Monthly Archives: October 2012
On the heels of our fabulous reading of Macbeth on Monday evening, and on the eve of Halloween, we thought it especially appropriate to address the one thing that all theatre has in common: superstition.
One of the most famous superstitions is, of course, the curse of Macbeth. Historically, many an accident or bit of unfortunate luck has fallen upon productions of this particular play. Researchers suggest many logical explanations for this, of course. The most popular is that, with this being Shakespeare’s shortest and bloodiest play, it seems it would be the easiest to add to a repertory season at the last moment as a surefire seat-filler. Therefore, back in the day, it was often mounted as a last ditch effort to save a dying theatre company, and eventually came to be associated with a company’s eventual demise. Additionally, this last-minute mounting often resulted in an under-rehearsed company, and with the extensive amount of swordplay and stage combat present in this particular script, one can imagine that accidents would not be uncommon.
Also, the play was written during the height of the witchcraft scare, when publications about demonology were rampant. Lastly, some say that the witches in the script utter actual incantations, which leads to a cloak of evil surrounding the play. Oh, and the play was cursed by Jacobean necromancers. Let’s not forget that one.
Whatever the actual cause, the curse of Macbeth has survived the centuries. Rarely will you find an actor who is entirely comfortable even uttering the name of the play in casual conversation for fear of raining down bad luck. Even though avoidance of the word is technically only a necessity when speaking of it inside of an actual theater, the habit is difficult to break. Instead, “The Scottish Play” is the preferred term, although caveats exist if a company is actually performing the play.
What to do if you accidentally say the “M” word inside of a theatre while not working on a production of it? The reigning antidote is to “leave the house, turn around widdershins (counterclockwise) three times, swear, and knock to be readmitted.” (Best write that down or save it in your phone, because no one ever really remembers when the time comes.)
Other famous theatre superstitions? Read on for a rather complete list of “dos and don’ts” to keep productions lucky and actors safe, thanks to The Steppenwolf “Watch & Listen” blog and The Guardian‘s Theatre Blog. One wonders if it is even possible to put on a play while adhering to all of these rules….
Happy Halloween! — T.T.
1. Always step out of your dressing room with your left foot.
2. Absolutely no knitting backstage.
3. Always say “break a leg” and never “good luck.”
4. Never wear blue, yellow, or green onstage.
5. Never use real jewelry, real mirrors, or real flowers onstage.
6. Never clean out your makeup box.
7. Always wind a found thread around your finger.
8. Never whistle in a theater.
9. Never have more than two lit candles in your dressing room.
10. Always leave the ghost light lit.
11. Apply your makeup with a rabbit’s foot.
12. Never bring peacock feathers into the theater.
13. Never wear brand new makeup on opening night.
14. Never place shoes or hats on chairs or tables inside of the dressing room.
15. Never open a play on a Friday.
16. Never speak the last line of the play before opening night.
When Jason D. Rennie was tapped to direct the upcoming staged reading of MACBETH at the Encinitas Library this Monday, he could not help but recall his first co-directing stint with Intrepid in 2009. “This particular play mixes nostalgia and significance for all of us,” he says.
How does directing a staged reading of this play differ from co-directing Intrepid’s inaugural production three years ago?
Well, for one thing, the original Intrepid production ran about 90 minutes and was played with only seven actors. Monday’s staged reading allows for a little more flexibility – a few more actors have been cast, which means less doubling (or tripling) roles, and more of the text has been captured in some significant scenes.
Plus, it’s Halloween, which means that Jason was very excited to “creepify” the show, adding back in the character of Hecate as well as the witches (who were disembodied voices offstage in 2009).
“The play is psychologically horrific,” he says, “and the witches are the physical embodiment of the evil that dwells in the world, and possibly within each of us. I wanted to embrace the atmosphere of spooking and haunting that comes with this time of year by accentuating the eerie and occult nature of Hecate and the Weird Sisters.”
That shouldn’t be difficult. Shakespeare’s witches have been portrayed throughout time as various incarnations of creepy, and Monday’s reading shouldn’t be any different with Savvy Scopelleti, Steve Grawrock, and Danny Campbell stepping into the roles. Molly O’Meara will be illuminating the role of Hecate.
“These witches are more than just pointy hats,” says Savvy, commenting on the conjuring spells used by her character. “Shakespeare wrote their language in a way that is constantly spiraling, the trochaic meter setting them apart from other characters in the play. It’s utterly fascinating.”
Is she creeped out by portraying a Weird Sister? She hesitates.
“If I believed in witches and spells, I would be creeped out, definitely,” she decided. “But this is all just pretend, right?”
Of course. But Jason’s direction sprinkles the play with ethical ponderings for those of us in the non-pretend world, as well.
“However I highlight their presence as the minions of evil, the fact is that the witches do not actually commit any evil – they merely awaken the ambition within Macbeth and stoke that flame until it consumes him. The truly unsettling spookiness of the play is that it forces us as spectators to wonder whether such dark forces lay dormant within ourselves and, if kindled, could we withstand them?”
A appropriately haunting thought, indeed. — T.T.
On October 29, Intrepid will host a staged reading of Shakespeare’s bloodiest play, Macbeth, just in time for Halloween festivities. While the play was picked for its darker thematic content, this is also the first time Intrepid has revisited it since the company’s inaugural performance in 2009.
While Christy Yael and Sean Cox, co-artistic directors, will not be reprising their roles (that honor goes to the fabulous Linda Libby and awesome David Cochran Heath), they took a moment to reminisce about their first production as a company in 2009.
“Macbeth was an experiment,” says Sean. “We started the company wanting to do Shakespeare in a small space, but there was a chance that the idea of keeping it intimate might not work.” Therefore, they brought in some Shakespeare heavyweights to help them develop their concept, including Sean’s mentor Jonathan McMurtry and Macbeth co-director Jason D. Rennie.
Intrepid has always been focused on the text of Shakespeare’s plays, and to Sean and Christy, the idea of performing them intimately enhances this concentration, coloring the words with layers of emotional development that might not be possible on a grander scale where production value could overwhelm communication.
“Shakespeare gives you everything,” is their mantra. “We always try to go back to the text because he gives you all the answers – he’s there directing you throughout the play. You just have to find it.” Now, this seems like a no-brainer, but back in 2009, they weren’t so sure their audiences would be on board with their intimacy issues.
Thankfully, their experiment worked. The play, then performed at the theatre space at 6th and Penn, played to full houses and even included a couple of midnight shows.
Both Christy and Sean admit that this first production was a huge learning experience that often felt like trial by fire. Nevertheless, with the conclusion of the run, they knew they had solidified their future in producing Shakespeare.
“Macbeth was huge because we had just started the company, so…it was everything.”
Admittedly for Sean, there are things he would love to try again or do differently with regards to playing the title role. He seems open to the idea of one day tackling it again.
And would Christy every consider reprising Lady M? “Never again,” she says definitively, with a small shudder. Apparently, inside Lady Macbeth’s head is a very dark place to be, indeed.
Both are thrilled to pass the proverbial torch to Linda and David and witness them bring these characters to life in Monday’s reading. Directed by Jason D. Rennie, there are chances, of course, that shadows of the original production may decide to haunt the performance…but, really, what’s Macbeth without a little shadows and haunting? — T.T.
Macbeth (a staged reading) – starring Linda Libby and David Cochran Heath – directed by Jason D. Rennie – Encinitas Library 540 Cornish Drive, Encinitas – Tickets $10 – Purchase in advance here or RSVP here and pay cash at the door. Reception at 6:30 pm, reading at 7:00 pm.
When it comes to preparing for his next stint onstage, Sean Cox, co-artistic director and founding member of Intrepid, freely admits that he’s “properly terrified.”
Even though Hamlet doesn’t open until next year, the focus of the company has already moved towards this next project. For Sean, that means that he’s only weeks away from beginning rehearsals on one of the most challenging roles of his career.
He shouldn’t fret. After all, in some ways, it seems he’s been preparing for this his entire life: “I’ve watched it so many times and heard it so many times and I’ve thought about it for years and years,” he says. One of his earliest acting class memories even has him playing the gravedigger at 13.
But Hamlet is also about life experience, and for Sean the past few years have seen not only the formation of a theatre company, but also marriage to co-founder Christy Yael and the birth of his first child. It seems fitting that this play is happening now when Sean is looking at life so differently.
“Hamlet asks those questions that we all ask: right, wrong, afterlife, immortality…all of those simple and honest questions that are in silent dialogue in our own head all the time,” says Sean.
This is also the reason why Hamlet is such an intimidating role to pick up. For it to work, “it has to be simple, honest, and in the moment,” he says. For Intrepid, this intimacy will be further emphasized by the fact that they will be performing Hamlet in the round. “There’s no place to hide,” he says. “Literally. It’s exciting and it’s completely and totally terrifying.”
To hear Sean talk about his research for the role is to imagine him constantly tripping over books and recordings and DVDs of various Shakespearean performances. “With Shakespeare, I’ve always been about devouring and watching every movie version, every audio version,” he says. With Hamlet, “there are books and books and books. There are literally hundreds of books.” He’s been on a constant mission, it seems – dissecting the research, analyzing the greats, philosophizing on interpretation.
Some of Sean’s discoveries? Kenneth Branagh’s audio recording is way better than his film version, Ian McKellen says you have to be a bit of a comedian to play the title role, and when you put McKellen and Simon Russell Beale side by side, it’s impossible to tell who does the role better, even though they are totally and completely different. Ask Sean about his favorites and he doesn’t hesitate when he describes seeing Mark Rylance play Hamlet at the Globe as “the best theatrical performance of anything ever.”
But what do these great actors say about the actual experience of playing Hamlet? “They are like ‘Oh, it changes your life!’” says Sean. “It’s this momentous occasion. And it’s intimidating to go into it like that but I think most parts are…they change you in a way…if you’re putting yourself into each role, then each one affects you.”
Isn’t having these performances swirling around in his head a little distracting? “There’s no one way to do it,” he muses. “Every one is totally different, totally, totally different and yet it works. There is a reason why they say there are as many Hamlets as there are actors.”
But, even for a seeming veteran like him, the part of the Danish prince doesn’t come without its fair share of gauntlets.
“Hamlet is everything,” he says, animatedly. “He’s got this enormous amount of dialogue and he goes on this emotional roller coaster throughout the play and then he’s got this big old huge sword fight at the end.
“Jonathan McMurtry has said to me that playing these great roles is like training to be an Olympic athlete,” says Sean, quoting a favorite mentor. “So, yeah, not intimidated at all.”
Rehearsals officially start in December, but when asked about his schedule, Sean simply says, “I feel like I started a very, very long time ago.” — T.T.