Tag Archives: theatre
Fran Gercke, Brian Mackey, Shana Wride, and Ruff Yeager sit at a table. No, they are not planning world domination via the theatre, although given the breadth and depth of their collective experience, that task would not be too far out of their reach.
Instead, they are thoughtfully pondering a lengthy list of plays, both classical and contemporary, written by a wide range of playwrights. They have been tasked with one simple challenge.
When Intrepid first opened its doors in 2009, along with the mainstage productions came the idea of staged readings – opportunities to hear plays in an intimate setting, presented by accomplished actors, lead by passionate directors, and accented with flavorful wine and tasty hors d’oeuvres.
The success of these sporadic readings was so much that, this time last year, the City of Encinitas offered Intrepid a standing spot in the ocean-view community reading room at the Encinitas Library in which to present an yearlong season of staged readings.
“Intrepid is helping us realize this longstanding preference of the residents to experience live theatre,” said City of Encinitas Arts Administrator Jim Gilliam of the city’s first and only professional theatre company.
Now, one year later, as 2013 and the inaugural season of the Staged Reading Series winds to a close, Intrepid and the City can see a plethora of accomplishments in the creative wake of this communal endeavor.
Among the playwrights featured this year were the likes of Moisés Kaufman, Jane Anderson, John Patrick Shanley, David Mamet, Arthur Miller, and, of course, William Shakespeare. The monthly readings on the whole hired more than 80 talented local actors, as well as eight directors culled from the most influential players across San Diego’s ever-expanding theatre scene.
For many, participation in a staged reading marked a debut with the company. Other faces were more recognizable to the subscribers who regularly attended the readings as well as the mainstage productions. Audiences embraced the readings, returned month after month, and were rarely hesitant to offer standing ovations at the conclusion of any given evening.
With this success of the series, the City was eager to renew the staged reading series contract with Intrepid for 2014. However, Artistic Directors Sean and Christy Yael-Cox knew that if Intrepid was to commit to another year, they had to harness and build upon the sense of community involvement the readings had inspired.
That’s when the idea of a Staged Reading Committee came into being. Instead of Sean and Christy deciding the playlist for a year, the reading series would be handled by a team of respected actors and directors who, from the benefit of their varied perspectives, would create, direct, and cast the 2014 season of staged readings for Intrepid.
Cut to the lengthy list of plays. While these four San Diego theatre notables may be scratching their heads about the 2014 compilation, one thing is certain. They are all excited to be at the table.
“I love the idea of committee-based theatre,” says Shana Wride, who directed the reading of Yasmina Reza’s “Life(x)3” this year. “To be part of a group of like-minded talented people and be allowed such a wonderful creative outlet is a real treat.”
In addition to choosing plays that are favorites, the team has endeavored to pick selections that are new to them and, hopefully, to audiences. This is one of the advantages of working as an ensemble and acquainting fellow committee-members with unfamiliar plays.
Fran Gercke, most recently seen as John in Intrepid’s mainstage production of “Oleanna,” says this is one of the best parts of the process.
“I am excited about the ability to read new work and hopefully introduce the audience to a whole host of characters and a whole world they’ve not known before, about which they’ve no ideas, no preconceptions,” says Fran, who directed the reading of Sam Shepard’s “Geography of a Horse-Dreamer” this past year. “It’s always fun when there’s a thriller aspect, a who-done-it quality to every story so that you’re always wondering where is this going and how is this going to end. New stories provide that.”
While a staged reading is rehearsed, it is comparatively easier to present than a mainstage show. Therefore, the opportunity to perform big budget plays in this simplified environment – leaving much to the imagination – is also appealing.
“It is amazing to me how just listening to a play can, and has, elicited such strong, positive responses from audience members,” says Brian Mackey, who directs the yearly reading of “A Christmas Carol,” the reading series season finale.
Fran agrees. “I get caught up in staged readings because they invite me, almost magically and with little effort, to imagine much of what is happening,” he says. “That’s not so common anymore.”
From collaboration to imagination, the staged reading series is ultimately an opportunity to do the thing that everyone loves to do.
Ruff Yeager, who portrayed John Barrymore in this year’s reading of Paul Rudnick’s “I Hate Hamlet,” says it simply. “I am looking forward to working with incredible actors on a play I really love.”
Add in a little wine and cheese, and you’ve got yourself a recipe for a successful 2014 Staged Reading Series.
– Tiffany Tang
Intrepid’s 2014 Staged Reading Series
presented at the Encinitas Library
The Tale of the Allergist’s Wife by Charles Busch
Abundance by Beth Henley
In a Forest, Dark and Deep by Neil LaBute
Twelve Angry Men by Reginald Rose
A Number by Caryl Churchill
Private Lives by Noel Coward
Defiance by John Patrick Shanley
The Milk Train Doesn’t Stop Here Anymore by Tennessee Williams
Waiting for Godot by Samuel Becket
Titus Andronicus by William Shakespeare
Seminar by Theresa Rebeck
A Christmas Carol by Charles Dickens
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.
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.
“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.
How does a summer full of playing Shakespeare, creating stage makeup masterpieces, and mastering stage combat choreography sound? Or perhaps putting together a musical number is more your style? A little improvisation or dance? Or maybe watching your technical vision of a show come to life with one of the most state-of-the-art lighting grids in the city?
If you are between the ages of 8 and 18, your summer of theatre fun starts with Intrepid Shakespeare Company!
CAMP INTREPID lands in Encinitas this month, hosted by the San Dieguito Academy Foundation and the critically-acclaimed professional theatre company. Sessions begin June 17 in Shakespeare, Musical Theatre, Backstage, and Theatre Showcase for Young Actors. And now, Intrepid Shakespeare is pleased to announce that there are full and partial scholarships for summer campers, courtesy of City of Encinitas and Mizel Family Foundation Community Grant Program! (Interested campers should apply immediately using the CAMP INTREPID Scholarship Form, as the number of scholarships is limited.)
“We know how important it is to provide the younger generation with access to the arts,” said Producing Artistic Director Christy Yael. “We just want to be sure that we are reaching everyone who is interested and give them the opportunity to be involved.” Artistic Director Sean Cox has been equally clear about the importance of Intrepid’s mission to expose students to the arts, attributing his lifelong involvement in the theatre to interests that were nurtured at summer drama camps. “We know what kind of memories and experiences they can build,” he said.
Joining Intrepid’s core of teaching artists, visiting professionals from the Old Globe, La Jolla Playhouse, Lamb’s Players Theatre, and other major regional theatre companies will also teach specific sessions in a variety of theatrical areas, including fight choreography, stage makeup, movement, and audition technique. Each camping session ends with a performance.
Due to popular demand, Intrepid has also announced that an additional Musical Theatre Camp has been added to the summer schedule. High school-aged drama students have the opportunity to rehearse and perform 25th Annual Putnam County Spelling Bee, while the younger drama campers (ages 8-16) can now participate in an earlier summer session which will culminate in a performance of the musical You’re A Good Man, Charlie Brown.
Registration is now open for the following sessions:
Young Actors Theatre Camp
Hours: 9am to 3pm
June 17-21; July 8-12; July 15-19
In a fun and creative environment, campers develop theatre skills, gain confidence and develop social skills through collaboration and performance. Professional teaching artists lead classes focused on acting, singing, scene study, fight choreography, dance, improv, stage makeup, and mask work. The week will culminate in a showcase performance for friends and family. The campers will be divided into two age groups: 8-11 & 12-15. This is the perfect week-long camp for students with varying degrees of theatre experience, from zero to intermediate.
Early Drop-off and Extended Day Programs are available for the Young Actors theatre camp. You may pay in person by cash or check on the first day of camp but you must pre-register for these extra services. Campers may be dropped off as early as 8:00am and must by picked up by 5:00pm.
Early Drop-Off / Weekly rate $40 ($8/day) or $10 drop-in
Extended Day / Weekly rate $50 ($10/day) or $15 drop-in
For more details about the early drop-off and extended day programs, please visit the Frequently Asked Questions page.
Musical Theatre Camp:
“You’re A Good Man Charlie Brown”
Hours: 9am to 3pm
July 22 – Aug 2
Duration: Two Weeks
Campers will be cast in and rehearse a musical (You’re A Good Man Charlie Brown) that will be performed at the end of the two week session. Throughout the rehearsal process, professional guest artists will be brought in to mentor and work with the campers on audition technique, acting a song, character movement, dance and more. The professional guest artists hail from such organizations as La Jolla Playhouse, The Old Globe Theatre, Moonlight Stage Productions, Lamb’s Players Theatre, and Cygnet Theatre.
Musical Theatre Camp:
“25th Annual Putnam County Spelling Bee”
Hours: 9am to 3pm
Duration: Two Weeks
Campers will be cast in and rehearse a musical (25th Annual Putnam County Spelling Bee) that will be performed at the end of the two week session. Throughout the rehearsal process, professional guest artists will be brought in to mentor and work with the campers on audition technique, acting a song, character movement, dance and more. The professional guest artists hail from such organizations as La Jolla Playhouse, The Old Globe Theatre, Moonlight Stage Productions, Lamb’s Players Theatre, and Cygnet Theatre.
Shakespeare Camp: ”Romeo and Juliet”
Hours: 9am to 3pm
July 22 – Aug 2
Duration: Two Weeks
Campers will be cast in and rehearse a Shakespeare play (Romeo and Juliet) that will be performed at the end of the two week session. Throughout the rehearsal process, professional guests artists will be brought in to mentor and work with the campers on fight choreography, advanced acting, voice and speech, character movement, audition technique, and more. The professional guest artists hail from such organizations as The Old Globe Theatre, La Jolla Playhouse, Kingsmen Shakespeare Company, Texas Shakespeare Festival, and Intrepid Shakespeare Company.
Don’t forget to apply for available scholarships! See you all this summer!
“If this were play’d upon a stage now, I could condemn it as an improbable fiction.”
Fabian quips this line in Act Three of Twelfth Night, and both Jim Winker and Ross Hellwig – two actors featured in Monday’s staged reading of the play – would agree that Shakespeare has a way of shedding light on the spaces where art and life overlap, imitate, and illuminate. In this play, in particular, he has created a cast of colorful characters for this purpose, characters who constantly find themselves peeling back the layers of living.
“That’s the glory of Shakespeare,” says UCSD Professor Emeritus Jim Winker who will be playing Malvolio, the “narrow-minded and mean-spirited” steward to the Lady Olivia. “We’ve all got something to bring to each part. It’s like onion layers unfolding, depending upon the actors playing the roles.”
Jim is no stranger to unpacking the Bard. In addition to his accomplished acting resume which includes numerous Shakespeare productions and an Associate Artist designation at the Old Globe, Jim taught classical texts in UCSD’s Department of Theatre and Dance for 25 years. He was recently approached by Christy Yael and Sean Cox, artistic directors at Intrepid, to take their actors through scansion workshops during rehearsals for their main stage productions. He is looking forward to taking the stage on Monday as an Intrepid cast member.
While Malvolio – whose name can be translated as “ill will” – is typically seen as somewhat of a fool, Jim stresses the importance of recognizing his complexities. “For all of his general creepiness,” says Jim, “he’s a vulnerable guy. Shakespeare has given him to us in a wonderful package where he has balanced out all sides of him.”
Even though the turn of events in the story don’t favor Malvolio for the better, Jim observes that because of these complexities of character, audiences don’t automatically dismiss him. ”We end up having some feeling for him,” he observes. “He’s got depth and feeling and complications.”
“He’s forgivable because he’s relatable,” says Ross Hellwig of his own character, Duke Orsino – the melancholy lover who’s “more in love with the idea of love” than the object of his affections. Similarly to Malvolio and many of the characters in Twelfth Night, Orsino takes a position of authority on a subject – in his case, the idea of love – but soon discovers that he is the one who has a lot to learn.
“One of the things I think is fun about Orsino,” explains Ross, “is that he imagines himself the most knowledgeable about love and women because he’s in the midst of this incredible passion for this woman. He’s in the midst of these scenes with Viola and educating her about what love is and - he’s really wrong. It ends up being the other way around – that she was teaching him about love.”
“Spoiler alert,” he adds.
And what is it like to play these complex people onstage?
“Characters who have deluded images of themselves can be a lot of fun,” says Ross, who is a graduate of the Old Globe/USD MFA Program and has worked on numerous Shakespeare productions in San Diego and Los Angeles. “And these characters are all so colorful. They are unique and full of life and the fun of the piece is seeing what kind of trouble they will get into.”
Trouble is definitely not out of the question for the staged reading format. With mere hours of rehearsal and script in hand, actors are required to perform to full production standards. While this process is not for the faint of heart, both Jim and Ross note that the “quickness” of the staged reading arena forces the company to focus on what is important: the words and each other.
“It goes fast,” says Jim. “You have to pay attention and get all of your tools ready to go. You have to be ready to improvise. It’s a wonderful challenge for an actor.”
“One of the great things about staged readings of Shakespeare is that everything you need to know in a Shakespeare play is in the text,” notes Ross. “All you need is the language. It’s the blessing and the challenge.”
To that end, Jim endorses Intrepid’s fast-paced and text-centered approach to the plays they read and produce.
“They pay great attention to the language,” says Jim. “What I love about them is that they are not afraid of it. They get on with it and they don’t play down to their audiences. They trust that they don’t have to hand it to us on a tray.”
In a time when it seems as though we are shortening our language use every day, it may seem remarkable that audiences understand Shakespeare as well as they do. But the themes and passions and logical twists are surprisingly accessible, mostly because we recognize our own lives in the machinations onstage.
“He’s the heart of our culture,” says Jim. “The plays teach us so much about what it is to be human. Each time you see one, you learn something about who you are.”
This extraordinary class will be in session on Monday evening. – T.T.
Twelfth Night: A Staged Reading. Monday, April 22. Encinitas Library. 6:30 pm wine reception. 7:00 pm reading. Please purchase tickets in advance or rsvp to email@example.com and pay with cash/check at the door. $15.
It is the opening night of Hamlet and the cast has gathered on the stage for some last minute words from director Christy Yael. Everyone is chatting nervously, in various stages of ready – curlers in hair, costume pieces being buttoned, makeup half applied. One hour until showtime.
Sitting in the audience while this preshow unfolds is a man with a camera, camouflaged by stillness, quietly recording the jittery bustle. The actors, while aware of his presence, don’t acknowledge it. Perhaps they are too nervous. Or, perhaps, they are simply used to it.
For the past few months, Graham Sheldon and his crew have been shadowing Sean Cox, who stars as Hamlet, on his journey of creating the character of the Danish prince. An Emmy-nominated documentarian, Graham is developing a television pilot that will take an in depth look into the creative process of various artistic talents. It is titled “Muse” and Sean is the show’s first inspiration.
“We wanted to start off with the theatre,” explains Graham, who credits the series’ co-creator, Rin Ehlers, with the idea for the show. Working with Sean as he goes through his natural journey as Hamlet seemed like a good idea for the first episode, as both he and Rin had already worked with Intrepid in a theatrical capacity. This familiarity with the company and the key players gave them the perfect setting within which to cultivate this new idea.
“Plus,” says Graham, “the first show had to be a great story. You can’t go wrong with Hamlet.”
The series is intended to explore the artist’s path through all sorts of different mediums – sculpting, painting, dance, music, and the like, and each episode will focus on one artist’s journey, taking the audience through a practical and visceral experience of that artist’s world. Typically, this journey will center around one specific creative aspect, such as the cultivation of one particular painting or dance piece.
“We’re trying to show the play developing through the microcosm of one monologue,” says Graham. “Since the episode is only going to be 22 minutes, one of the harder things will be making Hamlet accessible in that time.”
This also means introducing the show’s viewers to the terminology of the various artistic mediums without being too didactic. Graham insists that the show will not be about learning the jargon of the stage or focusing on the technical aspects of creating theatre, even though, for example, not everyone will know what a cue-to-cue is while they are showing footage from the technical rehearsals.
To that end, Graham plans to shoot footage at Sean’s home, capturing some of this private life with his family, and see how he spends time developing the part away from the theatre and in balance with his other points of focus. “Intrepid really is a family company,” observes Graham, citing it as one of the aspects which drew him to the spotlighting it in the first place.
Another thing that Graham and his crew quickly realized about this company is that, with the multiple hats that Sean wears as Artistic Director and Director of Education, he is not always the easiest person to pin down. Or to locate, for that matter.
“We spent a half hour in the theatre one day just trying to find him,” laughs Graham, describing one of the rehearsals they were shooting. “This is such a fast moving production and Sean is all over the place, running around the entire building, doing 30 things at once.” They finally put actor Brian Mackey, who plays Laertes, on “Sean-Watch,” so he could help them keep an eye on their artist.
“Sean has so much energy that just keeping up with him has been the biggest challenge,” says Graham, who has interviewed everyone from ex-CIA agents to Cern physicists for his past projects.
Of course, it’s never easy to truly capture reality. Having cameras documenting one’s every move can be a little daunting, especially in a rehearsal space where actors need to feel free to explore. “Sean and Christy were a little hesitant about the idea at first,” admits Graham. “I would be too. Having cameras around is never an easy thing. But they’ve been really receptive to it and we’ve tried to maintain the fly on the wall method.” He pauses and then adds, “We’ll find out at the end if we’ve been successful.”
For now, Graham and his crew have shot hours and hours of footage and he looks forward to editing it into a finished product. If all goes well, “Becoming Hamlet” will be coming out very soon. – T.T.