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Posts Tagged Proscenium Stage

At Its Core, A Love Story

The cast of Amy’s View in a rehearsal.
(Photo by Petronella J. Ytsma)

Amy’s View, currently on our Proscenium Stage until June 4, is sure to bring Park Square’s core audience to its happy place. It pairs two of the Twin Cities’ favorite actresses, Linda Kelsey and Tracey Maloney, in the leads as mother and daughter, respectively, in a regional premiere of a drama by playwright David Hare. A British play set in 1979 and spanning almost two decades, it hints at underlying social themes but is, at its core, a love story.

With daughter Amy’s premise that “love conquers all” running throughout the play, Amy’s View brought to my mind Erich Segal’s Love Story, which was both a film and novel. The book was released on Valentine’s Day in 1970, staying the top-selling fiction in the United States for the entire year. Jenny’s (its female lead) famous line, “Love means never having to say you’re sorry,” became a much debated catchphrase just as daughter Amy’s view will likely become for those who see the play.

Amy’s View features love in its numerous forms: romantic, platonic and, most specifically, familial. Each relationship is greatly tested, even stretching the limits of unconditional love to a questionable degree of self-sacrifice. You will leave asking, “Does love conquer all?”

Then you may also ask, “Who says so?” The writers of both Amy’s View and Love Story are male. “Love conquers all” may have first appeared as a Latin phrase–omnia vincit amor–in Eclogue X by the ancient Roman poet, Virgil.

Just as with “not having to say you’re sorry,” the notion of forgiveness–its necessity (or not) to move on becomes a central question in this play as well. How much can one endure before forgiveness comes off the table? What state of grace comes from keeping it on the table? Must it be earned or be unconditionally offered?

As I’d heard Cathleen Fuller, who plays Linda’s mother-in-law, recently say about Amy’s View, “It’s a powerful piece!” As such, the play lends itself to lively discussion, so consider making a night out on the town as a pair or group with a post-show dinner or drinks. But be careful! What you say may cement a relationship for life or make yourself ask: “Who did I marry?” or “Is she really my mother?”

May you sit long, talk much, and have a great time!

 

Linda Kelsey Speaks for Herself (and Esme)


Having grown up watching Linda Kelsey on television and, in recent years, on stage where she fully embodies the characters that she portrays, it was with pleasure to have the opportunity to meet Linda being herself. Here before me was the harried Linda, running late after a longer-than-expected meeting then having to fight traffic to get to Park Square on time. Here was the gracious Linda still game to answer a few questions right before stepping into a rehearsal for Amy’s View, which will run on Park Square’s Proscenium Stage from May 12 to June 4.

In Amy’s View, set between 1979 to 1995, Linda plays Esme Allen, a grande dame of the London stage and mother to Amy, who firmly holds the view that love conquers all. However, Amy’s unwavering devotion to the narcissistic Dominic drives a wedge between herself and Esme. Though Esme loves Amy unconditionally, she cannot understand her daughter’s willingness to sublimate her own life for Dominic, a man whose primary focus above all else is to further his own professional aspirations, first as a critic lacking respect for theatre (versus popular media) and ultimately as a film director. Meanwhile, Esme also grapples with her own relationship with Frank Oddie, her neighbor and financial handler who desperately wants to marry her.

Amy’s View has a lot to offer as a good, old-fashioned play about people, relationships and ideas,” Linda said. “It’s beautifully written and a joy to speak the lines. Esme is also an extremely interesting woman to play. She touches my heart; she’s such a vulnerable human being, and I appreciate that.”

When asked if she believes in Amy’s view that love conquers all, Linda caught me off guard by, in turn, asking, “Do you mean me as Linda or as Esme?”

While really thinking “Linda,” I seized the chance to find out more by saying, “Both!”

Linda replied, “I believe it’s true but also a glib thing to say because it’s hard to live that out.”

Would you agree after having watched Amy’s View? Come and find out!

Gabriel Murphy: From His Viewpoint

Gabriel Murphy has previously graced our Andy Boss Thrust Stage in Park Square Theatre’s 4000 Miles in the 2014-2105 season) and Wonderlust Productions’ Six Characters in Search of an Author (2015-2016). This season, he appears on our Proscenium Stage in Park Square’s regional premiere of Amy’s View from May 12 to June 4, playing the pivotal role of Amy’s rather narcissistic partner, Dominic, who sorely tests her lifelong belief that love conquers all.

As Dominic, Gabriel is also the match that lights the fire of conflict between the mother-daughter pair of Esme and Amy, portrayed by Linda Kelsey and Tracey Maloney, respectively. But don’t be surprised if his character also sparks heated debate amongst audience members regarding the boundaries of love.

Recently, Gabriel answered questions that I had about his character as well as himself. Here’s what he had to say:

What attracted you to the role of Dominic?

Honestly, I was initially attracted to the role of Dominic because it meant being reunited with Linda Kelsey and Director Gary Gisselman. We’d worked together on 4000 Miles, which was such a fantastic experience for me. I’m so grateful to be back in a rehearsal room with the two of them as well as with the rest of this delightful cast. In addition to that, I’m excited to be tackling such an intelligent character. Dominic has many flaws, but he is incredibly smart and ambitious. Those are fun qualities to explore.

Yours is a key “triggering” role in the play. What is/are the biggest challenge(s) in playing Dominic?

Triggering, indeed! Dominic does have a tendency to rub people the wrong way. Dominic can be arrogant and caustic, but he and Amy do share a real love so I suppose the biggest challenge in playing Dominic is making sure I don’t ignore his humor and warmth. I also find David Hare’s language inherently challenging. He is a brilliant playwright so tackling his dialogue is a delightful challenge.

How is playing Dominic changing your personal view on relationships, life, etc.?

As a young actor attempting to establish myself in the Twin Cities, I can sometimes focus very intensely on my career. Playing Dominic is an excellent reminder for me that ambition has its drawbacks. In the play, Amy’s titular view is that people should give love without any conditions or expectations so, you know, that’s not a bad thing to think about.

How did you end up being an actor?

I went to a tiny private school in Kansas with a graduating class of 22 people. My school was so small that everyone was required to participate in extracurricular activities because, otherwise, we wouldn’t have had enough people to put on plays or create sports teams. Basically, I began doing plays by force!

Anything else that you would like the readers to know about the play or yourself?

For being such a compact play, Amy’s View manages to cover a huge span of time in the lives of these characters. David Hare’s writing is incredibly funny and witty; but every day in rehearsal, the heart in the play strikes me. I’m always caught off guard by how moving the play is. Also, this is the second play I’ve done with Linda and Gary in which I spend the first moments of the show dealing with a bicycle. In reality, I’ve actually never learned how to ride a bicycle. My boyfriend is making that my project for the summer.

Gabriel Murphy (center) in rehearsal with Linda Kelsey, Tracey Maloney and Nathaniel Fuller (left to right) (Photo by Connie Shaver)

Don’t miss seeing Gabriel Murphy in Amy’s View. Then return to Park Square to catch him again this summer in Idiot’s Delight, presented by Girl Friday Productions, on our Andy Boss Thrust Stage from June 29 to July 23. 

 

Kathy Kohl: On Creating the Costumes for “Watson Intelligence”

THE (curious case of the) WATSON INTELLIGENCE, on the Park Square Proscenium Stage until April 30, jumps in and out of three time periods notable for intense technical and industrial advances: the Victorian era, early 20th century and present time. This time-jumping aspect created unique challenges for its costume designer, Kathy Kohl, but they were successfully met by going with Director Leah Cooper’s proposal to create in Steampunk style.

“It was a great idea,” Kathy said, “as this look can layer all of the periods simultaneously, which makes costume changes from one time to another a matter of adding period-appropriate pieces rather than trying to effect a full costume change. It’s a really fun style to do, too, and interesting for an audience to puzzle out what piece belongs to which period, plus it’s flattering to every actor shape–and kinda sexy!”

Merrick CostumeMost of my challenges for this play came with the quick changes that happen with each character change,” Kathy continued. “These I achieved with the usual tricks: a little Velcro, a lot of snaps, some elastic laces for shoes. For instance, Merrick asked to try a shirt collar that could snap up instantly for his monologue with ties, so I stitched in a one-inch belt stay product onto the under-collar. Also, Watson the Android needed a special look when he hooked up to his battery chair. For this, I hand-stitched strings of tiny LED lights into a layer of his vest. In fact, all the hardware is hand-stitched.”

With all the hardware in the costumes, Kathy had to also consider how they could be safely laundered.

“Pants are turned inside out to protect them and other costumes from snagging in the wash,” Kathy explained. “Watson’s vest front panels are Velcroed and fully removable so the vest itself can be laundered. I did have to remove some little gears from Eliza’s jeans because she scraped her hand on one in a quick change in dress rehearsal.”

Watson CostumeKathy’s finished costumes stayed close to her initial renderings, but some details–namely having to do with fabric choice and trim–were adjusted as needed. For example, Eliza’s striped leggings were no longer available, and Merrick’s boxy plaid jacket just didn’t look right on him.

“Watson is very active onstage and has lots of quick changes,” Kathy added, “so I needed to rethink the industrial trim placement on his pants so he wouldn’t get caught on a belt buckle or get scratched by the snap tape that I used.”

Because the play has a small cast of three, Kathy could think through the costume plot carefully and hand off the tracking list, which tells what each actor wears in each scene and what they change into, to stage management early in the process. This allowed Stage Manager Amanda Bowman to plan change timings and where they would happen backstage.

Eliza CostumeThe actors were also given rehearsal clothes to wear (e.g., for when Merrick must change from modern to Victorian in a half sentence during his monologue), which helped to establish a useful muscle memory for them early on.

“This show required a combination of shopping thrift stores, some retail, a bit of building–Eliza’s 1890s coat and some smaller pieces–and rental,” Kathy said. “Leah was present for fittings–always an efficient way to make sure everyone’s okay, including the actors, with how things look and feel.”

Come see for yourself how Kathy’s work impacts the overall production during its final week on stage. Then have some fun pondering what costuming decisions you may have made if you’d been in her shoes.

 

(NOTE: Don’t miss reading the prior blogs “Kathy Kohl: Doing What She Loves” and “What the Heck is Steampunk Anyway?”)

Kathy Kohl: Doing What She Loves

 

Kathy Kohl (left) with stage manager Amanda Bowman (right) (photo by Petronella J. Ytsma)

Costume designer Kathy Kohl (left) with stage manager Amanda Bowman (right)
(Photo by Connie Shaver)

People choose their careers for many reasons: It’s what they think that they should want to be. Their parents want them to be that. They do it for the money. They really don’t know what they want to do. They love doing it.

Fortunate are those who can ultimately create a profession from a lifelong interest. Kathy Kohl, the costume designer for THE (curious case of the) WATSON INTELLIGENCE is one of those lucky people.

“I started sewing when I was little, stitching together clothing for my cat, who was not amused!” Kathy said. “I received further training through 4-H and made much of my own wardrobe in high school. I was always interested in historical clothing via old pictures and books of art, but because I was primarily a musician–playing piano and trombone, I didn’t get into theater until I was an adult.”

Kathy created her first costumes in the mid-’70s. They were commissioned by her husband Allan, who is a children’s storyteller and needed a Robin Hood costume for his presentation of the Sherwood Forest folk. She also designed a Maid Marian one for herself.

“Just for fun, I took a pattern-drafting class around that time at the extension service where we lived in Wisconsin,” Kathy recalled. “And when the call came many years later from a community theater that needed a Victorian nightgown that couldn’t be found in commercial patterns, I was on my way.”

For many years, Kathy was not only a costumer but also an actor on the college and community level.

“But my need to see the full finished production was too strong,” Kathy admitted, “so I made the difficult choice between the two, and costumes won.”

Besides her work on Watson Intelligence, currently on Park Square’s Proscenium Stage until April 30, Kathy is also the costume designer for Girl Friday Productions’ Idiot’s Delight, which will be on Park Square’s Boss Thrust Stage from June 29 to July 23.

“After that I’ll be following its director, Craig Johnson, to northern Vermont for A Midsummer Night’s Dream at a new theater in Greensboro, Vermont, very near where I grew up! ” Kathy said. “The venue is built like Shakespeare’s Globe, complete with a groundling area in the audience. Should be a blast!”

(NOTE: Look out for the upcoming post about Kathy’s costume designs for Watson Intelligence.)

Two Words

H. Adam Harris as Thomas A. Watson & Kathryn Fumie as Eliza, the radio interviewer (Photo by Petronella J. Ytsma)

H. Adam Harris as Thomas A. Watson & Kathryn Fumie as Eliza, the radio interviewer
(Photo by Petronella J. Ytsma)

The lines that stay with me in THE (curious case of the) WATSON INTELLIGENCE are delivered by Thomas A. Watson, Alexander Graham Bell’s laboratory assistant, played by H. Adam Harris:

“If I may, this is significant. What my friend and mentor called out to me in that famous first sentence ever conveyed by wire was “Mr. Watson, come here, I want you.’ It is often misquoted.” (Click here to listen to the account of the real  Thomas A. Watson.)

Watson tries hard to set the story straight for his radio interviewer, who has it incorrectly in her notes that Bell had said, “Mr. Watson, come here, I want to see you.” However, she considers the misquote “a minor difference”; whereas Watson sees it as “a crucial one” for the following reason:

“The two words that seem to you a minor difference, to me spell the difference between a man calling out to an acquaintance for generalized assistance, and a man calling out to his intimate friend for a service only he can render.”

Watson had dedicated his life to helping Bell, an extraordinary act that could easily be judged by others as too unfairly selfless. After all, Bell got the fame as Watson fell into obscurity. But Watson sees that interpretation as “a gross mischaracterization. If I opened myself to my friend, he opened himself to me no less profoundly.” They’d developed a strong friendship built on shared vulnerability, commitment, respect and trust. They’d both gone into the relationship with eyes and hearts wide open; they both had each other’s backs.

I found myself pondering their powerful bond the other day as I monitored school groups during the intermission for The Diary of Anne Frank. Friendship is also a strong theme that runs through that play, and here I was watching hundreds of young people coming together to take it in.

It was in this uplifted mindset that I suddenly witnessed this scene: A small group of white girls standing by the stage and one girl a few steps above them. The apparent leader of the group yelled out to the lone girl, “Angela, come down here with us!”

I smiled at these welcoming words.

When Angela had not yet moved, the leader repeated more forcefully, “Hey, Stupid! Come down here with us!”

Two words added.  A crucial difference–the difference between friend and foe, invitation and threat.

Angela chose to return to her seat rather than join the girls, who were now giggling hysterically but also nervously, realizing that an usher had been a witness. Then the leader started a frenzied dance to shake off the moment, with some of her friends following suit.

THE (curious case of the) WATSON INTELLIGENCE, playing on Park Square’s Proscenium Stage until April 30, is, as described by Director Leah Cooper, “really a play about making yourself vulnerable to love.” It is about opening ourselves to help and hurt as we navigate our way around forming mutually beneficial and meaningful human connections.

Very heartening to me is what Adam Whisner, who plays Merrick in curious case, had said about himself during our interview (see the April 2 post “Adam Whisner: The Two Merricks”): With age, he steadily becomes more of a Watson–that genuinely kinder, less self-interested and guarded person who lets more expansive and truer human bonds form.

I think about the girls and how they will choose to relate to others in the near future and as they continue to grow up. I hope for them to steadily develop the Watson intelligence, too. And I hope in doing so they will add two more words omitted from their vocabulary: “I’m sorry.”  The crucial difference between relationship and disconnection.

Adam Whisner: The Two Merricks

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 From April 7 to 30, Park Square Theatre features the area premiere of THE (curious case of the) WATSON INTELLIGENCE on its Proscenium Stage. A 2014 finalist for the Pulitzer Prize for Drama, playwright Madeleine George’s play is described by Park Square as a “brilliantly witty, time-jumping, loving tribute . . . to the people—and machines—upon which we depend.”

The following is an interview with actor Adam Whisner, who plays two passionate men–both named Merrick and both experiencing women troubles, but each in different time periods:

Kathryn Fumie (Eliza) and Adam Whisner (Merrick) in a rehearsal (Photo by Connie Shaver)

Kathryn Fumie (Eliza) and Adam Whisner (Merrick) in a rehearsal
(Photo by Connie Shaver)

On the cover of the script, under the title, includes the descriptor, “a play about others.” What does that mean to you?

 There’s the person who gets the credit, and the other person who has their back. The other person made them coffee so they could keep working through the night. The other person held them as they sobbed after failed experiment #486. The other person loved them no matter what. We’re not all wired to be that person.

 In the context of this play, I think “the others” are the selfless, generous, compassionate companions. They’re the people we all want in our lives, and hopefully strive to be, when and if we’re ready to set ego aside and move from getting to giving. I think the kind of others this play highlights are evolved people, whether they know it or not. You’re either born as one, or you learn how to let go and become one. I think most “Watsons” aren’t entirely consciously aware that they are one. Similarly, the Elizas and Merricks of the world are barely conscious of their need for the Watsons, but it’s a desperate need. In my mid-40s, I’m pretty sure I’m an Eliza/Merrick, minus the brilliant scientist part, who is just starting to learn how to be a Watson.

 What is the biggest challenge for you in playing Merrick?

The lines! The Merricks have a lot to say, and I’ve always been a slow memorizer. The more complex challenge is making sure the Merricks are assholes for whom the audience has some compassion. The Merricks’ need for the Watsons is part of what humanizes them. The genius inventor who doesn’t know how to find love is still just a person who needs love. The divorcee running for office who wants to make the whole world a better place is still just a man suffering heartbreak in his little world. Assholes need love, too.

What led you to become an actor?

I was a precocious, sensitive, creative little kid, but always felt pressure to be something else, especially from stronger, tougher, sportier boys. My version of “I’ll show them” was acting in comedic lead roles in junior high school plays. After one of my first performances, I was in the lobby getting a drink from a water fountain as parents were milling about. I overheard one mother tell another that she hated school plays, that her daughter was terrible in them, and that she wished she’d stop doing them. My spirits sank. Then she said, “But that Adam Whisner kid should be on TV. He was hilarious.” I think I went up four hat sizes in that moment. My fate was sealed. Sometimes I think the only reason I’ve been able to make a full-time living as an actor is that I’ve believed I could since 1982.

What are you working on next?

I’m a company member of Wonderlust Productions, a theatre company that gathers personal stories from various communities in Minnesota and then invites those communities’ members to participate in creating plays based on their own stories. Participation includes being an actor or musician in the final production of the play alongside professional theatre artists. It’s not community theatre; it’s theatre for and by a community. We’ve done two full productions: The Veterans Play Project and The Adoption Play Project. Our next play, The Capitol Play Project, will focus on the folks who work at the Minnesota State Capitol who aren’t politicians and will be performed in the state capitol building itself in early 2018. I may wind up in another production before then if it falls in my lap. I don’t audition often enough. 

Photo by Connie Shaver

Photo by Connie Shaver

Adam’s cast background:

Park Square Wonderlust Productions’ Six Characters in Search of an Author Representative Theatre Guthrie Theater/Workhaus Collective: Little Eyes; Wonderlust Productions: Veteran’s Play Project, Adoption Play Project; Walking Shadow Theatre Company: The Crowd You’re in With, An Ideal Husband; Theatre Pro Rata: The Woodsman; Loudmouth Collective: A Bright New Boise, Gruesome Playground Injuries; Gremlin Theatre: Burn This; Commonweal Theatre: The Rainmaker; Alan Berks & Company: #Ringtone; Hidden Theatre: This Is Our Youth Training B.A., Theatre Arts, University of Iowa; Actors Theatre of Louisville Acting Apprentice Co. Accolades City Pages Best Actor 2016; Lavender Magazine Crème de la Crème Performances 2015

Kathryn Fumie, The Essential Elizas

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 I was reading the script for THE (curious case of the ) WATSON INTELLIGENCE after having learned about the hidden history of NASA’s female “human computers” and read about the social challenges for women in technological fields (The Atlantic magazine has literally just come out with its latest issue covering “Why is Silicon Valley So Awful to Women?”).

So it was to my delight that Watson Intelligence immediately introduces us to Eliza, a brilliant female artificial intelligence expert who is not a one-dimensional character. We get to meet this Eliza (there are three Elizas in this time-bending production) in all her fully human glory, whip smart but ultimately not invulnerable to the risks of human connection.

Despite the title and references to all the Watsons, the Elizas in the play are absolutely crucial to the plot. I now hand you over to Kathryn Fumie, who plays the essential Elizas, as she answers questions about her role:

Kathryn Fumie as Eliza and H. Adam Harris as Watson in rehearsal (photo by Connie Shaver)

Kathryn Fumie as Eliza and H. Adam Harris as Watson in rehearsal
(photo by Connie Shaver)

Playwright Madeleine George claims that “Watson” is “a play about others.” What does that mean to you?

 In rehearsal, we talk a lot about sidekicks. The term “sidekick” sounds dismissive to me, but I think perhaps there is a lesson to be learned in the Curious Case–in our lives, we only become ourselves through the energy and presence of other people playing supporting roles.

 Also, my character is so very opposed to letting “others” into her heart and soul. The play shows the great struggle people have to be vulnerable and to actually need people.

 What drew you to want to play Eliza?

 To be honest, I was first and foremost drawn to working with Leah Cooper. I have wanted to work with her since I saw a show that she’d directed in 2010 at Theatre in the Round. I would have said “yes” to any show that she asked me to be in.

 What challenges are you experiencing in playing Eliza?

 I want her flaws–her inability to be vulnerable, her utter/unshakeable belief in the idea of herself–to be as genuine and relatable as her search for connection and her frustration with other humans. 

 Also, making the common thread followable for the audience through three different characters in three different time periods is an interesting challenge.

Kathryn Fumie as Eliza in rehearsal (photo by Connie Shaver)

Kathryn Fumie as Eliza in rehearsal
(photo by Connie Shaver)

 What is your relationship to your technology? 

 I like it. It’s pretty useful….

 I’m better at using technology than a lot of people who are my parents’ age, but I definitely don’t know how to use technology the way young people do. I’m scared to fall behind. Truly. But I’m trying to stay on top of it. 

 What else are you working on?

 I recently helped develop new diversity programming for GTC Dramatic Dialogues. We go to colleges and universities to provide honest dialogue about difficult topics. I look forward to proliferating the new material this year. 

 Kathryn’s cast background:

 Park Square Debut Representative Theatre Theatre Unbound: Hamlet; Savage Umbrella: June; Swandive Theatre: An Outopia for Pigeons; History Theatre: Buddy: The Buddy Holly Story Training B.F.A., Performance, Rutgers University, Mason Gross School of the Arts Other Company member of GTC Dramatic Dialogues Accolades 2016 Ivey recognition for June at Savage

 

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The Shattered Mirror

Joseph Stanley, the set designer for Park Square Theatre’s production of Macbeth, first became involved in theatre, both onstage and behind the scenes, during junior high. He decided to give it a try because his older sister had so much fun performing in high school plays. Then well-timed mentors kept popping up to broaden and guide his interest, from an enthusiastic fresh-out-of-college ninth grade English & Theatre teacher who would even let him into the shop rooms to “build stuff” on snow days to a high school teacher who let him design to his heart’s content.

By college, Joseph knew that he wanted to pursue set designing. He attended Indiana University in Bloomington where, despite being an undergraduate, his professor allowed him to take graduate-level courses. He also worked in summer stock theatre, steadily making connections for more designing opportunities. Joseph, who grew up in Iowa, ultimately landed in the Twin Cities to get his MFA at the University of Minnesota.

Joseph has worked in the Twin Cities since 1993, designing for 12 to 15 shows per year. About half his projects are for theatres with their own construction crew. For clients without their own staff, he both designs and provides set construction at his own studio. Since his first professional set design in 1984, he has been the designer for at least 250 shows.

Joseph had first worked with Macbeth‘s director, Jef Hall-Flavin, in last season’s Sons of the Prophet at Park Square Theatre, and Jef wished to work with Joseph again in Macbeth. Jef brought to Joseph the concept of using a shattered mirror as the central metaphor in the set design, and Joseph ran with it.

Macbeth set construction on the Boss Thrust stage

Macbeth set construction on the Boss Thrust stage

“Jef spoke about the timeliness of Macbeth,” Joseph said, “and how holding a mirror in front of ourselves would reflect ourselves back, especially given current events.”

Joseph, a self-professed pragmatist, also saw the practicality of using mirrors to give the illusion of having more people on stage.

Macbeth has just a cast of nine people,” he pointed out. “But there are a number of times when an army must be on stage. The mirrors make it seem like more than nine.”

The mirror, too, lends itself to practical use to highlight the mystical, other-worldly moments in the play. For instance, the mirrors at center stage act like two-way mirrors for a nifty visual effect when apparitions appear.

And, of course, the shattered mirror reflects the shattered story itself as, in Joseph’s words, “Macbeth becomes a shattered man who breaks down throughout the play.”

Macbeth set design realized on stage

Macbeth set completed on stage

I asked him, too, if he and Jef were not purposely tempting Fate, given that Macbeth already has the reputation of a cursed play (see my previous blog on theatre superstitions, “‘Macbeth’ and Other Unmentionables”). After all, breaking a mirror guarantees seven years of bad luck.

Turns out that Joseph is not particularly superstitious but thinks that “one of the neat things as a scenic designer is that people see things in my designs that I don’t consciously think about.”

You will see another Joseph Stanley set design this spring on Amy’s View, which runs from May 12 to June 4, on Park Square’s Proscenium Stage. Meanwhile, don’t miss seeing Joseph’s stunning set on the Boss Thrust Stage for our World Premiere Commission of Shakespeare’s Macbeth, adapted and directed by Jef Flavin-Hall, ending on April 9.

Carry on a Coffee Sleeve Conversation

 

Ting Ting Cheng recently had an in-depth discussion with artist Dan Choma at a local coffee shop about his pen-and-ink drawing "I Prefer Rudeness Over Casual Racism" (www.danchoma.com)

Ting Ting Cheng and artist Dan Choma talked about his pen-and-ink drawing “I Prefer Rudeness Over Casual Racism” at a local coffee shop.
(Visit www.danchoma.com to view more art and music)

In October 2015, Coffee House Press (CHP), an internationally renowned independent book publisher and arts nonprofit based in Minneapolis, was awarded a St. Paul Knights Arts Challenge grant to launch its Coffee Sleeve Conversation project. By producing and distributing coffee cup sleeves featuring the words of St. Paul writers of color, CHP hopes to foster community conversations on race and the arts. While these sleeves will be distributed to several St. Paul coffee shops, Park Square Theatre is also proud to be selected to participate in the Coffee Sleeve Conversation project.

CHP has an established history of community involvement through Books in Action programming, which produced the Coffee Sleeve Conversation project. Books in Action projects came about because CHP “has long recognized that there are many possibilities for reader/writer exchange beyond (and even without) the page. . . . Our vision for the future is one where a publisher is more than a company that packages books. We strive to be a catalyst and connector–between authors and readers, ideas and resources, creativity and community, inspiration and action.” Other innovative Books in Action projects have included Ring Ring Poetry, a poetry installation featuring local poets “broadcasting” poems linked to specific Twin Cities sites; CHP in the Stacks, a library residency program placing writers, artists and readers in public and private collections/libraries to creatively engage with community members; and much more. Be sure to visit coffeehousepress.org to learn more about their publications and programs.

For the Coffee Sleeve Conversation project, poet and activist Tish Jones solicited and selected work from writers of color in St. Paul. The process included an open call for submissions, and the words of 20 writers were printed on approximately 10,000 sleeves. Park Square employee and local writer Ting Ting Cheng is very excited that an excerpt of her poem was chosen as a conversation starter. It reads “May Kuan Yin, / goddess of mercy, / protect / all who / enter here.”

On each CHP sleeve is a poem excerpt by a local writer of color. (Photo by Connie Shaver)

On each Coffee House Press sleeve is a poem excerpt by a local writer of color.
(Photo by Connie Shaver)

In CHP’s words, “By focusing on local writers of color, the series will point to the depth and excellence of writing from people of color that is already available in the community, and catalyze and enlarge the conversation in diversity, media, activism, and art both locally and nationally.”

Equity, access, public engagement: these are values that CHP live by; these are values that Park Square Theatre shares. Be sure to look out for the coffee sleeves at our Proscenium and Boss stages for the rest of this season.

“Most of what people are hesitant to speak out about is an ugly truth. Art helps make it more appealing.” — Tish Jones in an interview with Intermedia Arts

 

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