Theater

Aileen Lambert ’16 talks to Emmie Finckel ’14 about “The Seagull” (Nov. 13-16)

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Aileen Lambert ’16 meets with Emmie Finckel ’14 to talk about her time at Wesleyan, her senior thesis in scenic design, and her involvement with the Theater Department production of Anton Chekov’s “The Seagull.” Directed by Associate Professor of Theater Yuri Kordonsky, the play explores the question of “What defines art and how can we create something new?” In order to further exemplify this theme, Professor Kordonsky is leading a production set in an unusual environment where the boundaries between the actor and the audience member dissolve, designed by Ms. Finckel.

Photo by John Carr
Photo by John Carr

Give me some basic background on your theater experience here at Wes.

So I transferred here, that’s a thing that happened. Second semester of sophomore year I stage-managed Dr. Faustus Lights the Lights (directed by Associate Professor of Theater Cláudia Tatinge Nascimento). Which was really nuts that I stage-managed a faculty show after only being here a couple of months. That was really a crash course in Wesleyan theater. And then first semester last year I designed The Tempest (directed by Nicholas Orvis ’13) And then second semester last year I stage managed Eurydice (directed by Sivan Battat ’15) for Second Stage, and I also designed the set for Under Milkwood, which Nick also directed.

Your thesis focuses on breaking the boundaries between the audience and the actors. What prompted this idea?

The whole way through I had been planning on doing either a directing thesis or writing something, because I’m a sociology double major, and I think there’s a lot of interesting theoretical overlap between performance studies and sociology. And then I took set design, and Marcela (Oteíza, Assistant Professor of Theater) stole me. Marcela really showed me how the set is a mediator in the audience/performer relationship. What is most interesting to me about theater is that it’s the only art form that you really can’t do without an audience; the audience is an absolutely essential part of that. So, that’s why this idea of the audience/performer relationship became what I wanted to focus on.

Then in taking that class with Marcela, we did a lot of reading, a lot of Richard Schechner stuff, which is all about environmental theater, and trying to make the audience and performance space one cohesive thing. Richard Schechner was this guy in the 1960s who came up with this idea for environmental theater, which tries to treat the space as it is, and not trying to hide it in any way. You go and see these shows that have these painted flats up against the walls very clearly pretending to be something they’re not, so the idea behind environmental theater is that you’re not trying to pretend—the set is the environment. So it’s a lot of thinking about how different pieces function rather than how they look. And it’s also a lot about trying to use the space to impose upon and affect the audience in a way that will serve the play.

All the pieces fell into place, when that was what I decided I wanted to focus on theoretically, and Yuri (Kordonsky, Associate Professor of Theater) decided that was what he wanted to focus on physically. I was talking to Marcela about designing whatever this show that is happening right now as my thesis, and then it all just kind of—I mean, Jack (Carr, Chair of Theater Department) always says that he got my thesis proposal and Yuri’s concept idea for The Seagull at the same time, and was just sort of like, “Wow, ok cool.”

What has been your greatest lesson learned so far in the production process?

This has made me realize just how important communication is, and that means a lot of different things. On one hand, there’s just the fact that theater is a collaborative art and everyone needs to know what’s happening at the same time, and that can be tricky. Then, when you’re trying to talk about these visual elements, I can say that I want a blue chair over there, and the blue chair that I have in my head is definitely different than the blue chair that you have in your head, which is different than the shade of blue that the guy who is going to paint the blue chair is thinking of. So trying to establish a language to communicate about these more abstract ideas is definitely the biggest challenge, but also sort of the most fun thing to try and figure out.

Is scenic design something you want to go into? Do you have career aspirations that relate to this?

Well, I think I definitely want to do something in theater because I think that theater is really important, and I think that you can communicate things through theater that can’t be communicated any other way. But, I think that a big problem is that people don’t really know how to engage in theater, so they get thrown off by these more abstract productions that I think have a lot of power to do things. One of the greatest things about theater is that you don’t have to know how to engage with it, you just have to let it happen to you. I don’t know what avenue it’s going to take, but I want to help people to understand that. I could see myself trying to do the design route, but, for me, the idea of having to jump from project to project and not have an actual job—I don’t like that. But then I could also see myself going into theater management and the business side of things, and I could also totally see myself going the academia route and working towards being a professor, and really getting into the theory/performance side of it.

What has been your favorite class so far at Wes?

Any class?

Any class.

Linear algebra was totally my favorite class. I actually initially was going to be a triple major, with math also. I love math. Linear algebra was the first class I ever took that made me realize how little I know about everything because we were learning how to add and subtract and divide and multiply again but with different things, instead of just single numbers, which made the world of math go from being this big to being just so much you can do with it that I have no idea what it is. That was really cool.

What has been your favorite moment so far in the production process?

My favorite moment was definitely that first day when we got everything in the space. It was all lined up against the back wall of the theater, and then Yuri gave his little spiel—the whole cast was going to play, and were going to figure it out. Then he said, “Emmie, can you tape out the platform?” That took about 10 or 15 minutes, and then I stood up and looked around, and the whole set was there. And it was awesome! It was awesome because I didn’t actually have to touch a single piece of furniture to make it move, but it was also cool because the thing that’s most important for me in thinking about this process is that the work that I’m doing is happening with the work that is happening in rehearsal. There were a bunch of times when Marcela would say to me, “You’ve really got to think specifically about how this is going to look visually.” I would go to my room and start sketching and I would feel really weird because I was like, this, whatever I’m coming up with right now, is going to be so radically different from what they are coming up with at rehearsal, and it seemed very disconnected. It was really nice to have that moment where it felt like the work that I was doing was happening with everybody else, and happening collaboratively, and knowing that all these people who were moving stuff around the space were working with this material in rehearsal and were being conscious of how the things that they were doing were working with the play. That was the first moment when I felt that my world and the actor world were really coming together, and it happened so seamlessly.

Not An Exploration of “Hunger,” But of “Who”

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Aileen Lambert ’16 attends a puppetry workshop with performance artist Dan Froot. Dan Froot and Dan Hurlin’s “Who’s Hungry” will receive its Connecticut premiere at Wesleyan on Friday, September 27 and Saturday, September 28, 2013 at 8pm in World Music Hall.

Aileen Lambert '16 at a puppetry workshop by performance artist Dan Froot. Photo by Erinn Roos-Brown.
Aileen Lambert ’16 at a puppetry workshop by performance artist Dan Froot. Photo by Erinn Roos-Brown.

“I’m not a puppet artist, but I really like puppet artists. I aspire to be a puppet artist.”

This is how Dan Froot, a performance artist who, in collaboration with puppet artist Dan Hurlin, presents the Connecticut premiere of “Who’s Hungry” in World Music Hall on September 27 and 28, introduced himself. At the time, I was attending his “Oral History Through Puppetry” workshop this past Monday, September 23. After that experience, I can now personally say that while my career goals have not changed to “puppet artist,” I do have a newfound appreciation for the craft.

Mr. Froot is a performance artist with a long history of work with international theater and dance companies, including the avant-garde theater group Mabou Mines (who Wesleyan presented on the Outside the Box Theater Series in February 2013). In 2008, after previously having worked mainly in theater and dance, Mr. Froot turned to puppet artist Dan Hurlin to create a puppet theater piece about food insecurity in America called “Who’s Hungry.”

The words “food insecurity” are carefully chosen. Despite the title of the piece being “Who’s Hungry,” Mr. Froot is explicit that his piece focuses on a more complicated concept than hunger. While “hunger” is defined as the chronic inability to eat the basic three meals a day, “food insecurity” is the chronic inability to be properly fed. It can mean malnutrition, lack of access to proper food, an inability to pay for both food and rent, or an inability to afford food for all family members. Food insecurity intersects with plethora of social issues such as poverty, homelessness, drug addiction, and mental illness. Usually, it is the people who are marginalized from our society who suffer.

When “Who’s Hungry” was created, Mr. Froot’s goal “was to bring these stories from the margins into the center of society and art.” To gather material, Mr. Froot spent months volunteering in homeless/hungry sectors of cities, building relationships with people and their environments. He then found five individuals and conducted ten one-hour interviews with each of them about their experiences. Each interviewee gave him about 250 pages of usable transcript. The 55 minutes of “Who’s Hungry” was collected from this research.

Ironically, the concept of food insecurity is hardly mentioned in the piece.

As Mr. Froot says, “The title tells you these people are food insecure, their stories do not.”

Food insecurity serves only as a common thread connecting these people, not a central focus of the piece. This is because Mr. Froot wanted to use each person’s story to help others see the humanity in these people who are often pitied, dismissed and ignored. His main goal is to reduce stigma—eliminate the “us versus them” feeling and allow the audience to empathize and identify with a score of different people who all are facing issues with being able to consistently obtain enough food.

The use of puppets is targeted to elicit this empathy. Puppets are small and intimate. They are also handcrafted and imperfect. There is no illusion of trying to create something realistically human or the distraction of having a monologue filtered through an actor; the focus can stay on the stories. Most importantly, puppets, as they are obviously representations, require an active audience imagination. In order to be moved by the stories, the audience must be willing to forgo some reality and project some of their own emotions onto the puppet. In this identification with the puppet, the audience can empathize with the main character of each story and will hopefully leave the theater with a greater understanding for the traditionally looked-down-upon people depicted.

Sitting on the floor of the Zilkha Gallery classroom, at Mr. Froot’s workshop we transitioned from listening to him explain his process into sharing our own stories about one memorable meal. Students told stories about sharing a “wheat dessert” in Serbia, sushi with fathers before freshman year at Wesleyan, and impeccably planned bargain lobster dinners. Mr. Froot shared his first experience with raw oysters. If any of us felt awkward discussing food after just hearing about people who struggled to feed themselves, Mr. Froot put an end to our discomfort before we even started.

“I am not food insecure,” he stated. “Having the ability to adequately feed yourself is not something to feel bad about at all.”

Instead, he encouraged us to use the privilege of our food security as a platform to help those who are not. Our casual conversation about food turned into a mini-creative process of our own. After sharing our quick stories, Mr. Froot broke us up into two smaller groups, where we could interview each other further.

The puppets we made in the workshop were a “down and dirty” version of Japanese Bunraku puppets, which are jointed puppets controlled by three puppeteers. Traditional Bunraku puppets are engineered with exquisite detail; ours were made lovingly out of newspaper. A puppet built from newspaper may sound a little “summer camp arts and crafts,” but when stood on a table with three puppeteers working all of its parts to maneuver the body, the paper doll came to life before our eyes. These puppets were able to move in surprisingly realistic ways, and I was surprised to see they could even portray emotions in their physicality.

Do not get me wrong—puppeteering is extraordinarily difficult. If one person is out of sync with the other two, the puppet’s movement shatters into awkward inhuman contortions. The illusion is only one misstep, one inept readjustment of the puppeteer’s hand, from breaking. It’s quite a bit of pressure on those people in black behind the dolls!

If I learned anything from Mr. Froot and his work, it is the feeling of fulfillment one gets when their puppet is able to crouch down from standing, lie down, sleep, and then be woken up, all without losing that tiny flame of life present inside the newspaper. It is wonderfully satisfying to be able to push your own life into an inanimate object and to express a character through something as simple as the Tuesday edition of The New York Times.

Emma Gross ’15 reviews “The Kindness of Strangers” by Emily Hunt ’13

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Approximately three minutes into Emily Hunt’s opening night performance of her thesis production, “The Kindness of Strangers,” someone’s cellphone went off.

The audience of 23 viewers, myself included, collectively cringed. Ms. Hunt continued with Blanche Dubois’ monologue from A Streetcar Named Desire for a few seconds longer, before breaking character and pleading with the audience to silence all cellphones. Yet the ringing continued. Our intimate, circular seating formation allowed everyone to stare, horrified, around the audience, searching for the culprit responsible for this painful interruption.

The ringing went on. Discomfort was heightened by Ms. Hunt’s noticeably hurt facial expression. Suddenly, she stood up, now completely out of character from the swooning, inebriated Blanche, and walked over to the onstage bed, one of the few components of the minimal set. Ms. Hunt pulled back the comforter, and there, lying on the mattress, was her own phone—lit up and sounding throughout the theater.

Ms. Hunt answered the call. She spoke in a quiet voice to the person on the other end, before hanging up, apologizing to the audience, and attempting to restart the monologue. After uttering the first line, however, Ms. Hunt meekly asked for the house lights to be turned on. She thanked everyone for coming, but explained that she didn’t think she could perform that evening.

Never have I sat in a theater with a greater feeling of shock, confusion, and horror. I fully felt Ms. Hunt’s embarrassment and shame as she wrung her hands, averted her eyes, and attempted to cool her flushed cheeks.

The extreme emotional reaction Ms. Hunt succeeded in evoking in her audience during the first five minutes of “The Kindness of Strangers” speaks to her adept understanding of what triggers various psychological conditions, in this case, distress and discomfort. Combined with her accomplished acting abilities, Ms. Hunt achieved immediate visceral engagement in her performance, an investment she maintained throughout the remaining production.

Ms. Hunt, who wrote, directed, and was the sole performer in “The Kindness of Strangers,” aimed to utilize this unconventional theatrical format to allow her audience an understanding of the challenges of preparing an acting role. Ms. Hunt, who is a Theater and Psychology double major, aimed to convey that the process of embodying a fictional character requires a deep understanding of human psychology.

Her performance continued: Ms. Hunt explained that the call she had received onstage was from a theater company with whom she had auditioned for the role of Blanche. Ms. Hunt had not been cast in the play; the company’s creative team expressed that they did not believe in her portrayal of the character. Ms. Hunt admitted that she had little in common with Blanche, from the character’s experiences and background, to her time period and ethnicity.

In the remainder of “The Kindness of Strangers,” Ms. Hunt explored the following questions: How does one step in and out of a performance without feeling guilty of deceiving an audience and oneself? How can one commit acts that one would never commit in real life on a stage?

Ms. Hunt demonstrated the challenge and complexity of these questions by first identifying surface level emotions in Blanche’s words. She noted “fear” and “sadness,” then asked the audience to show her what these expressions look like.  Various individuals contorted their faces to convey these emotions, and again, we were encouraged to turn our attention away from Ms. Hunt and towards each other, just as we had when the cellphone went off.

Ms. Hunt observed individuals’ interpretations of these emotions and wrote down the physical characteristics they displayed. “Sad,” looked like a downturned mouth and half-closed eyes.  “Fearful” took the form of wide eyes, and a tight, dropped jaw. Ms. Hunt re-attempted Blanche’s monologue, while imitating audience member’s facial expressions. What came of this activity was her realization that to become a character it is not enough to reenact their emotions. To portray a believable role, an actor must understand the psychological roots of their character’s sentiments.

Ms. Hunt connected this assertion to Leon Festinger’s theory of “Cognitive Dissonance.” In the program accompanying “The Kindness of Strangers,” Ms. Hunt wrote, “Cognitive Dissonance describes what we experience when there is ‘an inconsistency among some experiences, beliefs, attitudes, or feelings. According to dissonance theory, this sets up an unpleasant state that people try to reduce by reinterpreting some part of their experiences to make them consistent with others.’”

Ms. Hunt drew from Festinger’s theory, combining it with the philosophical and methodological teachings of dramatists Bertolt Brecht and Konstantin Stanislavski, to “reinterpret” Blanche’s role. In order to empathize with the character, Ms. Hunt recalled stories from her own life, which evoked in her the same psychological conditions and emotions she had identified in Blanche’s monologue.

“The Kindness of Strangers” alternated between Ms. Hunt frankly addressing the audience, reading passages from texts on psychological theory, and sharing personal memories. This innovative integration of performance techniques brought Ms. Hunt to a psychological condition in which she could understand Blanche’s character, and the audience to a psychological condition in which we could appreciate her gradual and successful transition into the role. By the end of the production, Ms. Hunt had fully slipped into Blanche’s character. She ended the performance with a flawless, deeply emotional and believable recitation of the remaining portion of her monologue. This time, there were no cellphone interruptions.

“The Kindness of Strangers” ran Thursday, February 28 through Saturday March 2, 2013 in the Patricelli ’92 Theater. The performances were in partial fulfillment of Ms. Hunt’s Honors Thesis in Theater.

Emma Gross ’15 previews Rinde Eckert’s “The Last Days of the Old Wild Boy” (Nov. 15-17)

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Emma Gross ’15 attended a rehearsal for the upcoming production of Rinde Eckert’s “The Last Days of the Old Wild Boy,” which will run Thursday, November 15 through Friday, November 17, 2012. Performances will be held in the CFA Theater at 8pm Thursday through Saturday, plus a 2pm matinee on Saturday.

Photo by Emma Gross ’15.

In the week leading up to Halloween, I accompanied Sivan Battat ’15 to her evening rehearsal for Visiting Artist in Theater and Creative Campus Fellow Rinde Eckert’s production of “The Last Days of the Old Wild Boy.” Rehearsal was scheduled to run from 7pm to 11pm. When I asked how often these four-hour rehearsals were held, Sivan replied, “Just six days a week. But with opening night approaching, I assume Saturday hours will be added as well.”

I began calculating the amount of time Sivan had spent in the CFA Theater since preparation for the play began in early September and how many more hours she would devote to the production in the remaining three and a half weeks before the performance. Though I was slightly overwhelmed by this work schedule, it was Sivan’s next comment that thoroughly shocked me: “And we have yet to see a finished script for the play.”

Thus was my initiation into the unconventional creative process of director Rinde Eckert.

Mr. Eckert is a Grammy Award-winning writer, composer, librettist, musician, performer and director. He was the finalist for the 2007 Pulitzer Prize in Drama and in 2009 received The Alpert Award for his contributions to theater. In April 2012, The Doris Duke Charitable Foundation named Mr. Eckert an inaugural Doris Duke Artist.

Photo by Emma Gross ’15.

In Mr. Eckert’s artist statement, he describes his theater projects as “fiercely interdisciplinary.” He explains: “My work occurs on stage with lights and sound, and usually music, and is deeply concerned with language.  Using various theatrical forms to say what I have to say, I am interested more in poetic gestalt than in narrative, though there is usually a central narrative that I treat as a kind of fugue subject or governing metaphor.  I need to feel I’m learning with each new project, and that each work is a piece of a much larger puzzle.  I think I do my best work in an atmosphere of joy and critical thought, in that order. There is such a thing as soul and good theatre elevates it.”

Wesleyan’s Creative Campus Initiative, with support from The Andrew W. Mellon Foundation, commissioned Mr. Eckert to develop “The Last Days of the Old Wild Boy.” The world premiere of this production will take place in the CFA Theater on Thursday November 15. Additional performances will run through Saturday, November 17.

“‘The Last Days of the Old Wild Boy’ is a story grounded in the experience of the wild child, or a man raised by wolves, who is taken and initiated into the human world,” Mr. Eckert explained. “The piece takes us from the moment the boy is found, through the turning point in his life when he goes back to kill the man responsible for his capture. When the wild child meets this man, however, he finds a broken human being. Consequently, his desire to kill evaporates. The wild child is freed from his thirst for revenge, and his life opens up. The piece is about the education of this boy and his journey, as an older man, to recover his original, less conditioned or acculturated self.”

The night I sat in on the rehearsal, I gained insight into Rinde’s progressive, hands-on, and exploratory approach to developing this piece.

As soon as we arrived at the CFA Theater, Sivan and the seven other cast members changed into their costumes. They emerged in black canvas body suits, complete with a hood and a sheer black flap, which concealed their faces. These outfits also included side pockets filled with chalk. As one actor indicated by sketching a few circles onto his sleeve, the surfaces of the costumes, including the face flap, are entirely chalkable.

“The costumes in ‘The Last Days of the Old Wilde Boy’ are identical to encourage equality among cast members,” explained Assistant Director Claire Whitehouse ‘13. “This is an ensemble production, and gender in this play does not determine character.”

Photo by Emma Gross ’15.

The onstage set included a chalk board that ran the length of the stage, two fifteen foot tall paper man marionettes, close to 200 tiny, rectangular, wooden stools, and three bags of peat moss that hung from the overhead beams. According to one cast member these bags, “were relatively new and their potential had yet to be fully explored.”

Mr. Eckert and the cast and crew arranged the wooden stools into a makeshift platform stage. As an opening exercise, Mr. Eckert instructed the actors to read aloud a partial draft of the play’s script. Roles were assigned and the work was performed with everyone seated on the platform.

Following this reading, Mr. Eckert had the cast switch roles, and recite the text again, this time moving around the set. As the actors performed Mr. Eckert’s work they manipulated the onstage scenery, altered their costumes with chalk, and interacted with one another. Some climbed onto the theater balconies and maneuvered the gigantic marionettes, while others crawled on all fours and rearranged the stools to build walls, pyramids, towers, and cages.

“We have spent a lot of time learning how to utilize our costumes and the set,” said Alma Sanchez-Eppler ’14.  “These items’ malleability and impermanence allows us to explore the relationship between our bodies and the physical space and objects around us.”

Ms. Whitehouse noted this unique rehearsal and production process. “Traditional American theater is produced around a pre-made, completed text. In this play, however, action, movement, and activity with costumes and props are as important as the spoken words. Our rehearsals and specifically the way the actors interact with their physical surroundings inform Rinde’s writing.”

Mr. Eckert noted that while “The Last Days of the Old Wild Boy” will be completed and ready for viewers this weekend, following its performance he will continue developing and expanding it as a theater piece.

“Rinde has been great to work with,” said Ms. Sanchez-Eppler. “He allows us to feel comfortable abandoning normal production steps. Rinde’s leadership, dedication, and enthusiasm for his work have brought me to trust in him and his creative process.”

Mr. Eckert’s work at Wesleyan marks his first residency creating a production with solely undergraduates. “The students’ willingness to engage in what can be a frustrating and amorphous process is exceptional,” Rinde said. “They hold a beautiful combination of intelligence and enthusiasm, in addition to a level of sheer bravery. These kids are brave, which is a great thing.”

The show, like its unique production process, is sure to be an unconventional, yet thoroughly engaging and exciting experience. I highly recommend stepping into the world of Rinde Eckert and “The Last Days of the Old Wild Boy” this weekend.

Emma Gross ’15 reviews “Neighborhood 3: Requisition of Doom”

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Emma Gross ’15 reviews “Neighborhood 3: Requisition of Doom,”  the directorial debut of Emilie Pass ’15 and Gabe Gordon ’15, which ran Thursday October 25 through Saturday, October 27, 2012.

Photo courtesy of Cara Sunberg ’15.

While I have attended plenty of horror movies that caused viewers to gasp out loud, cover their eyes, and grab onto their friends’ wrists, before this past weekend I had never attended a play that managed to evoke this same level of fear. Second Stage’s production of Neighborhood 3: Requisition of Doom achieved this effect. The play’s ability to induce outward horror from its viewers points to the success of its co-directors, actors, and creative team.

Neighborhood 3: Requisition of Doom, written by Jennifer Haley, ran Thursday October 25 through Saturday October 27. The play was part of Second Stage’s fall 2012 season. For those not familiar with Second Stage, it is Wesleyan’s student-run, volunteer theater organization. Second Stage produces works that are entirely designed, directed, and performed by students.

“Emilie and I first read Neighborhood 3 in our Intro to Playwriting course freshman year,” Gordon said. “Throughout the semester we studied a lot of great works, but Neighborhood 3 stood out as a special piece of writing. It is not well known, nor is it by a well known writer, but we both fell in love with it.

Neighborhood 3 tells the story of a tightly regulated suburban subdivision in which parents find their teenagers addicted to a violent online video game. As the story unfolds it is revealed that the game is not strictly virtual, but manifests itself in reality with horrific consequences.

“The play is about familial relationships in a world of suburban pain,” Pass said. “Though it contains topical jokes about the internet and video game culture, the text is also a commentary on the timeless issue of how family members relate to one another. It exposes the nuclear family and its values in a way that shows how this model can be pretty messed up.”

Neighborhood 3 is laced with dark humor and filled with moments of deep suspense and terror; it is the perfect pre-Halloween story. In one scene, the stage goes dark just as a gothic teenage girl aims a fatal blow at her father with a golf club.

“The play is a thoroughly exciting and engaging text,” Gordon said. “When I first read it, I remember visualizing how it could come to life on stage. I thought maybe this meant I should direct it and make that happen.”

In the spring of 2012, Pass and Gordon committed to co-directing Neighborhood 3 and assembled a production team including Paul McCallion ‘15 as stage manager, Cara Sunberg ’15 as set designer, Anders Dohlman ’15 as master carpenter, Rachel Leicher ’15 as lighting designer, Gabe Beaudoin ’15 and Eriq Robinson ’15 as sound designers, and Joe Gonzalez ’15 as costume designer.

Second Stage approved their application before the year’s end, and in early September Eva Ravenal ’15, Mark Popinchalk ’13, Tess Jonas, ’15, and Noah Masur ’15 were cast as the show’s four actors.

“Though Emilie and I had directed a bit in high school, this was really our first significant directorial experience,” said Gordon. “An added challenge was that the majority of our team was not involved in Second Stage and had little to no theater background. The entire process of creating this production was a learning experience for everyone involved.”

Neighborhood 3 was staged in the Patricelli ’92 theater. “The space allowed the play to come to life,” said Pass. “Cara and Anders did a fantastic job making the set as visually engaging as the dialogue on stage.”

Audience members were seated on either side of the stage, which was composed of a series of platform steps outlined with identical cutouts of white houses. As the plot unfolded and suspense increased, the actors gradually migrated up the steps toward the top and final platform.

“Cara collaborated with Rachel, the lighting designer, to create a house shaped projection screen at the head of the theater,” Pass said. Actors posed behind the screen during the robotic, video game style narration between scenes. The characters’ blackened silhouettes added a visual dimension that helped blur the line between reality and virtual gaming world.

“I cannot stress how exceptional our creative team was,” Gordon said. “And in addition, how lucky we were to find such extraordinarily talented actors.”

The four actors faced the challenge of portraying a different character in every scene.  Ravenal, Popinchalk, Jonas and Masur’s ability to alter their body language, speaking voices, and emotions to convincingly assume various roles was remarkable.  To effectively transition from a drunken housewife to a fearful mother, or from a frightened boy whose cat has been murdered to the murderer himself requires smart and skillful acting.

Neighborhood 3 sold out Friday and Saturday night, even after seats were added. The evening I attended the performance people left the theater claiming they were afraid to walk home alone.

“I was extremely pleased with the final product and so proud to be part of the production,” Gordon said. “Putting on Neighborhood 3 was an incredible experience, and goes to show that you don’t need to be a theater person to be involved with theater at Wesleyan. If you are creative and passionate about a project you can make anything happen.”

Pass agreed, “It was an incredibly rewarding learning experience,” she said. “It underscores the notion that some of the best learning at Wesleyan is done outside the classroom.”

Emma Gross ’15 reviews LIEBE LOVE AMOUR!

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Emma Gross ’15 reflects on her experiences at Anonymous Ensemble’s Saturday performance of LIEBE LOVE AMOUR!

Here is what I knew prior to experiencing Anonymous Ensemble’s LIEBE LOVE AMOUR! First, that audience participation was an integral part of the production, and second, that the content of LIEBE LOVE AMOUR! might be about love.

What I did not realize was that ninety minutes after taking my seat in the CFA Theater, I would be up on stage participating in the marriage ceremony of a towering 1920’s German cinema star.

LIEBE LOVE AMOUR! is a one act, multimedia spectacular. It is cited as a “theatricalized live film,” a description that does not do justice to the show’s truly novel construction.

On Saturday, September 22, I along with dozens of other students, professors, and non-university associated community members filed into the theater. We took our seats opposite the stark set. A single red curtain ran the length of the stage, with a large movie screen off center, to the right.

When the lights dimmed, a compilation of early black and white, silent 20th century footage played across the screen. This montage culminated in a shot of a woman styled in signature 1920’s clothing, hair and makeup. Suddenly, the actress turned and addressed the audience. She introduced herself as Hilda and explained that she lived in Germany and was about to experience her thirty-third birthday. As Hilda spoke, the previously opaque curtain became transparent. It revealed a figure standing against a green screen performing for a camera set up on a tripod. When the woman onstage gestured, the actress on screen did the same. The words I assumed were prerecorded and emerging from the film world, were in fact spoken live on stage.

What ensued was an epic, hilariously dramatic love story, twisted with bizarre details, cliché moments, and break out musical numbers. This narrative was presented to the audience in a most innovative fashion.

Hilda’s scenes were recorded in front of the green screen and simultaneously projected for the audience. Her live footage was combined with film clips belonging to 20th century Austrian director Erich Von Stroheim. His footage was intercut with Hilda’s dialogue, creating the illusion that she was speaking to and interacting with Stroheim’s actors. Two live, on stage performers dubbed over the silent footage, providing the voiceover for these characters. These two actors also created sound effects using various tools and instruments in the style of an old school radio production.

LIEBE LOVE AMOUR! grants the audience the opportunity to witness the live creation of both an onstage play and a projected film. Our attention continuously alternated from the onstage action, to the film that simultaneously came together on screen.

As if this mode of storytelling was not complicated enough, audience participation added a dimension of unpredictability to the show’s narrative.

While the onstage action and film projection continued, a fourth performer equipped with a microphone, ventured into the audience. He called on individuals to respond to Hilda’s questions, give her advice, and provide story details. This interactive element not only kept the audience on its toes, but also heightened the comedic aspect of the performance. Viewers’ were hysterical as their friends, professors, and relatives were put on the spot to contribute to the show’s ridiculous narrative.

The performers fully took advantage of their power to turn the audience’s vulnerability into entertainment. At one point in the show, a student was brought onstage and told he was to play opposite Hilda in her audition for a movie. The film’s director, played by one of the performers standing along side the green screen, informed Hilda that their scene needed to end in a kiss.

In this moment, everyone around me shifted to the edge of his or her seat. Uncomfortable laughter rang throughout the theater, signaling our nervous excitement about how the scene would unfold.

The finale of the production elevated audience participation to the next level. At the end of the play, the red curtain was drawn, opening up the stage. Hilda suddenly emerged, towering on stilts and professed her love for us, her viewers. She invited everyone up on stage to partake in the marriage ceremony uniting herself and the audience.

Hundreds of seats emptied, and people of all ages gathered on stage. We circled around Hilda, recited vows and then celebrated with festive music, dancing, champagne and wedding cake. It was the most unusual and delicious ending to a theater production I have ever experienced.

Following the show, I was eager to read more about Anonymous Ensemble’s work and manifesto. Their online statement reads, “We are the new generation of Stage and Screen. At the nexus of film and theater, AnEn’s work draws from and then propels itself beyond both genres. AnEn accepts the pervasive power of the Screen in our current times but demands that the screen be transfigured by the unpredictable, the human, the never-to-be-repeated possibilities of the Stage. AnEn creates audience-based work and considers the audience to be the co-creators of each event.”

What is particularly pertinent about LIEBE LOVE AMOUR! is that the lead role of Hilda is played by Wesleyan graduate Jessica Weinstein. Weinstein created the persona of Tall Hilda in 2002, the year of her graduation. She assisted in the construction of Anonymous Ensemble’s two productions that focus on the relationship between Hilda and her audience, Wanderlust that premiered in 2007 and LIEBE LOVE AMOUR! which opened in 2012.

During the show I was seated in an audience largely consisting of students who are majoring in theater, taking theater classes, and or working on theater projects. I could sense my peers’ excitement watching Weinstein perform, knowing that just ten years earlier, she had been in their shoes.

LIEBE LOVE AMOUR! was a remarkable experience. It certainly granted me a new perspective on the range of storytelling formats available through the synthesis of live theater, film, and audience participation.

Creative Campus at the Student Activities Fair (Friday, September 14, 2pm)

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Want to know what arts events are happening on campus? Are you involved in arts events and want to get the word out about them? Are you creative and want an outlet for that awesome expression? Or maybe you want to offer up your fresh take on what’s happening on this very creative campus.

The Creative Campus website was created collaboratively with Wesleyan students, artists, and staff. It is intended for anyone who wants to know what is going on with creative life on this vibrant and inspirational campus. It is a way of aggregating and collecting the creative life on campus, across disciplines, passions, departments, and student groups.

And speaking of student groups, Creative Campus will have a table at the Student Activities Fair tomorrow, Friday September 14, from 2-5pm! Come check us out to find out how you can get involved, to promote your student group through Creative Campus, or just to say hi. Hope to see you there!

Sarah Wolfe ’12 reflects on the role of Theater

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“If our imaginations can lead us to profound, performative empathy, I believe even more strongly that the space of performance must be harnessed to imagine love instead of hatred. I need to believe that theorizing and documenting, witnessing and creating performance will continue to grace our lives with meaning, generosity, understanding, and memory, however provisional and fleeting.”

-Jill Dolan, forum on tragedy after 9/11

Sarah Wolfe '12 as Hecuba in "Lift Your Head," photo credit Ariella Axelbank.

Before coming to Wesleyan, theater lacked definition in my life. I understood why I did it, to some extent, but I didn’t completely understand its role in society, in the broader picture of how I interact with the world. I loved doing theater with children for its educational and confidence building qualities, and I loved performing with my peers for its incredible power to build a community over a common goal.

Photo credit Andy Ribner.

Throughout my time at Wesleyan I’ve been given the opportunity to look at not just how we perform, but why we perform and what our performances mean.  For my senior thesis this year I was particularly inspired by an essay called Notes About Political Theater by Tony Kushner. The essay is something of a manifesto on why the playwright chooses to make political theater and what in fact that term means. Mr. Kushner sees political theater as theater that responds to, that is reflective of, that understands events in contemporary society. He recognizes the stigma against political theater that prevents audiences from wanting to  see plays that make them think, or make them feel guilty, then goes on to call to all theater makers to make good political theater that negates this stigma and allows theater to be used as a tool for understanding and sparking change in the world.

It’s a big idea. Yet, at the same time, it’s not. We live in a beautiful, awesome, marvelous world filled with pain, hurt, violence, and destruction. Mr. Kushner is not asking us to fill our plays with decay and depression, but rather to engage

Photo credit Andy Ribner.

with the world that we all must be a part of in everything that we do. Theater cannot simply be an escape from that world. It must be a response to it.

My thesis, Lift Your Head, was on Euripides’ Trojan Women, an ancient story about the devastation of war that has survived to resonate and share its wounds with modern audiences who still suffer through war. It was a capstone project for me in many ways, not least of which in helping me define what kind of theater I want to watch and be a part of in the future. I have come to realize that if and when I make and watch theater in the years to come, I want it to be political theater. I want to be a part of theater that understands that the world we live in is both challenging and amazing and attempts to address that world. This is not to say that I don’t and won’t enjoy the occasional musical or light comedy, but the theater that is most enjoyable is that which makes me reflect on how I inhabit, how we all inhabit this world, and the choices we make that affect it.

I am entering a completely different industry when I graduate at the end of this month, but theater will always play a huge role in my life. The ideas and ways of talking about theater that I have learned here will stay with me as I move forward from Wesleyan into that grand, awesome, and terrifying world.

Sarah Wolfe ’12 previews “Junk Redemption” by Alma Sanchez-Eppler ’14

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Sarah Wolfe ’12 interviews Alma Sanchez-Eppler ’14 about her upcoming play “Junk Redemption,” opening this Friday, May 11 through Sunday, May 13, 2012 at 8pm, in front of the Whisper Wall (on Washington Terrace).

This weekend Second Stage is presenting a new play, written and directed by Alma Sanchez-Eppler ’14. The play, Junk Redemption, goes up Friday through Sunday at 8pm in front of the Whisper Wall (located on Washington Terrace) in the Center for the Arts. Earlier this week I sat down with the student playwright to discuss the play, the process, and her aspirations as a playwright. The process of writing the play began in her Intermediate Playwriting class as an exercise in character driven playwriting, which was a new experience for Ms. Sanchez-Eppler. But as the writing process continued, Ms. Sanchez-Eppler found that historical facts from her own family history had trickled into the piece.

“It wasn’t until after the play was pretty much done and I was just editing it that I realized how much it relates to everything my grandmother has done in her life.”

The play follows the life of an isolated artist as she is discovered by a Baltimore gallery. Flashbacks narrate the story of why the artist began her work of creating sculptures out of available junk. Ms. Sanchez-Eppler calls the play “an homage” to her grandmother, who is currently suffering through the early stages of dementia.

“[My grandmother] was a social worker, and that’s a pretty big aspect of the show, and she was a tour guide in the New York Folk Art Museum for a very long time. She’s one of the most imaginative people I know. I love being around her because it is necessary for me to have an immediacy to my interactions with her. It requires a presence of being and a presence of mind and not much concern for referencing anything in the past.”

Ms. Sanchez-Eppler notes that she is someone who tries to find all of the interesting places on the Wesleyan campus, which is why Junk Redemption is not going up in a more traditional theatrical setting. The Whisper Wall, on the back side of the CFA facing Washington Terrace, is an interesting, if little known, architectural structure of the CFA. From the outside it is a semi-circle of concrete with a tree in the middle, but if one person stands inside the wall and whispers, the sound resonates so that a person standing on the other side can hear every word perfectly. Aside from this semi-magical feature, which is impossible to feature in a theatrical production, Ms. Sanchez-Eppler still felt something appropriate about the space for this particular production.

“It feels like you’ve entered this other world. It doesn’t feel like Wesleyan when you’re in that sort of enclosure, that semi-circle. The set required a tree and there was a tree there. It provides a natural stage.”

Ms. Sanchez-Eppler is a first time director, and spoke to the challenges of directing her own piece, which is what most student playwrights must do in order to show their work.

“I was lucky enough in high school to have one of my plays I wrote then directed, and it was really nice to push the bird out of the nest and just have it happen without me being there. I’d love for people to want to direct shows of mine. That would be dreamy.”

However, as she moves forward at Wesleyan, she is particularly interested in collaborative theater making. She cited Augusto Boal and The Medea Project as particular examples of theater that inspires her. Both tie into another focus of Ms. Sanchez-Eppler’s: work that is done creatively around prison reform. She has worked closely through her time here with Professor of Theater Ron Jenkins, whose classes bring students to local prisons to learn and teach about social activism through theater. She hopes to continue to have chances to learn about and create collaborative and empowering theater in her time at Wesleyan and after.

Come see Junk Redemption this weekend! The show is free and unticketed, so show up at 8pm at the Whispering Wall on Washington Terrace. Don’t miss this wonderful example of student creativity at Wesleyan!

Sarah Wolfe ’12 interviews Lily Haje ’13 about “Doctor Faustus Lights the Lights” (April 26-28)

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The Wesleyan Theater Department is presenting Gertrude Stein’s “Doctor Faustus Lights the Lights” this weekend. Ms. Stein’s play uses the traditional Faust story but departs to examine technology and industrialization as well as perceptions of the self. Earlier this week Sarah Wolfe ’12 sat down with cast member and Assistant Director Lily Haje ’13 to discuss the upcoming performance. The show opens this Thursday, April 26 and ends Saturday, April 28. 

Cast members of "Doctor Faustus Lights the Lights"

The Faust is a popular German legend that has been told most famously through Goethe’s “Faust” and Christopher Marlowe’s “Doctor Faustus.” Can you give me a brief description, in your own words, of both the original legend and what Gertrude Stein has done to it?

The traditional Faust story is about a human scholar who tries to make a pact with the devil to exchange his soul for either ultimate knowledge or ultimate power. The Stein story is rather different. Instead of beginning with the moment of the pact, as the Goethe and the Marlowe do, she begins at the moment of collection. We don’t actually see Faustus make the pact with the devil. Also, rather than exchanging his soul for knowledge or power, this Faustus exchanges his soul for the ability to create electric light. Ms. Stein had been living in the U.S. when electricity had first come into common usage. She then moved to Paris, back to a place where they did not have universal electricity, and re-experienced the introduction of electricity and wrote this play. There’s a lot in it about the process of industrialization and man’s relationship to nature and man’s relationship to himself and to religion.

There is another character in Ms. Stein’s play named Marguerite Ida and Helena Annabel. She exists outside of Faust’s urban, industrial, technical world, and she is both four women and one woman. The way we have her in the play she’s sometimes one, sometimes four, sometimes two, and sometimes five women. This brings up this idea that the play grapples with: what is the self and how are identities both singular and multiple.

The play is less about characters in a traditional realist sense than it is about the language, which is beautiful. There are very few words in the play that have more than two syllables. It’s very simple, very much everyday language that then is constructed in completely bizarre and wonderful ways. For example:

I am I and my name is Marguerite Ida and Helena Annabel, and then oh then I could yes I could I could begin to cry by why why could I begin to cry.

And I am I and I am here and how do I know how wild the wild world is how wild the wild woods are…

How has Wesleyan adapted Gertrude Stein’s intentions for this play?

What Ms. Stein was writing about was the newest kind of technology. For her, electric light, which we take for granted now, was a completely innovative thing which opens up the world of what light is like. So we’ve been trying to take a similar approach to the show in terms of thinking about what is technology now. So we have lots and lots of lights, doing all kinds of crazy things. And we have a lot of projections, which is the most exciting new technology in theater that is still connected to light. It is all light, it is just a very different way of using light.

Furthermore, a lot of the production is not trying to hide what is not real. We have actors operating puppets, we have actors operating flashlights to operate the puppets. All of the masking goes away and you can see actors sitting on the side of the stage. All of the lighting instruments are visible. It’s very much about creating a theatrical event that is consciously a theatrical event. We have many people playing many different characters. With the exception of Mephisto [the devil], who is played by the same two people for the duration of the piece, pretty much every character gets played by multiple people, often at the same time. So it isn’t just Marguerite who is one and four and two and five, but Faust is also played by almost all of the men in the cast at one point or another. There are often two Fausts on stage at the same time.

The Theater Department has branched out in terms of design for this project. Designing sound is Demetrio Castellucci, of Dewey Dell. Designing lights is Ji-Youn Chang, a graduate of Yale School of Drama who previously collaborated with the Theater Department on The Tragedy of Richard III. Can you describe the experience and challenges of working with designers who were spread across the globe?

One of the things that’s both been cool and challenging about the process is that it is such a tech-heavy show. Demetrio only got in a week ago and Jiji was here a little before then. Everything that we’ve created has been videotaped and put on Dropbox so that Demetrio could be in London, seeing what we were doing and creating scores for it and same thing with Jiji and the lighting. It’s been fascinating to see how you can put a show together over huge distances. It has been a challenge given how much we interact with the lights and sound and projections, to not get those elements until very late, but now that we have them we’re working very intensely with them. 

What should the audience expect to take away from the show when they see it this weekend?

I think that it’s a show that benefits from watching it at face value first. Because it isn’t character driven in the traditional sense and because it isn’t plot driven in the traditional sense, I think the best way to watch it is without trying to make sense of it until it is over. There’s so much to look at and to hear and to engage with in it on its own terms before trying to analyze it. It does have a logic. It does make sense. But you kind of have to let it make sense instead of trying to make sense out of it.

Come see “Doctor Faustus Lights the Lights” at the CFA Theater, from Thursday, April 26 to Saturday, April 28. The show starts at 8pm.