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Tag Archives: drama
What’s so special about theater? I’ve been asked that last question so many times, and asked it in return, never getting further than the theater enthusiast’s shopworn answer: “There’s something magical about seeing it live.”
Sure, sure. But why? What’s so damn magical?
This summer, I thought I caught the glimmer of an answer in a billboard for the food-delivery service DoorDash. A well-groomed man reclined on a couch, phone in hand, neon diner sign above his head. Below him, the pitch: “Order burgers without moving your buns.”
Theater, I realized, is the opposite of that. It’s everything our watch-at-home, extra-pepperoni-hold-the-olives culture of comfort, distraction and pseudo-control (in which we get to play with inches of difference, but never yardage) has been engineered to avoid.
Theater is inconvenient (you must move your buns); it’s uncomfortable (at least airplanes have flight attendants you can flag down for pretzels); it’s puny for cultural capital (not the street cred of graffiti, nor the sophistication of symphonies); it’s economically silly (there are better ways to make money); it can be intensely claustrophobic and boring (can’t get up, can’t change the channel); and so on.
Compared to an evening of Netflix and Uber Eats, theater is downright risky: going somewhere strange to be a human, sitting with other humans, sharing nothing but air, space and a story. You might have to look at (and reckon with) things that make you squirm.
These discomforts can produce bizarre effects, and I’m enlisting two philosophers to help explore why. (My mother was a reader — I think she’d approve.)
The first, famed conservative Edmund Burke, who wrote a 1757 essay about the sublime.
“Sublime” is an exhausted word these hyper-accentuated days, when even mundane exchanges get exclamation marks (“hello!” thanks!” “bye!”) and superlatives (“he’s the worst,” “you’re the best,” “all the feels”). But it was a newish and special idea to 18th-century Europeans newly interested in the difference between the merely beautiful and the sublime.
Beautiful things, Burke argued in his essay, are safe and subordinate: a violet, a vase, a tamed landscape. (Think the pleasing colors and lines of a French vineyard.) But vast deserts? Storms at sea? Eerie ruins? Things we can’t control and aren’t useful, but still move us, are sublime.
Film is safe and subordinate — it cannot be sublime. Its camera work, even when “awesome,” is all manipulated arrangement of color and line. It is economically useful (Hollywood, Bollywood). And no matter how big the explosion or expensive the actor, it’s all tamed, disembodied representation — carefully edited shadows on the wall, infinitely reproducible, never adjustable. There’s no immediacy, no risk.
The immediacy, the event-ness of theater makes it more potent: I laugh harder in theaters than I do at movies. I bet I’ve logged more teary minutes (probably hours) in theaters than anywhere else — weddings and funerals included. And, as theatergoers are well aware, its potential for boredom is acute, serious business. It’s so real, some skillful artists use it as a tool, an audience tenderizer, lulling us and making us more sensitive for shocks to come.
Why the potency of live-ness? Enter philosopher No. 2, Walter Benjamin, who had a word for this: aura.
His 1936 essay with a cumbersome title (“The Work of Art in the Age of Mechanical Reproduction”) thought through how the new technology of photography would change art. Super-simple distillation: Notre-Dame is unique, embodied. It has its own “aura … its unique existence at the place it happens to be.” If it burns, it’s gone. But a photograph of Notre-Dame is infinitely reproducible, a disembodied image you can pin to your favorite wall. Burn all the photos you like — there will be copies, aura-free, floating around.
“That which withers in the age of mechanical reproduction is the aura of the work of art,” Benjamin wrote. His big example: The difference between theater and film.
Theater oozes aura and is irreproducible — not just from one “Hamlet” to another, but from night to night. “Pulp Fiction” will always be “Pulp Fiction” no matter where in the world you go, the camera an absolute dictator of your attention. (Benjamin points out that watching a movie isn’t watching acting — it’s watching editing.) Film is an object; theater is an event.
And while theater restricts your mind’s menu of distractions (no phones, no fast forward), it also provides a kind of liberation: an invitation to focus on the immediate present, free to move your attention wherever, from a gesture on stage to the lighting grid above your head. It’s like the strange relief you might feel on an airplane when you can’t use your phone but before the movies start. In one way, you’re stuck. In another, you’re finally unstuck.
Philosophical games aside, loving something like theater in the age of Netflix requires an element of visceral, irrational amour fou. Some people love the precision of a good script, others are in love with certain actors.
Here’s mine: I am incurably attracted to that moment when the house lights dim on a roomful of strangers, just before the stage lights flare up on other strangers who are about to become characters.
There’s a radical possibility in that dark interval, that gap. Doesn’t matter whether I’m in a cramped basement or razzle-dazzle show palace. Doesn’t matter what exciting 7 p.m. situation I’ve torn myself from to trudge to another damned play. The promise of that interval is the same. We’re all there together, for a common purpose: to let the rest of the world drift into the background like mental wallpaper, to see what’ll happen next to these people in this room. That is, to us.
You can only find that level of heightened group communion in a few places: theater, sports and church. People have been gathering to do those three things for thousands of years — and they aren’t going to stop. Even if the regional theaters go bankrupt, nation-states collapse and Broadway becomes a barely remembered relic sunk beneath the rising Atlantic Ocean, people will still gather to stop time and perform stories. It suspends the aloneness.
In January of 2010, my mother was dying. She wasn’t totally-bedridden-dying, not yet — but she was getting there. We didn’t know it then, of course, but she had exactly one year of life left.
That month, I also saw a gut-churning, bone-achingly sorrowful performance of Electra. I was baffled, had to see it again and, for reasons I only dimly understood, bought my parents tickets to join me, to watch this live, raw, blistering expression of a grief we all privately carried and could barely comprehend, much less express. But in Electra, it was there. We could behold it — examine it. Why, in that particular moment, did I find such solace, such emotional solidarity, onstage?
It was something only theater could do.
Brendan Kiley is a Seattle Times arts and culture reporter. This post originally appeared in the Seattle Times.
by Carolina Xique
It’s an exciting time to be an artist. In the last few years, the arts industry has been experiencing a high production value in diverse storytelling aimed toward better representation of people of color, and more specifically, Asian and Asian American representation. With groundbreaking films such as Crazy Rich Asians, Netflix’s Always be My Maybe, The Farewell, as well as the successful theatrical production of Cambodian Rock Band, people everywhere are becoming more exposed to the nuances of the Asian/Asian-American experience.
With a cast that is made up of Koreans and Korean Americans, Jiehae Park’s Hannah and the Dread Gazebo takes a family on a funny, heartbreaking adventure to reconnect with their roots in South and North Korea, and also into the forbidden Demilitarized Zone that divides them. Hannah premiered at the Oregon Shakespeare Festival in 2017, and is now set to open at the Fountain Theatre in association with East West Players, directed by Jiehae’s longtime collaborator, Jennifer Chang. So we thought we’d grab the chance to talk with them about their own adventure with this play.
Carolina Xique: First, let me say that I’m thrilled to hear about this new piece and that it’s making its way into Los Angeles.
Jiehae, as playwright, can you talk about how the idea for this play came to you? Is it personal to your own experience or indicative of the holistic Korean American experience? And Jennifer, as the director, what drew you to take on this piece?
Jiehae Park: I didn’t know I was writing a play. I was primarily a performer at the time (Jen and I both went to UCSD for acting). There were quite a few big questions I was trying to figure out—and I think the unusual shape of the play reflects that. I would sit down and write down stories that came to me in that moment, not realizing it was all going to add up to something bigger.
Jennifer Chang: I am a huge fan of Jiehae’s and have been following her career with personal interest for some time as we share an alma mater: we both went through the MFA Acting program at UCSD and have both diversified our careers. She is a significant talent and I am so thrilled to have this opportunity to collaborate with her on Hannah and the Dread Gazebo. The musicality of the language and the inherent theatricality that emerges from her ability to weave a multiplicity of thought and theme are all very exciting and honestly a dream to be able to dive into. Also, I love being able to support the telling of Asian American stories in their universality and three-dimensionality.
What kind of research did both of you dive into when writing Hannah?
JP: I didn’t research much initially, but I did do quite a bit before finishing the play (that’s been a recurring pattern in my writing process these last few years). The research didn’t directly go into the play but provided a richer historical and cultural context that helped me complete it.
A follow-up to that, in terms of your other plays and writing process, was anything different for Hannah and the Dread Gazebo?
JP: Broadly, I seem to have two general types of plays—super-quick, freight-train-speed linear ones; or messier, slower-baking plays where the structure is far less predictable. Hannah is definitely in the latter category.
Jennifer, what in your directing process is helping you with Hannah and the Dread Gazebo?
JC: Regarding research, the usual dramaturgical work of researching was involved: Korea, the DMZ, politics of North and South and Kim Jong Il. I wanted to lean into the magic-realism of the play, and early on knew that I wanted to consult with an illusionist, and also started doing some research into magic (I’m currently reading Spellbound by David Kwong). It’s been so great to have a cast that is Korean American. There are some points of commonality amongst Asian Americans, but being able to tap into specific details, nuances, and experiences that the cast has so generously shared with the company and has contributed to the making of the show has been invaluable. It’s illuminating to discover the tiny nuances of how gestures and thinking and sounds differ for Koreans in, and those from, Korea. I love new plays and really view myself as a locksmith in my approach to collaboration. I want to know what the play wants to be, the playwright’s intentions, what’s resonating with the cast and how they approach the work, and how best to facilitate the conversation and “the ride” so to speak, with the audience. Having worked on Vietgone by Qui Nguyen has really helped. These plays are vastly different but they both have scenes that shift at a cinematic pace in widely varying tones that need to be woven together in the same play.
East West Players is a theatre company known for its work lifting up Asian-American stories. How do you feel about bringing the LA premiere of Hannah in collaboration with EWP and the Fountain Theatre?
JP: Honored. I had a reading of my very first play—which had been my college thesis—at EWP over a decade ago…in the time since I figured out I wasn’t a playwright, went to grad school for something else, then re-figured out that I was. And Stephen Sachs at the Fountain reached out about the play very soon after the OSF premiere—I’ve long admired the scripts he brings to LA area audiences. Additionally, Jen directed an early reading of the play at EWP years ago, and I acted in a show with Jully Lee (the Shapeshifter) that Howard Ho (Sound Design/Composer) music directed when I was right out of school. I’m bummed to not have been able to be out there for rehearsals, but happy that it feels all in the family.
JC: It’s an honor to be able to helm a project with the support of two highly respected institutions in Los Angeles. I think it’s really smart theatre making to cross-pollinate and support the universality of human experiences and good work regardless of color. A collaboration like this signals that this isn’t just work by people of color, but that it’s good work worth supporting, period.
What do you want audiences to take with them when they leave the Fountain Theatre after seeing Hannah and the Dread Gazebo?
JC: Garlic in their pockets.
Carolina Xique, is a theatre artist and arts nonprofit administrator. She is a member of the Los Angeles Female Playwright Initiative.
By Stephen Sachs
Whatever happened to empathy in this country?
A candidate for President mocks a person with physical disabilities on national television — and still gets elected. Undocumented children are pulled from their parents and locked into cages. Hateful tweets fly between rich celebrities. Insulting attacks are vomited on TV talk shows. Demeaning personal smears splatter across the blogosphere. Women are shamed, minorities are assaulted. Those with the power to do good seem indifferent to the suffering of others. Fewer care to consider what it’s like to walk in another person’s shoes, to entertain the notion that others may feel the way they do for reasons that are understandable and valid from their point of view. Common respect for another human being seems as rare today in public life as a sighting of Bigfoot.
What can you do? How can you counteract today’s lack of empathy?
Turn off cable news. Switch off your smartphone. And go to the theatre.
Not because the display of human behavior from the stage will be any prettier. Don’t forget, the fundamental element of drama is conflict. Even so, no matter how tragic, a good play is a pathway to empathy. That’s because theatre doesn’t just manufacture empathy, it depends on it. Without empathy, theatre not only fails, it doesn’t exist. Here’s why:
Every play that has ever been written asks the same fundamental human question:
“What is it like to be someone else?”
During a recent Sunday panel discussion on NBC’s Meet the Press, political columnist Matt Bai stated, “This is a presidency entirely without empathy.” Trump, he added, “seems to be a person who is entirely without empathy. Whatever his strong suits or weak suits, he does not have the ability to feel personally and deeply the suffering of others.”
Empathy is a skill that everyone could do well to develop and maintain whether President or not, and theatre, an art where the purpose is to explore what it means to be human, is an excellent teacher. Its in-the-moment human interaction makes theatre one-stop shopping for empathy.
In the performance of a play, the current of empathy runs two-fold. The actors pretend they are somebody else while the audience imagines what it must be like to be them. This remarkable double-shot of empathy brings mutual benefit: the attention of both actor and audience is focused on someone other than themselves. The fears, passions and needs of another human being become their own. Performers achieve this skill through years of training. Audiences have empathy thrust upon them.
In a 2012 study, researchers Thalia Goldstein and Ellen Winner assessed empathy levels in elementary and high school students who had received one year of theatre. They found that those who had studied acting for the year showed the most significant growth in empathy scores.
In the past 20 years, psychologists and neurologists have started to look at how empathy actually works, in our brains and our hearts. Fritz Breithaupt, a professor at Indiana University who studies empathy, says one thing he found is that “one of the strongest triggers for human empathy is observing some kind of conflict between two other parties.”
Sound familiar? Conflict is the essence of drama?
All of the hateful me-first narcissistic rhetoric of today doesn’t just give empathy a back seat, it tosses it out of the car entirely. The feeling now seems to be: Why should I put myself in the shoes of someone who is not me? Why waste my empathy on those not deserving? On someone older or younger? More rich or poorer? From another country? Another color? Gender? Sexual preference? The new rule seems to be: Reserve your empathy only for those who are like you which, by definition, isn’t empathy at all. In this twisted thinking, a lack of empathy is a show of power, self-reliance, a way to make a stand against the imagined danger of “the other.”
I believe our humanity is enhanced if we can learn to see the world through the eyes of a migrant child. A homeless woman. A person of a color not our own. And we are blessed with the opportunity to imagine what someone else might be thinking or feeling by going to the theatre.
People often confuse the words “sympathy” and “empathy”. Sympathy describes feelings of pity and sorrow for someone else’s misfortune. Empathy puts you in their shoes. Which is also the difference between a good play and a great play. A good play makes you feel sorry for a character. A great play makes you see life through their eyes.
On day one of first rehearsal of any play, in any city in any state in this nation, an actor or actress of any age, gender, race or sexual identity will open the first page of their script for the first time, find the role they are playing, and ask themself the same question: Who is this person?
And the door of empathy opens.
Stephen Sachs is the Co-Artistic Director of the Fountain Theatre.
The Fountain Theatre’s acclaimed Southern California Premiere of Daniel’s Husband by Michael McKeever will extend to July 28. Hailed as Critic’s Choice in the LA Times and highlighted as Ovation Award Recommended, the comedy/drama about a gay couple wrestling with the issue of marriage has earned rave reviews and sold-out houses from the night it first opened May 4.
There is the rule of law, and there are the laws of the heart. Which do we follow and when? Daniel and Mitchell are the perfect couple. What isn’t so perfect is that Daniel desperately longs to be married, but Mitchell doesn’t believe in it. Michael McKeever’s funny, passionate and poignant play takes an unflinching look at how we choose to tie the knot — or not.
Daniel’s Husband is directed by Simon Levy, starring Bill Brochtrup, Tim Cummings, Jose Fernando, Ed Martin, and Jenny O’Hara.
“CRITIC’S CHOICE…ABSORBING… THE ACTORS ARE WONDERFUL… [A] CROWD PLEASER” — Los Angeles Times
“A PERFECT 10…WITTY, REALISTIC, HEART-RENDERING” — Broadway World
“GO SEE ‘DANIEL’S HUSBAND’… THESE ARE SOME OF THE FINEST ACTORS IN L.A.” —KCRW 89.9 FM
“AS CLOSE TO PERFECT AS ONE MIGHT ENVISION…. WRENCHING, REAL, FLAWLESSLY STAGED, STIRRINGLY PERFORMED” — Cultural Weekly
“OUTSTANDING… PERFECTLY SCRIPTED. ACTED AND DIRECTED” — Culver City News
“A REMARKABLE SCRIPT… TRUE LIFE, TRUE FRIENDSHIP AND TRUE DESPAIR” —Discover Hollywood
“SUPERIOR… AN EXCITING PIECE OF QUALITY THEATRE” — Hollywood Revealed
“WOW!… [A] LAUGH-OUT-LOUD-THEN-GET-OUT-
“EXQUISITELY WRITTEN, SUPERBLY DIRECTED AND EXCELLENTLY PERFORMED” —Will Call for Theatre
“TREMENDOUSLY ENTERTAINING AND WELL-WRITTEN… A TERRIFIC SHOW” — Los Angeles Post
“RELEVANT AND AFFECTING” — Stage Raw
“ABOUT LOVE… the ABSOLUTE BEAUTY of McKeever’s story rings true” — On Stage Los Angeles
“INSISTENTLY MOVING… CRISP AND TIMELY” — People’s World
“A FINE PLAY WITH SOMETHING TO SAY… EXCELLENTLY PERFORMED” — San Diego Gay & Lesbian News
“TWO THUMBS UP” — Carol’s Reviews
“RESONATED LONG AFTER THE FINAL MOMENTS” — Showmag
“RELEVANT AND UNIVERSAL” — Stage and Cinema
“A VERY FINE PRODUCTION” — Talkin’ Broadway
“GUARANTEED TO LEAVE YOU MOVED AND EMOTIONALLY EXHAUSTED” — Ticket Holders LA
“BREATHTAKING… A TRULY EXCEPTIONAL CAST… TIMELY AND PROVOCATIVE” — Billy Masters.
Audition Date(s): 01/11/2019 – 01/12/2019
Rehearsal Date(s): 01/21/2019 – 02/19/2019
Preview Date(s): 02/20/2019 – 02/22/2019
Opening Date(s): 02/23/2019
Closing Date(s): 04/14/2019
The role of VERB has already been cast.
Male, 30-35, Caucasian. The Rapper. A fierce and fiery white dude who grew up among African-Americans but remains an outsider and separates him from Verb. His swaggering confidence hides his confusion and inner conflict. Because has a cop in his family, he mourns the city’s recent police shooting but thinks the group should stay the course.
Female, 25-30, mixed race, a “woman of color” upon initial glance, however her specific ancestry is less obvious. The Beat-Maker. The crew’s dynamic and spirited newcomer who crafts the beats and produces their tracks. She yearns for artistic recognition, struggling to get heard musically in this testosterone-fueled world. Peep finds herself caught between competing loyalties as Pinnacle’s and Verb’s previously unspoken views on race threaten to destroy not just their shot at success but also their friendship.
A diverse hip-hop trio is on the verge of making it big on national TV when a police shooting of a Black teen shakes the band to its core, forcing them to confront questions of race, gender, privilege and when to use their art as an act of social protest. When the Hype Man takes matters into his own hands, the ensuing beef exposes the long-buried rifts of race and privilege that divide them. Will it tear them apart or can they find a way to still breathe together?
Rate of Pay / Contract: AEA 99-Seat Agreement
Email headshot/resume to: firstname.lastname@example.org
Two acclaimed Fountain Theatre premieres — Arrival & Departure and Cost of Living — have been named Best Production of a Play in 2018 by veteran LA theatre critic Travis Michael Holder on TicketHoldersLA.com. Now in its 27th year, Travis’ Ticketholder Awards celebrate the 100+ Los Angeles theatre productions reviewed by Holder in 2018 in large houses and intimate.
Our Deaf/hearing world premiere of Arrival & Departure, written and directed by Stephen Sachs, won Best Production, Best Adaptation (Sachs) and a Special Achievement Award to movement director, Gary Franco.
Cost of Living by Martyna Majok was also named Best Production, and Tobias Forrest was awarded Best Supporting Actor.
The following were also acknowledged as a runner-up:
Arrival & Departure
Runner-Up, Best Actor – Troy Kotsur
Runner-Up, Best Actress – Deanne Bray
Runner-Up, Best Supporting Actor – Shon Fuller
Runner-Up, Best Supporting Actress – Jessica Jade Andres
Runner-Up, Best Supporting Actress – Stasha Surdyke
Runner-Up, New Discovery 2018 – Aurelia Myers
Runner-Up, Best Direction – Stephen Sachs
Runner-Up, Best Set Design – Matthew G. Hill
Runner-Up, Best Sound Design – Peter Bayne
Runner-Up, Best CGI/Video Design – Nicholas E. Santiago
Cost of Living
Runner-Up, Best Actress – Xochitl Romero
Runner-Up, Best Actress – Katy Sullivan
Runner-Up, Best Playwright – Martyna Majok
Full list of Ticketholder Award winners
by Deanne Bray
Arrival & Departure was quite a journey for Troy and I, both as artists and as husband and wife. It was a journey that was filled with surprises, both personal and professional.
As actors, who happen to be husband and wife, Troy and I dug deep, discovering what it would be like to fall in love all over again. And as Emily and Sam fell in love in the play, Troy and I fell in love all over again. Through the rehearsal process, and through Stephen Sachs’ direction, we found meaningful ways to keep our feelings fresh and real. As we developed our characters, Emily and Sam, we discovered ways to grow their hearts, allowing them to be truly visible to one another. As the weeks went by during the production, our work continued to grow. There were new discoveries —large and small — and we treasured them all. One of my favorite moments was when Emily saw Sam holding back tears as they said their last goodbyes in the final scene. As they looked into each other’s eyes, Sam’s strength —with one teardrop rolling down his cheek — was lovely and heartbreaking for me to watch. It worked for the scene in such a powerful and magical way; making it harder for me, as Emily to let go of Sam, her soul mate.
For years, I have admired Troy’s work on stage and television. We have worked together before on stage, screen and TV, but never opposite one another as a leading man and woman. With Arrival and Departure, Troy and I had the chance to really explore our craft together as actors.
As husband and wife, Arrival & Departure renewed our love for one another. We found a new and powerful spark that shifted our perspectives, and made us even more grateful to have each other. We learned anew how to bring out the best in each other; and were reminded to always pay attention to each other, despite the daily struggles of life.
Arrival & Departure was a unique production in the way theatre, film, and technology were utilized to tell this story about two different communities —Deaf and Hearing — in a thoroughly contemporary and accessible way. This story reminded us to take a step back and celebrate what we have — (or if necessary to be brave enough to make a change).
Another memory that stands out. My daughter’s friend from school came to see the play with her parents on Kyra’s birthday (with Kyra performing). Troy noticed the father smoking in the parking lot while his family was getting the tickets. Troy read his body language as a restless man who probably did not want to be there and half-heartedly followed his family into the theatre. I learned later from the mother, that after the show, the father was speechless and talked nonstop about Arrival & Departure on the way home. Seeing how Arrival & Departure affected her husband was very meaningful for her. This kind of art is unique and so imperative as it gives people insight into their own lives.
Troy and I were blessed to be part of Arrival & Departure. The different characters and storylines touched everyone who saw it. We hope that Arrival & Departure will be produced across the country. Its message is powerful: be true to yourself and support the people in your life with love.
Stories at the Fountain Theatre like The Chosen, Arrival & Departure, and Cost of Living can change people in powerful ways with inspiration, hope and connection.
Deanne Bray is an actress and teacher.
Click here to support the Fountain Theatre.
The Fountain Theatre’s acclaimed west coast premiere of Cost of Living by Martyna Majok has been named by Los Angeles Times theatre critic Charles McNulty as “Best in Theater in 2018.” McNulty writes, “The Fountain Theatre’s production of Majok’s “Cost of Living” confirmed just how indispensable 99-seat theaters still are to a healthy theater ecology.”
“Martyna Majok’s searing drama,” McNulty continues, “about the relationship between disabled persons and their caregivers was bravely essayed by the Fountain in a production directed by John Vreeke that revealed just how acutely this Pulitzer Prize-winning drama exposes some vulnerable truths at the heart of the human condition.”
Cost of Living features Tobias Forrest, Xochitl Romero, Felix Solis and Katy Sullivan. The run ends this Sunday, December 16.