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Posts Tagged Boss Thrust Stage

What’s Realistic?

The Liar Rehearsal

All fabrications?

For the past weeks, I’ve been writing about a play in which everything seems fabricated. The title character is a compulsive liar, but just about every other character is also duping someone else. Of course, I’m referring to the comedy, The Liar, which is on Park Square Theatre’s Proscenium Stage until October 2. Yet, the fact that the play is a farce and, hence, a critique of real-life societal mores, begs the question: To what extent is the play not realistic?

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What will Jennifer and Bob Jones do?

In juxtaposition, on Park Square’s Boss Thrust Stage from September 23 to October 16 will be the play The Realistic Joneses, a comedy/drama in which we watch two couples, both with the last name of Jones and both neighbors to each other, cope with a progressively debilitating illness. Mortality is certainly a sobering notion throughout the production, and how the characters choose to face it is reflected in the play’s title. The term “realistic” suggests a no-nonsense, pragmatic approach to life; but how does this actually play out for those who must face a terminal illness? Well, by relying on a sense of humor, of course; but what more? I’ll let you find out for yourself!

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The talented cast of A Raisin in the Sun

Then from October 28 to November 20 on the Boss Stage, Lorraine Hansberry’s A Raisin in the Sun will make us ponder: How possible–how realistic–will it be for each member of the Youngers, a poor African-American family, to obtain his/her dream in a racially oppressive society?

Is the world the way Beneatha Younger claims it is to her beau Asagai: “Don’t you see there isn’t any real progress, Asagai, there is only one large circle that we march in, around and around, each of us with our own little picture in front of us–our own little mirage that we think is the future?”

Or is she mistaken, as Asagi counters: “What you just said–about the circle. It isn’t a circle….it is simply a long line–as in geometry, you know–one that curves into infinity. And because we cannot see the end, we also cannot see how it–changes. And it is very odd, but those who see the changes–who dream, who will not give up–are called idealists… and those who see only the circle–they call each other the ‘realists!'”

What an irony that theatre so often has the power to bring us closer to what is true to life–and that make believe opens the door to real self-discoveries.

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Plus Season Package Pricing:

Any 3 or more shows starting at $25 each

Any 6 shows starting at $142 total

All 13 shows starting at $294 total

(All “starting at” prices based on preview prices, standard seats.  Programs, dates and artists subject to change.)

NOTE:  All photographs in this blog were taken by Petronella J. Ystma.

Two Stages, Sheer Fun

For many Minnesotan families such as mine, Labor Day marks the end of summer. There is a nervous excitement in our household as another school year begins. What will it bring into our lives? Surely, loads of laughter, tears; much clarity, but just as many misunderstandings; personal highs, and emotional lows. Life is like that–filled with drama, comedy and everything in between.

Excitement also runs high at Park Square Theatre as we begin our 2016-2017 season. This coming week, both our stages will be crazy-busy with marvelous, energetic fun. Park Square presents the area premiere of David Ives’ The Liar on the Proscenium Stage from September 9 to October 2; while Joe Chvala and the Flying Foot Forum complete their run of Passing Through Pig’s Eye from September 7 to 11, a roving performance that starts and ends at the Boss Thrust Stage.

Mounting the production of The Liar has been incredible fun for those who can’t wait to bring it to you live on stage. This summer, I have connected with many of the show’s actors and designers for glimpses of the mischievous world that they plan to entangle us in–a world of intricate wordplay, deceptive scenery, twisty plot and fast-paced humor. In the spirit of the show, individuals also shared their own funny stories about lying. (Be sure to read past blog posts and future ones about The Liar.) Everyone’s enthusiasm has been infectious, and I cannot wait to see this play.

The Liar in Dress Rehearsal

Last week, I brought my entire family to see Passing Through Pig’s Eye. We came not knowing much beyond the fact that we would learn some Saint Paul history but were absolutely WOWed by the inventive dance numbers and often gut-busting humor. All I can say is, “Go see it NOW before you can’t!” In my mind’s eye, I can still see those “crazy legs” of the loose-limbed gangster, tap dancing away in bright red shoes, and the hilarious image of a stage full of dancers holding dodge balls. I can still feel the adrenaline rush of watching anything-goes street dancing, followed by Joe Chvala and longtime Forum member Karla Grotting “dust up the floor” like those movie greats, Astaire and Rogers or Kelly and Reynolds. What hit my whole family hardest about the performance that night was the sheer joy of the dancers on the stage and on the street, having so much fun doing what they love most.

Passing Through Pigs Eye

The end of summer doesn’t mark the end of fun, just anticipation for more to come. Consider coming down to Park Square Theatre soon to share in the fun–our fun, your fun, sheer fun!

What Will You Do With It?

Joe Chvala

It is a sunny but cool morning when I visited Joe Chvala.  I pass through the wooden gate to enter a green world loosely guarded by two gargoyles. It’s something to do with how the light filters through his yard that makes me expect something magical to happen. The White Rabbit from Wonderland may scamper past in a rush, or the Cheshire Cat may show himself on a tree branch. Calmly seated outside by a table on the porch is Chvala himself, like his garden, kind of otherworldly and timeless.

I have come to interview Chvala about Passing Through Pig’s Eye, a roving performance through historic Saint Paul by his percussive dance company, Flying Foot Forum, and guest performers. The show runs from August 25 to September 11, with its start and end points at Park Square Theatre’s Boss Thrust Stage within the historic Hamm Building. Audiences will divide into smaller groups for an immersive experience of dance and music at key locations in downtown Saint Paul. The audience will be moving around a great deal and sometimes standing so consider wearing comfortable shoes and clothing and not carrying large bags. The show is wheelchair accessible and appropriate for all ages.

For someone who’s on deadline to launch a new production by August 25, Chvala looks like he has all the time in the world, relaxed and still, ironic for a man known for perpetual motion on stage. And can Chvala move! He has done it all: jazz, ballet, tango, tap, folk, . . . you name it! Ultimately, percussive dance won his heart; but unwilling to settle on any one form–no, not simply tap; not just clogging–he draws from them all then adds his own percussive twists, letting loose his creative inventions.

Chvala admits to having lived a charmed life, able to spend much of it creating his own internal and external worlds since childhood. He grew up in Madison, Wisconsin, enjoying languid summers at a cabin by the lake, immersed in nature and his own wild imagination. He first became involved in theatre as a teenager, thrilled to now make believe to live audiences. Getting hooked on musical theatre as a child started him down the path to dance, which he pursued more seriously after moving to New York.

Chvala’s journey has led him to travel widely and even sometimes stay for longer spells. He is a Midwesterner who became a New Yorker (seven years) who then lived and taught dance in Gothenburg, Sweden (two years). Living overseas expanded his worldview and further deepened his artistic development. What finally drew him back full circle to the Midwest are close family ties which ground him. Despite his need for solitude to create, Chvala is, at heart, a connector, which makes it unsurprising that he had created Flying Foot Forum in 1991, a means for artists to share and invent together.

Chvala also feels most grounded when dancing, literally connecting with the earth. While he may have tendrils into other worlds, each of them having their own appeal, this is the world that feels the most immediate. As Chvala continues to uncompromisingly create the life that he wants to live and to gift–and as he sits in the radiant sunlight in the morning–he brings to mind these final lines from poet Mark Doty’s “Long Point Light”:

Here is the world you asked for,
gorgeous and opportune,

here is nine o’clock, harbor-wide,
and a glinting code: promise and warning.
The morning’s the size of heaven.

What will you do with it?

How They Came to Blog

by Vincent Hannam and Ting Ting Cheng

 Vincent Hannam               Ting Ting Cheng

 Both Vincent Hannam and Ting Ting Cheng became writers for the Park Square Theatre blog that was launched during the 2015-2016 season. Hannam possesses extensive theatre experience, having worked both on and behind the stage, therefore able to offer an inside-the-business perspective. In contrast, Cheng, without a theatre background, often writes from a general audience viewpoint.

Before the new season begins, we thought it would be fun for you to find out how they had started blogging for Park Square Theatre in the first place. So, without further ado, here are their stories in their own words.

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VINCENT HANNAM:

I was completely new to the Twin Cities last summer and subletting a studio apartment in Minneapolis, working a nondescript temp job to stay afloat until I could get something solid under my feet. Finally the summer doldrums passed and with the start of the new season at Park Square Theatre came the opportunity to come on board.

I distinctly remember sitting down with Connie Shaver, the Marketing & Audience Development Director, fully expecting to interview for a Front of House position, but was wonderfully surprised to hear her interest in my personal blog and social media presence. Eventually I got into the box office, but from the start I was always involved in the actual goings-on of the theatre-making process. My first assignment of the season was the show Elliot: A Soldier’s Fugue and to attend the opening night party with my handy dandy camera in tow.

The night was marked by good spirits as everyone knew how well the play had gone. I got to interact with the actors as both a fan and professional, taking pictures and making memories. I met Richard Cook, chatted with Rich Remedios about his Meisner training, took candid photos of Ricardo Vasquez and started my first year in the Twin Cities on the strongest foot I could ever think possible. Elliot was a great show, yes, but as I reflect it was a great experience all around; my first at Park Square and the first of my year.

TING TING CHENG:

Unlike Vincent, I didn’t start blogging until near the end of last season.  Since I was a daytime usher for the Education Program–a job that did not require me to do any writing–I was totally taken by surprise when Connie asked me to join the blog team.  Her offer seemed to come from left field.

But throughout my ushering stints for the past two seasons, Connie would often ask the staff for feedback on the Park Square plays that we’d seen and even on the season’s brochure.  I tended to answer those email requests in depth.  That’s how she’d seen my writing.  This is the first job that I’ve ever landed for being verbose and opinionated–something I’d get fired for anywhere else!

I was concerned at first, thinking I may be at a huge disadvantage for not knowing the inside-outs of show business.  But instead it’s been great fun to approach the blog from the angle of not knowing.  I simply ask myself and others who are not steeped in theatre know-how:  What would you like to read about?  Then I go find out the answers.  Much of what I’ve learned has raised my respect even higher for those who run the theatre and put on all these productions.

While Vincent’s first play to see at Park Square was Elliot, mine was The House on Mango Street from two seasons ago when I was hired as an usher.  It was a new play for Park Square Theatre and the first to be in the brand new Boss Thrust Stage.  Seeing the play multiple times with diverse school groups was special for me because I love the book and readily connected to the depiction of the immigrant experience.  It will be exciting to see Mango return this October but newly produced for the Proscenium Stage.

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 As the 2016-2017 season approaches, watch out for more in-depth blogs about all the upcoming plays at Park Square Theatre and many behind-the-scene glimpses.  Learn more about our actors, staff, education program, special events and much, much more!

Playwright Victor Maog Talks About “tot”

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As Park Square Theatre presents its regional premiere of Calendar Girls on the Proscenium Stage this week, Mu Performing Arts will stage the world premiere of totThe Untold, Yet Spectacular Story of (a filipino) Hulk Hogan on Park Square’s Boss Thrust Stage.  The play is written by Victor Maog, who was named one of American Theatre Magazine’s “20 Theatre Workers You Should Know” (October 2015).

Victor Maog received the Mu Performing Arts/Jerome Foundation New Performance Program commission to write tot, his first full-length play.  This opportunity came about after a fortuitous encounter with Rick Shiomi, founder and — at the time — Artistic Director of Mu, in 2013 at a conference in Philadelphia.  Although he was known more as a director, Maog accepted Shiomi’s offer to write a play even though he did not yet know what to write about.  Many months later with the deadline looming, Maog finally gave into his fears to dig deep within himself to examine what it means to be Asian and American.  And tot was born.

Despite being one of the largest immigrant groups, Maog notices that Filipinos appear to not be as visible as other Asian groups, lacking much literature, films, or other documentation; the Filipino story tends not to take center stage.   In Mu’s press release, Maog stated, “I’m proud to build upon the too-few produced works that explore the Filipino-American experience.”

As described in Mu’s press release, “the play follows the life of an immigrant boy named tot who travels from the Ferdinand Marcos-ruled Philippines to the San Francisco Bay Area to meet his long lost parents.  He journeys from a country full of strife and military rule only to find himself in his lonely American bedroom conjuring a pro wrestling fantasy to escape his new life.”  The lead character, tot, will be played by current Mu Artistic Director, Randy Reyes, who said, “Victor Maog wrote a play that I connect with in so many ways, it’s scary.  It’s as if he wrote it about me.  Not literally, but emotionally and spiritually.”

The character tot is also not literally Maog.  In the play, tot comes to America when he is 9 years old; Maog immigrated from the Philippines at 6-1/2.  Like tot, Maog played with wrestling figures and watched a lot of wrestling on television; unlike tot, wrestling did not overtake his everyday life.  Much of what Maog conjures on stage is his reality and imagination mixed together— a way to create a play with suspense which will entertainment and delight the audience as much as to carry the personal emotional truths that will resonate with those who understand the sense of loneliness, the need to be seen and loved, and the struggle to figure out one’s identity which tot experiences.  As Maog puts it, “tot echoes my own life questions.”

 

(Note:  Also be sure not to miss Park Square Theatre’s co-production with Mu Performing Arts, Flower Drum Song, in our 2016-2017 season.)

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