Category Archives: Production
Fall is upon us – the chill is in the air, the holiday preparation is underway, the scarves are out of their summer hiding spots. While Intrepid Shakespeare finds itself between shows at this time of year, that doesn’t mean that Artistic Directors Sean and Christy Yael-Cox are taking extended vacations. Far from it. Beginning tomorrow, both will start teaching fall classes at the theater.
“It’s a nice time of year,” says Sean, who is also Intrepid’s Director of Education. “We are in pre-production for Macbeth and gearing up to announce our fifth season and our 2014 reading series.” Believe it or not, in the land of Intrepid, this is what qualifies as “downtime.” Fortunately for experienced actors in need of a tune up or new faces needing a landing place, this is also the perfect time for Intrepid to offer a selection of classes revolving around Shakespeare, public speaking, comedy, and scene study.
While Sean will helm two of the classes, The Play’s the Thing: Intermediate Scene Study will be taught by Producing Artistic Director Christy Yael-Cox. “It’s a great opportunity for people to work with Christy,” says Sean of the woman who has directed or co-directred the entirety of Intrepid’s productions this year, all of which were honored with Critics’ Choice. “She rarely has time to teach classes, so those who are signed up for this one are really lucky.”
In order to register for Christy’s class, at least one year of training is required, or experience acting in at least one production. Christy will be tackling both Shakespeare and modern scenes with her actors, and describes the class as ideal for those who want to work on their craft.
“It’s like a mini-rehearsal session with her,” says Sean.
If a more intensive Shakespeare experience is the goal, Sean will be teaching a class on approaching and acting the Bard for new and experienced actors.
“It’s amazing when I talk to seasoned actors in town and mention our upcoming Shakespeare auditions,” says Sean, who played the title role in Hamlet earlier this year. “Even the most experienced actors have said that they would love to audition, but Shakespeare scares them.”
In light of this, Sean feels it is important to bring Shakespeare down from its unreachable, scholarly pedestal and tap into its origins.
“When he was alive, his plays were popular with everybody,” explains Sean. “People forget that Shakespeare wrote for everyone.”
If there’s any fear that four weeks of Shakespeare will be entirely lecture-based, Sean is quick to dispel that. “We’ll be discovering the material by doing,” he says. In other words, be prepared to get on your feet.
Sean’s Shakespeare session is open to new and experienced actors, and he is quick to assure participants that both are necessary to the process of unpacking this playwright.
“Everyone learns so much by watching other actors in class,” he says. “It’s actually really nice when there’s different levels.”
Both The Play’s the Thing: Intermediate Scene Study and Willpower: A Shakespeare Class will commence this weekend and run on Sundays for four weeks. There is still time to register for limited available spots.
Also on the fall docket is Phil Johnson’s A Master Class on Comedy, which will take place November 24. Public Speaking with Sean will begin November 3 for two sessions.
Classes will be held on Intrepid’s mainstage theatre, the Clayton E. Liggett, on the campus of San Dieguito Academy. For more information on fall classes, click here.
– Tiffany Tang
“I think about comedy all day and all night.”
Phil Johnson, most recently seen this summer as Bottom in Intrepid Shakespeare’s “A Midsummer Night’s Dream: the Musical,” admits this obsession without hesitation.
“I probably need a twelve step group for my love of it,” he adds.
In lieu of addiction therapy, Phil Johnson will instead be putting this passion to good use by sharing it with others. Along with Artistic Directors Christy and Sean Yael-Cox, Phil will be an instructor in Intrepid’s brand new offering of fall classes.
What will he be teaching? A master class on comedy, of course.
A comedic stage veteran, Phil has shone on the San Diego stage for more than 15 years, racking up starring turns on the city’s major stages, and receiving a Craig Noel Award this year from the San Diego Critics’ Circle for his rendition of Sheridan Whiteside in “The Man Who Came To Dinner.” Aside from his stints in Los Angeles writing with the Acme Comedy Theatre, his grant from the San Diego Foundation for the Arts to develop his comedy solo show version of “Hound of Baskervilles,” and his comedy/cabaret fellowship with the Eugene O’Neill Theatre Center, his most impressive comedic credit is probably his run as the tavern-owning criminal Thérnardier in the Broadway production and the national tour of “Les Misérables.”
While continuing to develop projects in town, Phil is also eager to share the tips and pointers that his own comedic gurus have taught him over the years. A master class for Intrepid Shakespeare seems the perfect fit.
“I have a great enthusiasm for good actors who are also good comedians,” he says. “It’s thrilling and exciting to go to the theatre and be impressed by someone who can do both sides of the coin. Plus, I love Sean and Christy, and I would love for there to be a whole bunch of good, funny actors in San Diego for me to play with all the time.”
The three-hour master class will be geared towards professional working actors; however, theatre lovers are also welcome to enroll. While some actors may shy away from comedic training, Phil maintains that the funny bits are completely accessible to even the most dramatic of thespians.
“So many people think it’s separate from them, so they’re not using all the tools in their toolbox,” he says. “Almost any good actor can be a good comedian. It’s about details and intention and thinking things through.”
To that end, he plans to organize the class around a checklist – particulars that the actor can pay attention to in order to achieve the maximum comedic effect from his or her scenes.
“If the audience is laughing, then they are following your story,” explains Phil. “If they aren’t, then you need to shake things up.”
This is why he loves previews, he says, which is that time during the run of a show when things can still be adjusted after receiving input from the audience’s reaction each evening. “I get to see what works and what doesn’t before opening.”
This willingness to continually pursue the perfection of comedic timing is part of paying attention to the details. This is something Phil learned from his comedic stints in theatre, his own teachers, and also from a childhood spent watching the greats: Bill Cosby, Carol Burnett, Sonny and Cher, and Jonathan Winters. Honoring the legacy of comedy is something he feels is fundamental to its study.
“I think one thing that young people don’t do often enough is watch the old stuff. They don’t know who Bette Davis or Rock Hudson are,” says Phil. ”Comedy is so much an homage to what’s come before.”
Studying the legends is one way to keep one’s skills polished and in tune, but nothing beats the experience of a class. “I wish I had had someone to give me a tune up every once in a while,” he says. “You can always be funnier.”
And what if you are rather nervous about taking a master class in comedy?
“Don’t worry,” says Phil. “Nervous people are almost always funny.”
– Tiffany Tang
A Master Class on Comedy with Phil Johnson. November 24, 6-9 pm. Clayton E. Liggett Theatre at Intrepid Shakespeare (SDA Campus). $60. Enroll here.
When “A Life in the Theatre” by David Mamet debuted on Broadway in 1977, it opened hot on the heels of the playwright’s first White Way explosion, “American Buffalo.” Needless to say, the heartfelt strains of this new offering were somewhat off-putting for those expecting what the New York Times had called Mamet’s “bad boy bluster.”
Yet, Jason Heil, director of Monday’s night’s staged reading of this Mamet two-hander at the Encinitas Library, feels that this play fits nicely into Mamet’s canon, despite its more vulnerable moments.
“It may not fit into the Mamet mold,” he says, “but his writing style is very much there in this piece.”
That iconic writing style – also seen in “Oleanna,” Intrepid’s Season Four opener earlier this year – is what draws this Shakespeare-focused theatre company to certain contemporary playwrights. Mamet, who so clearly stamped his name on the voice of modern American theatre over three decades ago, lends his signature style and phrasing, this time in a very poignant fashion.
Chronicling the life of two actors – one a veteran and one a promising rookie – “A Life in the Theatre” is a series of vignettes that take place off stage, backstage, and even onstage, giving the audience a sincere portrait of friendship, professional camaraderie, and even a little competitive spirit.
“They are always trying to pin down where they stand with each other,” explains Jason, who directed last season’s main stage production of “Turn of the Screw” for Intrepid. “As the play evolves, and the younger actor gains more status and more confidence, we see how his growth affects their relationship.”
Bantering off of each other on Monday will be Sean Yael-Cox, Intrepid’s Co-Founder and Artistic Director, as the young upstart John, and San Diego notable Dale Morris as Robert, the heavy with a wealth of experience. In a unique segment of San Diego theatre history, Sean and Dale appeared together in a production of “The Elephant Man” when Sean first moved to town in 1998 and have been looking for a project to work on together ever since.
“When we were planning this yearlong series, this play was one of the few comedies we had on the list,” says Sean, referring to Intrepid’s monthly Staged Reading Series at the Encinitas Library that has played to sold out audiences and standing ovations, and has featured contemporary and classical, as well as Shakespearean pieces. This month will mark the ninth installment in what has become known as a concentrated showcase for notable San Diego talent.
“We are lucky to have hosted the highest caliber directors and actors from the start,” says Sean. “”The reading series has been a major undertaking. We’ve set the bar high and we are eager to maintain that level of performance quality for our audiences.”
To that end, every once in a while – however reluctantly – the schedule must be changed to accommodate this uncompromising outlook. For instance, “Julius Caesar” was originally slated for the September reading, but with a cast of more than a dozen actors and a director visiting from Los Angeles, a November timeline ultimately proved to be a solution for scheduling conflicts.
“For us, it was important to get the right group of people, especially for Shakespeare. We didn’t want to compromise on that,” says Sean. “We try to remember that theatre is growing and changing and that it’s a living thing, which means it can be a little unpredictable at times.”
Fortunately, that also means that the Mamet treat originally scheduled for the end of the year will be enjoyed a bit early, and that September’s audience gets to witness the dynamic connection between these two actors who have themselves been longtime friends.
“Both of these actors bring a lot of depth and groundedness to what they do,” says Jason, commenting on the impressive body of combined work. “I’m looking forward to digging in and mulching around with them a bit.”
One of the most interesting dynamics of the play, says Jason, is the fluidity of their relationship. “I like watching the two colleagues attempt to stay professional, to forge a friendship, to figure out the friendship that forges just by working with someone.” Again, it is Mamet’s words that endow that fluidity with a sense of realism.
“He creates this flow with the words that goes back and forth between the actors,” explains Jason. “He messes up clean dialogue and the result mirrors the way we speak. In reality, our thoughts take us somewhere and we overlap and interrupt and we don’t censor ourselves.”
Jason also points out that many modern playwrights now echo Mamet’s realistic style, which at the time of his debut, was a stark departure from the rigidity of his predecessors’ clean lines.
“When you look at the ‘classics,’ even with a modern play, these are texts that are still going to be standing years later,” points out Jason. “A ‘classic’ is a well-built script, where there’s a lot of answers buried within, and not laid out on a platter. It’s the playwright who knows how to write a play through the words and underneath the words at the same time.”
Recently a Broadway revival starring Patrick Stewart and T.R. Knight, “A Life in the Theatre” has been described as Mamet’s “valentine” to his business. Does that mean that non-theatrical types will still find the play as captivating as those who have taken a turn onstage themselves?
Jason is reassuring. “There are moments in the piece when it is really two people opening up about each other or their feelings for theatre and what theatre means,” he says. “But it’s more that we are saying come and take a peak behind the curtain, and we will show you what’s going on back here.”
– Tiffany Tang
A Life in the Theatre by David Mamet, a staged reading, will be held at the Encinitas Library, 540 Cornish Drive. Monday, September 23. 6:30 pm complimentary wine/appetizer reception. 7:00 pm reading. Please rsvp to firstname.lastname@example.org and pay with cash/check at the door or purchase tickets in advance. $15. Julius Caesar will play in November.
As Sean Yael-Cox, Artistic Director of Intrepid Shakespeare, prepares to direct the company’s upcoming staged reading on Monday evening at the Encinitas Library, one question keeps reverberating in his mind:
“Why isn’t this play performed more often?”
The play in question is Moisés Kaufman’s Gross Indecency: The Three Trials of Oscar Wilde, which will be presented by a stellar cast of San Diego heavies, among them Tom Hall as Oscar Wilde and Jim Chovick as the Marquess of Queensberry.
“It feels incredibly timely and appropriate to look at this play now because it’s about human rights,” says Sean, citing the recent waves of political change with regards to equality. “It’s a strong play to do now.”
Kaufman’s play, assembled in a docu-drama style which lifts direct quotations from historical documents, personal letters, and creative work, follows the later years of playwright Oscar Wilde as he undergoes three lawsuits in England – one which he initiates in order to rebuke a slanderous statement made against him by the Marquess of Queensberry, and two others initiated by the government on the charges of “gross indecency” between Wilde and Lord Alfred Douglas, the Marquess’ son.
“A lot of people don’t know what happened to Wilde and how it ended for him,” comments Sean. “I think it says something about his writing that he is known for his wit and his charm and not remembered for the trials.”
Charged with the task of portraying Oscar Wilde is Tom Hall, most recently seen in Intrepid’s production of Hamlet as Horatio. Even though Tom describes the role as “very challenging and very daunting,” he is thankful that the authentic words of Wilde are there to provide a foundation for his real life character.
“You get a strong sense of who he was and how he carried himself through his writing,” says Tom. “Wilde wasn’t just a person. He’s a personality.”
Also recreating an historical figure is Jim Chovick, who will be portraying the Marquess as well as two different prosecuting attorneys in the reading.
“The Marquess of Queensbury is the nemesis,” says Jim, also last seen in Intrepid’s Hamlet as the Ghost. “He’s rather rough and strong arms his way through life.”
What lends credibility to these characters is that their conversations are almost entirely created from historical record, and Kaufman manages to investigate the trials with a modern perspective while maintaining the integrity of the people involved.
“It’s like a crash course history lesson, but it’s incredibly theatrical,” says Sean, who will also take a turn on stage during the reading. “It’s almost like doing an Oscar Wilde play because there are so many excerpts from his writing. It’s the beautiful poetry and a ton of humor.”
Sadly, it is the creative writings of Wilde that are also used as evidence against him when he is put on trial for his “illegal” activities with Douglas. Tom notes that because of this, it is not the actual relationship between the men that ends up under the microscope. It is Wilde’s struggle for artistic expression.
“He was really being tried for his subversive views on art, morality, and Victorian society,” says Tom. “Wilde believed in the power of art to transform man. He believed that art could change the world, could bring about peace, and all of these ideas that were revolutionary for his time.”
Jim agrees. “The playwright knew what he was doing,” he says. “Wilde isn’t defending his actions, he’s saying I’m an artist and art rises above these petty little rules.”
This “rule” that Wilde was ultimately found guilty of was “gross indecency” between males, and while the term was never clearly defined by Parliament, it was used to criminalize homosexuality in Victorian England. It was not repealed until 1967.
The somewhat didactic nature of this play should not be intimidating, however. Anyone familiar with Kaufman’s The Laramie Project will understand his unique ability to take facts and weave them into a compelling narrative.
“The best kind of play is one that will move you emotionally and educate you,” says Jim. “Anything that is well-written will resonate. It’s human nature.”
Rounding out the cast of historical figures is Brian Rickel, Danny Campbell (most recently seen as Polonius in Hamlet), as well as John Tessmer, Ben Cole, and Edred Utomi who are all currently acting in A Midsummer Night’s Dream, the musical, which closes on Intrepid’s mainstage on Sunday.
– Tiffany Tang
Gross Indecency: The Three Trials of Oscar Wilde by Moisés Kaufman, a staged reading, will be held at the Encinitas Library, 540 Cornish Drive. Monday, August 19. 6:30 pm complimentary wine/appetizer reception. 7:00 pm reading. Please rsvp to email@example.com and pay with cash/check at the door or purchase tickets in advance. $15.
As Titania the Fairy Queen, Jacquelyn Ritz has a very clear idea of the role she plays in A Midsummer Night’s Dream, the Musical.
“I like to think of the fairies as Greek gods,” she says.
Her fellow magical misfits agree with her. Occupying the forest throne alongside Jacquelyn sits David McBean as Oberon the Fairy King. Kevin Hafso-Koppman rounds out the fairy trifecta with his gymnastic portrayal of Puck in this Shakespearean classic, reimagined by Intrepid through the sounds of the 60s.
“They are super human beings with super human powers,” elaborates David. “Since the fairies have such power, they seek destruction in a way that’s different from humans. These things that occur in their lives become so much more important to them. And the results of their feelings affect the entire world.”
The main source of fairy angst is Titania’s adoption of a changeling boy, which infuriates Oberon. Titania’s refusal to hand over the boy further stokes Oberon’s fury, inspiring vengeance in the form of a flowery love potion forcing Titania to fall “head over wings” for a Bottom, a Mechanical metamorphosed into a donkey.
“Oberon has no power directly over her, so he can’t change her,” David explains.
And where does trickster Puck fit into this struggle?
“Puck has his foot in both camps – the real world and the fairy world,” says Kevin, elaborating on Puck’s ability to maneuver and help manipulate both the fairy royals and the lost lovers running through the forest. “The whole story and the whole dream are Puck’s flip of the world.”
From this fairy’s perspective, things are certainly topsy-turvy – the human lovers succumb to the magical spells of things supernatural, while the magical monarchs are reduced to petty humanlike spats and acts of retribution.
“I don’t think it’s petty,” chimes in Jacquelyn. “But I’m Titania, so I have to feel that way,” she adds with a smile.
Another topsy-turvy aspect of this Intrepid’s Midsummer revival is the casting. Both David and Kevin were featured in the 2012 production, but in vastly different roles: David played the Mechanical Flute and garnered rave reviews for his “play-within-a-play” Thisbe, while Kevin soared from rope swings as the lover Lysander.
Opportunely, Kevin is able to incorporate this gymnastic ability into Puck.
“This time around we are getting a lot more physical with the role because we are discovering some different things,” he says. “It’s difficult because the last person did something that was so brilliant and so funny and you want to take those little things and put them into your performance, but also create your own thing.“
For Kevin, that “thing” has translated into the construction of a trapeze atop Puck’s perch center stage, from which he is able to incorporate his athletic approach to his heart’s content.
For David, the return to Midsummer also included a role as musical director.
“This time around, I get to be a part of the moments where music adds to the storytelling,” says David. “It’s been a treat for me to be a part of the show in an intimate way and to help the new actors learn the songs. They are so clever and remarkable. It’s been an honor to be directing them.”
For Jacquelyn, who recently relocated from Chicago and is making her San Diego debut with Intrepid, the infusion of music into this play just makes sense.
“Music is a great bridge from this world to something higher,” she says. “When you mix that with Shakespeare, which is another way of taking this world and elevating it through poetry, it just heightens it.”
However, this “heightening” does not serve to exclude the audience from their understanding of the play. In fact, it does just the opposite.
“The music clarifies the relationships,” explains Jacquelyn. “People who maybe don’t know Shakespeare as well, still know music. We know songs, we know how we feel when we are singing to someone else or someone is singing to us. It makes more of a connection.”
These fairies are in flight through August 18. Come see them rock the forest and find your own musical connection.
– Tiffany Tang
A Midsummer Night’s Dream, the Musical plays through August 18 at the Clayton E. Liggett Theatre in Encinitas. Tickets available here.
(Photo credits: Daren Scott)
Mapping Shepard: A conversation with Fran Gercke, “Geography of a Horse Dreamer” staged reading director
“The great thing about a Sam Shepard play is that you don’t know where you’re going or where you’re going to end up. You just know that you took a wild ride.”
Fran Gercke, director of Monday evening’s staged reading of Geography of a Horse Dreamer at the Encinitas Library, pauses a moment before he adds, “And if it’s done well, you want to go again.”
It’s hard to imagine that anything wouldn’t be done well in this reading, with such a formidable cast assembled under Fran’s leadership. Brian Mackey, Tom Stephenson, Tom Hall, Eric Poppick, Jon Sachs, and Jake Rosko will be bringing to life the story of the horse dreamer, whose winning predictions capture the interest of some local mobsters keen on exploiting his talents for big payoffs.
“It’s the story of a wonderfully wacked out, incoherent group of people who get together to solve a problem,” says Fran. “Shepard calls it a ‘mystery,’ but there is no Poirot in this story.”
But there is more here than just your run-of-the-mill struggle for power, says Fran. Although it has been described as a riff on DH Lawrence’s story “The Rocking Horse Winner,” Geography of a Horse Dreamer could also be seen as an unpacking of American culture, as well as an exploration of hope and…dreaming.
“We’re all chasing the ‘American dream,’ but whose dream is that?” Fran says, pointing out one of the most pervasive notes in Shepard’s anthology. “Our quest for authenticity is always based on an image we saw somewhere, or what our grandparents told us about our cultural heritage. When we distort ourselves to match the image we are chasing, we find we don’t like the distortion. It doesn’t feel real.”
However, this struggle for achievement is also part of our cultural landscape, he continues, part of our own “geography” of dreaming. Our only hope lies with the artists, who take on almost shamanic powers in Shepard’s plays.
“In Shepard’s landscape, if you are referred to as an artist, watch out,” says Fran. “You have magical powers, and ones that you probably can’t control yet.”
In Geography, the artist is the dreamer.
“It’s not a perfect play,” says Fran, but it is perhaps the first play where Shepard begins to define his voice. We see the beginning notes of his later, more iconic plays like True West and Curse of the Starving Class.
“Shepard has a really wonderful and goofy sense of humor,” Fran says, mentioning that during rehearsals this week, one of the actors described the play as an amalgamation of Quentin Tarantino, David Lynch, and John Waters.
“Basically he says, let’s have a lot of fun and put people on stage you would never want to run into in real life.”
– Tiffany Tang
Geography of a Horse Dreamer by Sam Shepard – a staged reading, will be held at the Encinitas Library, 540 Cornish Drive. Monday, July 22. 6:30 pm complimentary wine and appetizer reception. 7:00 pm reading. Please rsvp to firstname.lastname@example.org and pay with cash/check at the door or purchase tickets in advance. $15.
Dropping in on the Mechanicals during the early days of rehearsal is not unlike dropping into a cocktail party with old friends – minus the cocktails. And minus any actual history of friendship, for that matter.
It’s true. The five actors who will portray the working class players in A Midsummer Night’s Dream: the Musical, which previews this week, have bonded so quickly, one would think that they had known each other for years, when in fact they all met at the show’s first rehearsal.
“It is the first time we’ve worked as a group, but not the last,” says Phil Johnson, who will be portraying Bottom. “We’re getting a van.”
To be a Mechanical in A Midsummer Night’s Dream means that you get to be responsible for most of the humor in the play, as the band of hopeful actors gathers and rehearses in the forest, falling prey to the machinations of the Fairies.
“It was really fun for me to be a part of the group that everyone remembers as just the clowns,” says Gerilyn Brault, who will be portraying Peter Quince, the troupe’s director. “It’s been really freeing to work with this amazing group.”
This sentiment is a common one, even to Savvy Scopelleti, who will be reprising the role of Snug, which she portrayed in last summer’s production.
“It’s a different show this year,” she says. “It’s a new cast with new energy…and it really did gel so instantly.”
Thankfully this insta-bonding has created a safe environment of play and experimentation, relieving some of the stress that learning both the Shakespearean text as well as the 60s tunes which will be infused into the show can bring. Brian Imoto, who will be playing Snout and who is also fairly new to Shakespeare, takes solace in the fact that the Mechanicals are supposed to be “amateur actors.”
“It was a relief to me,” he says. “We’re off the hook!”
The group immediately dissolves into laughter, something that happens every thirty seconds or so. After spending more than five minutes with this crowd, you bring to wonder how they actually get anything done in rehearsals, with all of the gut-busting going on.
But no one seems to be worried. For now, this group of talented actors and singers are indulging themselves in their off-stage repartee. It can only come in handy once the curtains open this week. Nathan Riley, who will be playing Flute and ultimately the lovelorn Thisby, barely contains his enthusiasm for his tribe.
“If you’re going to see Midsummer this summer, which I’m pretty sure you will,” he says, “this is the one to see.” — T.T.
A Midsummer Night’s Dream: the Musical runs July 11-August 18 at the Clayton E. Liggett Theatre in Encinitas, CA.
Purchase tickets now.
A Midsummer Night’s Dream: the Musical runs July 11-August 18.
Purchase tickets now.
“Break a leg,” she says.
Moments later, she is welcoming the audience to the first ever Camp Intrepid performance, courtesy of the Young Actors Theatre Camp.
Erin, who serves as Intrepid’s internship program director, has been mentoring and teaching a small group of 8-15 year-olds for the past week, along with Artistic Director and Director of Education, Sean Cox. Today marks the campers’ final performance: a costumed, choreographed and thoroughly rehearsed production of a pirate musical for parents and friends.
“I told them if they had a real solid final dress [rehearsal], I’d do the makeup thing,” says Erin, commenting on her penciled-in mustache.
As the audience mills about the theatre finding seats that provide ample room for filming and picture-taking, many are unable to contain their enthusiasm for Camp Intrepid.
“Kenzie loves it, loves it, loves it…triple loves,” says Corrie Anderson, whose eight-year-old daughter is trying theatre camp for the first time, having never participated in drama classes or productions before. “She’s so sad that it’s over. The time flies by.”
Carlsbad resident Whitney DeSpain, whose daughter Abby, 9, plays one of the larger parts in today’s show, agrees.
“Abby adores it,” she says. “She’s having the best time and she loves Erin.” Somewhat of a theatre veteran already, having performed in numerous productions around town, Abby finds the Camp Intrepid experience extremely engaging.
“In fact, she liked it so much, we signed up for the next week of it,” says Whitney.
As the audience settles, Erin takes her seat on the edge of the stage in case she needs to do any last minute prompting during the show. Set against the backdrop of a giant pirate flag, the campers enter the stage and begin a tale of buried treasure, new friendships, and the fun of finding the “pirate” in all of us. Halfway through, the kids burst out in a high seas song and dance number. The audience laughs at pirate puns and tears up when the group of wandering pillagers sings about home.
Two songs, one dance number, and one swordfight later, the cast – beaming with pride – takes their bows to riotous applause.
“They did an amazing job,” gushes Erin post-show. “I couldn’t have had better group of kids. Really, they were fabulous and so willing to do whatever we asked them to do.”
When commenting on the impact of theatre camp on a child’s academic and social life, Erin cannot say enough, although each time she speaks, she is interrupted by one of her young actors tackling her with a bear hug or shouting far-off strains of “Thank you, Miss Erin!”
“It’s just having fun,” Erin begins before the first hug comes in. “But it’s also very validating for the kids. They create a character and work on something together as a team –“ (Bear hug.) “ — and then they have that moment where they show it to people and surprise people with how much they did –“ (Bear hug.) “– in a short amount of time.” (“Thank you, Miss Erin!”)
“They might not think this is a career opportunity,” Erin continues once the hug-waves have subsided, “but the skills they learn in these camps are things they can use in many aspects. We work on tools like voice and movement and articulation, for example. If you are giving a report in front of class, you’d have to use those skills.”
Thanks to a community grant from the City of Encinitas and the Mizel Family Foundation, more students than ever will be able to participate in the camp experience and develop these critical skills. Full and partial scholarships are available for potential campers on a first-come, first-serve basis. (Download an application form.)
Marie-Laure Wagner-Hunsaker, who attended theatre camp when she was young because she was “too shy,” understands the value of this camp experience. “The camp trainers were actors and I remember very clearly the [theatre] exercises we did. I was super excited and super happy when Ari told me about the camp exercises he was doing here. I remember them.” Her son, Ari, 12, brought a little French accent to his part, and proved to be one of the most comedic actors in the bunch.
“Kids recognize the quality of the experience,” Marie-Laure continues. “They work very hard but it’s very fun. Ari says they laugh all day long.”
“This week surpassed my expectations,” says Sean Cox, who couldn’t be happier with the campers’ enthusiasm in this inaugural week of summer camp. “It’s great to discover that we are filling a niche in North County for professional theatre training for kids,” he says.
When cornered by parents about the possibility of offering year-round theatre classes, Sean smiles thoughtfully. “If there’s enough interest, we would be more than happy to continue classes in the winter,” he says. “Right now, we are just thrilled with the response.” — T.T.
Registration for a limited number of spots in upcoming Camp Intrepid sessions is still open, including the two Musical Theatre Camps (The 25th Annual Putnam County Spelling Bee and You’re a Good Man, Charlie Brown) and the Shakespeare Camp. Sessions run through August 16.
Please email ChristyYael@intrepidshakespeare.com for more information about Camp Intrepid scholarship applications.
Moonlighting at Intrepid Shakespeare: A Conversation with “The Quality of Life” Director, Kathy Brombacher
Kathy Brombacher is the first to admit that things are a little bit different now than they were a year ago. “My life is a little simpler now that I’m ‘retired,’” she laughs. “It is nice to do one project at a time.”
This time last year, Kathy was wrapping up her 31-year stint as artistic director of Moonlight Stage Productions, her post there historically integral to arts development in North County. Now, as she told the U-T last August, she is finding “a different way to be involved in theatre.” And this week, that involvement includes directing Monday night’s staged reading of Jane Anderson’s The Quality of Life.
In Jane Anderson’s play, which was originally commissioned by and had its premiere at the Geffen Playhouse in Los Angeles in 2007, two couples meet on the burned out remains of a Jeannette and Neil’s house in Northern California. The couple has set up a yurt on the land, artistically displaying salvaged items from their lives on nearby trees. They are visited by Jeannette’s cousin, Dinah, and her husband Bill, Midwestern parents grieving over the tragic loss of their daughter.
“Jeannette and Neil are post-intellectuals,” explains Kathy. “They bought this beautiful home in the mountains because of their own spirituality, which is linked to Buddha and appreciating nature.” That they choose to honor the remains of their lives artistically is evidence of their ability to come to grips with their loss in a cheerful way. “They are defiant of the misery that might affect other people,” says Kathy.
By contrast, Dinah and Bill, who have arrived after hearing about the devastation of the fire, live conservatively in their religious and political values. The juxtaposition of these two ideologies creates both tension and humor.
“These are two sets of very different people, looking at life in very different ways,” Kathy explains. “There are lovely threads of humor throughout, but you also begin to see people use humor to escape things that haunt them at night…the things that are always with them.”
Charged with bringing these complex characters to life is a seasoned cast of San Diego notables: Jo Anne Glover and Jeffrey Jones will portray the fire-devastated Northern Californians, while Colleen Kollar Smith and John Tessmer will play the grieving Ohioan visitors.
“The cast is incredible,” enthuses Kathy. “There are a lot of levels of thinking in these characters for the them to discover. It’s a beautiful play to listen to and will be completely in the hands of the actors.” While Kathy is new to working with the majority of the cast, she notes that Colleen grew up doing theatre in North County San Diego. “She’s a gifted lady we claim as our own,” Kathy says, of Colleen’s early theatre days at Moonlight.
These kinds of connections are important, especially to someone who has been so involved in the development of San Diego’s theatre scene. Kathy looks forward to cultivating more of these relationships outside of Moonlight, among them, one with Intrepid Shakespeare.
“I really welcome this opportunity,” she says. “I so completely admire what Intrepid is doing onstage. I just love that Christy and Sean are bringing the classics to the schools and splitting open the idea of what the classics are and approaching Shakespeare in a new way. I have all kinds of respect for them and I hope they flourish and thrive.”
– Tiffany Tang
The Quality of Life by Jane Anderson – a staged reading, will be held at the Encinitas Library, 540 Cornish Drive. Monday, June 24. 6:30 pm complimentary wine and appetizer reception. 7:00 pm reading. Please rsvp to email@example.com and pay with cash/check at the door or purchase tickets in advance. $15.