better than the first (and it looks like Peter Marks shares this opinion too). If you missed Oklahoma! the first time around, come see it. If you saw Oklahoma! and thought a second time around wouldn't have anything new to offer, come see it. New cast members and additional choreography add a bit of surprise to the musical that still leaves me humming the familiar tunes long after the performance. It's still got the magic of the inagural production, just with a little more pizazz.

4)  From Ashland to Arena

One of our core pillars in our programming is presentation; showcasing the best and brightest companies and productions from around the country in our nation's capital. We ended last year with a bang and are blessed with the arrival of some heavy hitters this year: Oregon Shakespeare Festival's Equivocation and the Goodman Theatre's Red. Artistic Directors Bill Rauch and Robert Falls will don the director's chair for each production respectively. With their talented casts and crews, they'll share two exquisite productions with us in the Kreeger Theater that you won't want to miss.

5) Mary Todd Lincoln's dresses in Mary T. and Lizzy K.

If you've ever seen one of dressmaker Elizabeth (Lizzy) Keckley's creations at the Smithsonian National Museum of American History, it has the ability to take your breath away. Meticulous detail work and precise tailoring weave together in stunning harmony that fully validates fashion as art. Our stellar costume shop is already in the works of figuring out how to replicate these beautiful dresses on stage with playwright/director Tazewell Thompson and costume designer Merrily Murray-Walsh. Stay tuned for ways in which you can chart the costume build with us before seeing them adorn the actors on stage.

6) What's in a magic trick?

Confession time. Growing up in Las Vegas, I attended my fair share of magic shows with my folks. And while some of them may have involved tigers and disappearing acts while others toyed with card tricks, they all left me wondering the same question: how did they do it? It's still been a fascination of mine and made me super excited when I learned that the insanely talented ensemble RainPan 43 and actor-magician Steve Cuiffo were pairing up to create a show about the world of magic with Elephant Room. You can check out a sneak peek of the guys in action at the Philly Live Arts Festival in September before they head into the Kogod Cradle in January and conjure up a slew of tricks that will keep you guessing. Not to mention that these guys are freakin' hilarious and will wow you with their physical comedy.

7) The O'Neill and the sea

In celebration of this year's American Giant Eugene O'Neill, we're in the works of developing a festival that explores O'Neill's sea plays in conjunction with our productions of Long Day's Journey into Night and Ah, Wilderness!. A lot of this is still in the nascent stages, but there's the promise of exciting partnerships with organizations and universities in the DC-metro area and using our location by the Waterfront to evoke O'Neill's never-ending fascination with maritime themes. 

8) A new class of Allen Lee Hughes Fellows

The fellowship training program that I'm a proud graduate from will welcome a new class of fellows in a number of departments starting this August through next Spring and Summer, as well as mark a number of senior fellowships for fellows from this season (like dramaturgy fellow Aaron Malkin. Yay!). They always bring a determined work ethic and charisma that keep the wheels of the organization turning. We can't wait to have you on board!

9) Engaging and Educating Communities

Our Community Engagement department succeeded in the big move from 14th and T street to the Mead Center with flying colors and expanded upon their exciting programs with a Voices of Now Ensemble Festival, more Student Playwright's Project plays in submission than ever before, and the continuation of Camp Arena Stage and the Musical Theater Academy that Ado Annie's June Schreiner came from. If you missed the festivals and showcases last year, check out the CE webpage for updates this year. The work of these young artists is remarkable and fueled by passion, dedication, and persistence.

10) Some changes in the literary office

We've been thinking about how to better develop a dialogue between the art and audiences and plan to experiment with some new changes to SubText, the post show discussions, the lobby, and much more. Remember that we can only move forward with your feedback on what's working and what's not, so send in your thoughts to Stage Banter or find some time to chat with us by the concessions bar while you're in the building. 

What are you looking forward to next season? We'll post your highlights on Stage Banter and can't wait to see you back at Arena!

 

Talking Bucky

by Janine Sobeck

One of the things we've noticed about our current production of R. Buckminster Fuller: THE HISTORY (and Mystery) OF THE UNIVERSE, is that the audience can't stop talking about it afterwards.  They love to compare their experiences with the play, their personal stories with Bucky, and learn about which mind-blowing idea(s) affected the people around them. 

Yesterday at our first post-show conversation, I was delighted to be joined on stage not only by our actor Rick Foucheux, but by playwright/director D.W. Jacobs....and in the audience by Bucky's daughter Allegra Fuller Synder and grandson Jaime Synder.  As we talked about Bucky's ideas and his inventions, as well as how D.W. Jacob's came to write this fascinating piece, I loved watching people's faces.  You could see the moments where they were passionately agreeing with what was being said and when they were wrestling with an idea that, though somewhat foreign, also made complete sense. And I will never forget the looks when Allegra talked about the relationship between her father and mother.  While this play is a tribute to Bucky, the love and support that his wife Anne gave him, is underneath every single moment - and the fact that they died within 36 hours of each other....well...it's just a powerful and breathtaking story. Even after we were forced to conclude, people kept gathering in groups to delve a little bit more into what they had experienced.

We want to give you plenty of opportunities to talk Bucky.  Along with the normal schedule of post shows (you can find the calendar HERE), we've also created a series of panels where we're bringing in special guests who are engaged with Bucky's ideas to talk about their work as well as have a Q&A with the audience.  They're all free and we hope that they will really open up an opportunity for you to take a leaping dive down the Bucky rabbit hole. You can find the whole schedule HERE.  

So come talk Bucky with us....we'd love to hear what you have to say.

Talking with Tom

by Christin Siems, Dramaturgy Fellow

Tom Jones co-wrote The Fantasticks more than half a century ago with his friend Harvey Schmidt, and although he doesn’t travel around the country to see all of the thousands of Fantasticks productions, he came to Arena Stage last Wednesday to enjoy director Amanda Dehnert’s “abandoned amusement park” version.

Now, post-show discussions are always interesting.  But a post-show discussion with the LIVING AUTHOR is… wow.  So cool.  

Tom came with his wife, and they were both so charming.  Here’s a fun fact: Tom’s wife’s older sister originated the role of Luisa in the original one-act version at Barnard College before it opened Off-Broadway in 1960.  I asked them how they met and… there you go.

The absolute highlight of the post-show was when a perspicacious high school student asked Tom: “Why does El Gallo say to keep the wall (that divided the two houses) up at the end?”  Ah, a GREAT question.  Tom said so himself.

It turns out that Tom hates the line.

El Gallo says: “Leave the wall.  Remember—you must always leave the wall.”  Tom told us that when he wrote it, he was really young, and he thought it sounded impressive.  Well, a year or so later he heard it and thought: “This is BAD!  It sounds like the point of the play!”  And the point of the play, Tom told us, is “without a hurt, the heart is hollow.”

Tom wanted to take the line out, but his producer (who really liked the line) said he’d sue him.  So the line remains… but Tom tried to fix it by writing in a stage direction that tells actor playing El Gallo to speak the line “casually.”

Tom also told us that when The Fantasticks received its first production in Russia soon after perestroika and 8 months after the Berlin Wall fell, the producers over there cautiously approached him: “eh, Tom… so about this line… ‘YOU MUST ALWAYS LEAVE THE WALL'... can we, uh… take it out?”  And Tom, knowing full-well the cultural implications, told them: “Take it out! PLEASE!!!”

Another highlight was when Tom praised Laurence O’Dwyer for his portrayal of Henry, the old actor.  Tom originated the role Off-Broadway under the pseudonym “Thomas Bruce,” and gave Laurence his highest compliment: “He was almost as good as I was.”

Tom also spoke freely about his inspiration for writing The Fantasticks, and all of the various artistic influences he and Harvey borrowed from.  For example, did you know the Mute was inspired by the “Invisible Prop Man” character in Japanese popular theatre—a character who the audience agrees “not to see”?  For other borrowed influences on The Fantasticks, go here.

Thank you, Tom, for a delightful post-show.  I don't think any of us wanted it to end.

Tom Jones is coming!

by Janine Sobeck

Yup, that's right!  Tom Jones, co-creator of The Fantasticks, is coming to see the Arena production and has graciously offered to join the cast and myself in a discussion after the show.  So, if you're not busy at noon on December 9th, come over to the Lincoln for the matinee show.  This is an event not to be missed!

Give this play a try!

by Janine Sobeck

I always love it when our audience members let their voices be heard.  After a post show last week I had a lady talk to me about how she had read the review in the Washington Post for The Quality of Life and almost decided not to come.  After seeing the show she was so grateful that she decided to come anyways because it had been a truly moving theatrical experience for her. 

Now, I'm not sure if this is the same person (as she didn't give me her name), but just a few days later, we happened to see this in the "letter to the editor":

Give This Play a Try

(Letter to the Editor)

I take issue with Peter Marks's tepid review of "The Quality of Life" by Jane Anderson, playing at Arena Stage's Crystal City theater through next week. I had vaguely remembered the review and told my husband it was too bad Arena was starting the season with such a lackluster choice.

Boy, was I wrong. Anderson is dealing with lots of issues - life and death, religion, the nature of evil, grief - central to any thinking person's experience. Contrary to Marks's assertion that the play could have been a panel discussion, Anderson's characters experience the emotions and raw the audience into their lives with the humanity of it all. It is a powerful play.

-Diana H.

Thanks for speaking out Diana.

Quality closes on Sunday.  So if you haven't had a chance to see it yet...well, you might want to listen to Diana and think about giving it a try.

Talking again...

by Janine Sobeck

After a short break from the whole series of special discussions that we had for The Quality of Life, it was great to have more opportunities to talk to the audience last night as we started our normal post show series with the actors. 

While a lot of the discussion still revolved around the themes of the play I was intrigued by how much the audience wanted to know how the actors' experience with the script has affected their own lives.  Questions such as whether it has changed their perspective of death and on their individual beliefs on what creates the quality of their own lives were abundant, spurred by the curiosity of whether or not developing and living with these characters has had a personal impact. While each actor has had an individual experience, the stories that they shared - both with how it has impacted them personally and how it has related to relationships in their lives - brought a whole new level to the experience created by the production.

Just more proof that we were right in our original impulse.  After seeing this show, people want to talk. 

What Defines Your Quality of Life?

by Travis LeMont Ballenger,
American Voices Senior New Play Producing Fellow

We knew when we decided to produce Jane Anderson's The Quality of Life that it would have a strong affect on our audiences. The knowledge that would people need a way to express the power the show had on them was the impetus behind the special series of post show discussions that we've been holding for the last 10 days. Last night was the final installment of the series, with special guest Reverend Paul R. Abernathy (rector of St. Marks).  I found his take on the play brilliant and was especially struck when he asked the audience what defines their Quality of Life. People had responses from God to mental awareness. One woman even discussed her need to give back to the community.

I think I could survive without my laptop. I've survived before without my cell phone. You could probably even take my home from me, and I would make it. However, without love - which I define as someone to speak to, someone to open up to - there would be no quality to my life. It's really an interesting question. What creates the quality of your life? What could you survive without?

Grief is the Price You Pay For Love

by Amrita Mangus, New Play Senior Producing Fellow

I never fathomed that C.S. Lewis, the Harry Potter Series, and The Quality of Life shared something in common, but during the post show discussion following Tuesday night's performance, Dr. Steven Sabat proved me wrong!

Dr. Sabat, a renowned professor of Neuropsychology at Georgetown University, was our guest for the discussion. When asked his thoughts about the show, he opened the conversation with, "I thought about a quote by C.S. Lewis: 'Grief is the price you pay for love.'"  This quote pretty much wowed the audience and left us murmuring for a moment as Dr. Sabat proceeded to discuss the necessity for grief and sorrow in order to understand the importance of love, but how it's ok to ultimately release feelings of grief while sustaining the fond memories of the people we lose and improve our "quality of life". This concept ignited a series of heartfelt and emotional comments from the audience. One story that stays with me came from a couple who had recently lost their daughter. They stated that they never want to forget her, but also understand the importance of letting go of their grief. "It's hard." commented the wife, but they allow her memory to live on. They were so candid and genuine as they spoke, and trust me, there wasn't a dry eye in the audience. It was amazing to see how the play resonated as a strong cathartic experience from them, and in a way, for all of us after hearing their story.

Dr. Sabat then talked about the different manifestations of death. With a brilliant choice of words, he then compared the play's exploration of death to that of the Harry Potter series, quoting Professor Dumbledore by saying "Death is the next adventure that lies ahead." We then explored the different forms of death - from the sudden, unplanned deaths we've experienced  to the lingering deaths we see coming - and agreed that no matter how you look at it, death is an event you can never fully prepare for.

I left the discussion more enlightened and empathetic, compelled by the compassion that just took place in a room of seemingly complete strangers. It illustrated the power of theater, the power of dialogue, and in essence, the power of love and life. 

Quality thoughts from the audience

by Janine Sobeck

Post show discussions are one of my favorite parts of my job.  I love the chance to sit with the audience immediately after the performance and hear their gut reactions to what they just finished watching.  If you've been reading along with the blog you'll know that the extended discussion series that we've been holding for The Quality of Life has really allowed us an even greater opportunity to talk with more of the audience. We still have a week left in the series, so if you have a chance to check it out, we'd love to see you in the theatre.

Of course, people haven't stopped talking once they left the theatre.  Citizen reviews have started to pop up on Goldstar, DC Theatre Scene, The Washington Post and other places about how much people have been affected both by the script and the performances.  Here are just a few examples:

"We saw this on Friday, and we were blown away. The dialogue was so well crafted, it was a pleasure to listen to. And the acting was terrific — really really compelling, especially Johanna Day. Really, really recommend it." - Kate (DCTS)

"This is one of the best plays I've seen. I loved it! It is so intelligent, and when the characters argue, a part of them remains open to other points of view. So refreshing in this day and age! And there is humor in it. I think it would be one of the best ways to spend a Saturday night." - Dottie B (Post)

"It is a total joy to experience the superb direction of Lisa Peterson as she manages to get the actors to 'act their hearts out'. This is a highly recommended play." - Bob Anthony

"The acting in this drama was fabulous. The story line is intense and thought provoking...I would highly recommend it." - Pamela M. (Goldstar)

"You do not want to miss it. What a love story- for both couples. This is a great human study. What a wonderful show!" Rich Massabny

Feel free to leave your own thoughts on show in the comment section.  And if you haven't see the show yet (and if those comments aren't enough to whet your appetite) then check out the new video that we've put together...

Is there a God in the House?

by David Dower

The post show discussions at The Quality of Life continued to dive deeper into the questions raised by the play. Last night's guest was Professor Terrence Reynolds, professor of theology at Georgetown University.

When I stepped on stage to introduce the professor, I saw the stunned and red-eyed faces of an audience that had just witnessed one of the most commanding performances of the play the actors have given to date. I asked them how they'd liked the show and a huge burst of applause answered for them. People talked about the "catharsis" the play creates, of their amazement at the performances, and when I mentioned playwright Jane Anderson by name another burst of applause even though she wasn't present.  This was a group that had been profoundly touched by the play.

When Professor Reynolds joined me, the conversation jumped immediately into the deep end of the pool. The first question: "So, professor. 9-11. Many of us were saying 'how could God allow such a thing to happen?' And yet, the last words from the men who flew the planes were apparently 'God is great'. How do we reconcile that?"

Mind you, there's nothing about 9-11 in the play. But there are big questions about God and Faith and whether God's hand is in every human action, and "where you go for moral guidance" if you don't believe.   (And a reminder here that the play has an almost alchemical mix of humor and pathos. It's not a heady experience in any way: it manages to touch the heart, the mind, and the funny bone in equal measure. And it makes you want to talk with strangers. So people stay and ask big questions or share intimate doubts.)

Professor Reynolds and the audience proceeded to discuss the question of whether or not God treats believers differently from nonbelievers. And the purpose of a personal relationship with God, if in fact he's unmoved by our belief or behavior. And about autonomy-- whether we have the right to take our own exit from this life and whether we have a responsibility to the potential of our remaining days, the potential to do good. And the difference, if any, between faith and Faith. Oh, and whether the sort of cataclysmic, cathartic, empathic conversation the play depicts-- as heated and clumsy as human interactions so often are-- could have leapt the chasm of their different definitions of faith if the characters hadn't been family. In other words, can the country bridge its own divide without a tie that binds us as firmly as the family bond?

The discussion was going full boil as we approached 11pm. I tried to cut it off, thanking people for coming and asking for their help in spreading the word about the show.  Another round of applause. And people got out of their seats and clumped into small groups, some in the lobby, some in the theater, still wrestling with the implications of God's presence in tragedy, His indifference to belief, and whether or not empathy with people of opposing values was possible. I had to move the groups out to the hallway so the theater staff could go home. The conversations continued, echoing down the empty late night walkways of the Crystal City underground in both directions.

Thanks, Professor Reynolds, for provoking the big questions and for guiding the wrestling that results. This is exactly what we are trying to do with this series of conversations. I hope you, dear reader, will join us for some of them! And, again, thank you Andrew Ammerman for making this series possible.