Maybe Guns n Roses Was Right...

Life of a Theatre Wife

Written by Jennifer Adams Sunday, 17 January 2010 11:11

When Tony, Jr. was born, I decided that he would be potty-trained by the time he was 2. I was trained at 18 months, and 2 years should give plenty of time for that "Boys take longer" thing... He's almost 3 1/2, and just now ALMOST fully trained. He just wasn't ready.. and the only thing my forcing it did was make me miserable about diapers for that year...

I was thinking earlier about Tango Palace, and about other projects we've done and seen, and how it seems like so many projects would "be so much better if we had more time." Because so many of us small companies rent from theaters that need us to sign contracts with dates in concrete so they can schedule the next company to come in the day after we close- (Move 'em on, head 'em up, Head 'em up, move 'em on, Move 'em on, head 'em up Rawhide, Count 'em out, ride 'em in, Ride 'em in, count 'em out, Count 'em out, ride 'em in Rawhide!) , and because we have to do so many things in advance in order to get audience ( 3 rounds of press releases so critics have it in their insanely busy schedules, postcards at the beginning of the process, etc.), there is never any room for error or growth...

Or patience... (hence the guns 'n' roses.... title.... yeah...)

What would happen if we were able to give all of our shows the chance to really bloom BEFORE we show them to people? How amazing would the art be then? If we could keep people's attention and interest with pictures, updates, video of rehearsals, blogs, Twitters, and then when the show is ready, let people know that it will open in a week and "Tickets are going Fast!!!" (Because they would, because we would do such a great job letting people know how great it is going to be...)

Sometimes it feels like we rush the art to accommodate the logistic of Real Estate, and if art is anything like Tony, Jr., sometimes it just won't be rushed...

PS- The video was really just for the spandex hot pants and awesome dance moves! Add a comment

TANGO? Maybe Yes, Maybe No...

Life of a Theatre Wife

Written by Jennifer Adams Saturday, 16 January 2010 10:11

Just the facts- Tango Palace has had some problems... not the least of which is that 1 of the actors originally cast took a job at a much larger theatre and the other actor, his roommate, didn't want to do it if his roommate wasn't, and Adam found out 1/2 hour before the first read-through... at which point, he didn't feel it would be possible to have ready if he had to start the whole casting process over with 2 1/2 weeks until performance, and so he stepped into the character with the most lines and business, which he btw rocks at, and I took over directing.

Right away, I realized that I wouldn't be able to direct in the way you typically direct... for one thing, this was 2 1/2 weeks ago. I have not exactly been spending my free time researching Fornes OR Tango Palace... I think, and have been told, that I have really good instincts when it comes to script analysis and character subtext (Kurt Naebig, can you concur?)... however, historical research is NOT my strong suit... and Adam had been doing a lot of work, had created a vision; in essence he knew what he wanted this play to say.

At the read-through, I expressed my thoughts on this. I really feel that it is in the show's best interest to respect Adam's vision for what Irene was trying to say, as I just haven't had the time to make a fully informed decision on Irene's intent. I was very willing to call on him to help with my analysis of what the play was about, and try as much as possible to make it about these two beings. If I could help them get to the meat of what they are saying and what they mean to each other, we would be golden... right?

Fornes is known for being... complex... and the more we got into rehearsals, the more was unveiled. I honestly believe that one name that should be thrown into the ring of those influenced by her work is Julie Taymor... I wasn't kidding when I said that it's only 17 pages, but there is stage combat, sword play, more than one Tango, maskwork (Beetles- and I'm not talking about the group) that seems VERY removed from the rest of the script (but of course ISN'T, which is the some of the beauty of Fornes) and the character of Isadore embodies personas from Norma Desmond to Patton to Peter Pan, while maintaining a very human and fragile underbelly. And that is the easy one to dissect.

The character of Leopold, which Tom McGrath also rocks at btw, is subtle; aging in mentality from the birth to adulthood while appearing dressed in a 3-piece suit, knowing what he wants and needs, but not having the maturity and the experience to come to terms with it until the end.

To top it off, Tom, who has graciously stepped into the role of Leopold, opens another show the same weekend, and I am watching the kids because Tony is Lighting Designer and of course producing, and has to be at tech every night for the other 5 shows. So we rehearse in my living room from 9:15 to 11 p.m., after the kids are in bed. The conversation we had tonight about all this was done at my kitchen table while I was trying to feed dinner to two VERY cabin-fevered children.

We just had our "Final Dress" and it was spent learning fight choreography for the first time and how to Tango (not the specific choreography, just HOW to) for the first time. When we finished fight choreography and leapt pants-off into a marked run of the show, the Fight Choreographer and I discovered 3 more places that there should BE fight choreography as opposed to "I feel really comfortable with fights and with you slapping me  or throwing a punch." Our "preview" will be a working rehearsal and my actors WILL be holding scripts.

Sooooo, what do we do?

1) ALL of the shows have had their difficulties, and I think ALL of them have lost actors or had trouble casting, so what makes us so special?

2) This is Fornes' first play, running in rep with her LAST play, ( Letters from Cuba plug, plug with my producer hat on, although it's awkward to plug with my director hat on, since they run in rep with Tango and all this shit has hit the fan...) and it would be a HUGE shame if it didn't go up.

3) The way it stands right now, it is not safe to the actors to have an Opening on Thursday...

We could postpone opening Tango Palace for a week and only do Letters from Cuba this week--and invite anyone who sees this Thursday's show to come back free of charge; we could do a staged reading this week and open next week, and invite anyone who sees this Thursday's show to come back free of charge; we could pull it from the festival all together; we could decide to just push ahead and open it (although I'm not sure my actors would do it, at this point.)

We have a 4-hour rehearsal on Sunday and THEN "Preview" Sunday night, then a 4-hour rehearsal on Monday... a LOT could be ironed out in that time... I feel like this has the potential to be an incredible show... but safe for the actors to participate in by Thursday? Not sure about that one...

What would you do?




Add a comment

First Day on the Job

Life of a Theatre Wife

Written by Jennifer Adams Monday, 04 January 2010 20:33

Add a comment

Chicago Storefront Summit Breakout: Gender and Equality

Life of a Theatre Wife

Written by Jennifer Adams Wednesday, 16 December 2009 21:43

Chicago Storefront Summit Breakout: Gender and Equality

Join members of the Chicago theatre community, women and men, in discussing the impact of gender on the Chicago theatre scene. This discussion will bring theatre community members together to find common ground and determine next steps. We invite any who are interested in this topic, be you a theatre company representative or freelancer, to participate.

We hope you'll bring your own ideas and questions, but here are some questions we've been thinking about:

* Is there a disparity between opportunities for men and women, and if so, at what level does it start? Do women in storefront theatres in Chicago experience the same challenges as women in larger and Equity houses?

* Do the same challenges exist across the board artistically, or is it different for playwrights, directors, designers and actors?

* Would a gender equitable Chicago theatre scene look different from the current one and if so, how?

* What can each of us do to change the status quo? Are there opportunities for group action or collaboration?

Please give us your input on a date for the first in a series of discussions. Tell all your friends. On Monday, December 21st, we'll decide the date and location. If you have any questions, or want to help with planning, get in touch. We want your input!

We hope to see you soon!

Jenn Adams                                       Margo Gray
Halcyon Theatre                                 Prologue Theatre Co.                        
This e-mail address is being protected from spambots. You need JavaScript enabled to view it                     This e-mail address is being protected from spambots. You need JavaScript enabled to view it
Twitter: @halcyonjenn                        Twitter: @margogray Add a comment

"His Feet Are Where?"

Tonys Blog

Written by Tony Adams Thursday, 03 December 2009 11:48

Opened up this months issue of American Theatre, and Jenn and I both had a Letter to the Editor catch our attention:

"His Feet Are Where?"
I found the cover photo on your Sept. '09 issue most disturbing: The man has his feet on the stats--on the theatre seats! What kind of message are you sending? What kind of audience behavior are you encouraging?

There's an implied symbiotic relationship between actor and audience, where by one performs before the other, who "attends" (and all that that word implies). Such a posture shows disrespect for that relationship and is an insult to those who cherish the theatre.

How reckless and indifferent of your editor to allow this oversight, and how arrogant of Mr. Tarell Alvin McCraney, who, as an emerging "major new voice," should have known better.

The letter is not online, but the photo in question can be found here. (Scroll down to September 2009.)

I myself have been known to put my feet up in the seats. I spend a lot of time in theatres. I'm very comfortable in them. I also believe that the notion that a modern theatre building is a sacred place is complete horseshit.  (What can happen in side the bricks is a different story.)

I think this also intersects with Rebecca's post:

So here’s my question to you: are we trying to put square pegs into round holes? The tradition of theatre is that of a sacred space–and in that space, silence is demanded. For the sake of the performers, and for the sake of fellow audience members. While I do think that it’s important to show respect for others in the audience, I wonder if we are mistaking engagement for rudeness. As a field theatres go out of their way to keep people from enjoying themselves.

I'll never forget seeing Troilus and Cresida at the National and being shushed for having the audacity to laugh with Thersites. Silence in the wake of Culture was demanded. I dunno. If the audience is talking or texting through a performance, it's not their fault a show can't keep their attention.

But what does that say when people freak out about a writer relaxing in an empty theatre by putting up his feet. That people are shushed for laughing at comedic bits. That (some) actors will stop a performance if there is the least bit of distraction while they are working. (Because no one else has distractions at their job.)

Should we trade the notion of sacredness for the sake of being a living thing? Have codified behaviorial instructions taken the place of theatre that demands attention be paid by being breathtaking? What kind of audience do you want? How does your offstage attitude intersect with what is happening onstage?

I'd love to hear your thoughts.
Add a comment