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Another Funny Camping Story: The World’s Worst RV Park

From September 15 to October 22, Park Square Theatre presents the American premiere of the international hit Henry and Alice: Into the Wild on its Proscenium Stage. This hilarious comedy by Canadian playwright Michele Riml features Twin Cities actors John Middleton and Carolyn Pool as spouses Henry and Alice, two inexperienced campers who rely on a copy of Camping for Dummies to survive their ordeal.

Camping in the Great Outdoors can certainly be a terrific bonding experience amongst loved ones; but more often than not, it gives you some of the funniest memories to cherish. Before and during the run of Henry and Alice, I’ll share some humorous camping stories submitted to our blog. Be prepared to laugh until your stomach hurts after reading this one from Calvin of Asheville, North Carolina:

Calvin, Zach and Isaac before their horrible camping experience.

After riding our loaded bicycles since dawn in the 90+ degree heat, we stopped at the World’s Worst RV Park in East Cape, Ilinois, at about 7 o’clock. I was so hot and tired and fried from riding all day in traffic that I was ready to camp in the gutter. Maybe that’s why the dusty gravel parking lot that was supposed to pass for a campground looked OK to me. When I get really exhausted, my mind is less than keen. Blinded by the sun, I felt my way into the A-frame office, where a woman with a big black wig told me it would cost us $21 to pitch our tent under a leafless tree 20 yards from the highway. Wanting desperately to avoid crossing a busy bridge just down the road during rush hour, I forked over the dough. By the time we set up our tent, we knew we should have kept going, even though we had already ridden 70 miles. Steady traffic from IL Highway 3 assaulted us with noise, dust and fumes. A bouquet of sewage wafted out from under the bathhouse we were camping behind.

“We paid $21 for this dump?” Zach said. “We could get a motel for $30.”

“If we could make it over the bridge without getting killed,” I said.

He snorted. “The smell alone’ll kill us by morning.”

“This is what hell’s gonna be like,” added Isaac.

I bloodied my leg killing a mosquito and walked over to the pay phone on the wall of a car wash on the other side of the parking lot. The receiver of the phone was so hot I could barely pick it up. I stood sweating in the late afternoon sun talking to my wife Maria.

“We’re in an RV park a mile from the Mississippi.”

“That’s great! I can’t believe how far you’ve gotten. What’s all that noise?”

“Could be all the traffic on the highway we’re camped beside,” I told her. “Or maybe the boys kicking the drink machine?”

“How’re you feeling?”

I took a deep breath. “This has been one of the worst days so far. Hot, tons of traffic, incredibly awful camping spot, right by the outhouse. We’re all ready to come home before we kill each other.”

“I’m sorry. I’ll bet it’ll be better once you get back on some better roads.”

“Hope so. We gotta get through Cape Girardeau before we find any better roads.”

“How you gonna get across the river?” Maria asked.

“Bridge is only a mile away. we’ll cross early in the morning before the traffic heats up.”

“Be careful!”

“My middle name.”

We showered in the foul-smelling bathhouse and swatted at mosquitoes while we ate spaghetti and French bread again for what seemed like the hundredth time in a row. The dust settled on my sweaty body and transformed me into a Cape Buffalo.

“This sucks,” said Isaac. “I’m going home.”

“I may go with you,” I said.

“We should have gotten a motel,” said Zach.

Craving sugar, the boys walked across the highway to a restaurant. They returned with six huge slices of homemade blueberry, coconut creme, lemon chess and cherry pies.

Darkness, usually a sign of bedtime, brought to life bright sodium lights that lit up the inside of our tent like a police spotlight. If we zipped up the tent, it got hot as an oven. If we left it open, the bugs feasted on our sugared flesh. We spent a miserable night listening to heavy trucks grind toward the bridge to Missouri, swatting bugs and trying to find a dark spot in the brightly lit tent. We were too depressed even to listen to the radio. It was a lousy end to a long, hard day. The boys complained a little, but then Zach fell asleep and Isaac got quiet, too.

After a night of sweating in the hot tent by the busy highway under the bright lights enveloped by the stench of the bathroom, I knew the World’s Worst RV Park, in East Girardeau, Illinois, had taken its rightful place amongst the worst camping experiences of my life. I lay awake in my self-made hell, waiting for sleep or dawn, whichever might find me first.

Funny Camping Stories

John Middleton

From September 15 to October 22, Park Square Theatre presents the American premiere of the international hit Henry and Alice: Into the Wild on its Proscenium Stage. This hilarious comedy by Canadian playwright Michele Riml features Twin Cities actors John Middleton and Carolyn Pool as spouses Henry and Alice, two inexperienced campers who rely on a copy of Camping for Dummies to survive their ordeal.

Carolyn Pool

Camping in the Great Outdoors can certainly be a terrific bonding experience amongst loved ones; but more often than not, it provides some of the funniest memories to cherish. Before and during the run of Henry and Alice, I’ll share some of the humorous camping stories submitted to our blog. Here’s two to start you chuckling:

One funny memory I have of our many camping experiences is one Memorial weekend when the girls were quite young. We went camping with our family of four and Ed’s brother’s family of four.

Shortly after we had all retired to our tents to go to sleep, a quite impressive thunderstorm began. In the middle of the night, with the storm still raging, our youngest said in a tiny little voice, “Papa, I have to go to the bathroom.”

Ed tried to talk her into a quick pee outside of the tent, given the weather conditions, but she was having none of that. She wanted to walk to the outhouse to pee! So they donned their rain gear and headed for the outhouse.

Upon their return, Ed shared that there were literally RIVERS running through the campground, almost constant lightning lighting up the sky and incredible wind. We stuck it out in our tent until morning and as the sun came up and we poked our heads out of our tents, we realized the extent of the storm. Trees were down everywhere; you could see remnants of where the “rivers” had flowed through the campground and the lake level had risen almost a foot overnight! It was quite the thing to see!

But, when you have to pee, you have to pee. I was grateful she’d asked for “Papa” and not “Mama”!

——-

My family camped throughout the first week of our two-week road trip out West. We were staying at KOA campsites with modern facilities (mostly hot showers and bathrooms with toilets). It was a far cry from diehard camping in the wilderness. Yet, the first night that we spent in a hotel room, my daughter had an immediately strong reaction to its king-sized bed:

 

(Look out for further posts of Funny Camp Stories!)

Henry and Alice: Before the Sequel

With the Minnesota Fringe Festival revving up, it seems apt that Park Square Theatre will soon afterwards start its 2017-2018 season with Henry and Alice: Into the Wild. It is Canadian playwright Michele Riml’s sequel to Sexy Laundry, which got its start in the 2002 Vancouver Fringe Festival, ultimately playing at regional theatres across Canada as well as being produced in Great Britain, Germany, South Africa and the United States. Sexy Laundry played on our Proscenium Stage, proving to be a smash hit during Park Square’s 2014-2015 season. Although both laugh-out-loud comedies are centered around the plight of spouses Henry and Alice, each play can be seen as a standalone. It’s not necessary to have seen Sexy Laundry first.

For those who’d missed its Park Square production, Sexy Laundry is about a middle-aged couple trying to put some romantic spark back into their 25-year marriage with a weekend getaway at a fancy hotel, sans their three children. Henry really doesn’t want to be there; he’d rather keep the status quo. But Alice is revved to go, arming them with a copy of Sex for Dummies for inspiration. Although a comedy, Sexy Laundry also reveals the serious undertones within the relationship of old-marrieds.

In April 2012, Riml continued the story of the longtime couple in Henry and Alice: Into the Wild, which also became an international hit. This time, the pair try to reinvigorate their marriage through a low-budget camping trip, foregoing their usual summer cottage in order to reduce costs after Henry has lost his job of 30 years. With a copy of Camping for Dummies in tow, they are ready to rough it and continue to navigate life’s unexpected challenges together.

In an interview with Nick Miliokas for Backstage at the Globe, Riml cited a camping trip with a high school friend in North Vancouver and their sons as the inspiration for Henry and Alice: Into the Wild. Although the trip ended well, the first day was horrendous with a trailer refusing to shift gear into reverse and a ferocious windstorm that caused them to ditch their tent to sleep in the car.  (Source: “Camping adventure inspired Henry And Alice: Into the Wild writer Michele Riml, January 14, 2013, globetheatreregina.wordpress.com).

Park Square Theatre’s production of Henry and Alice: Into the Wild will be its American premiere. Sexy Laundry’s director, Mary Finnerty, returns to direct this sequel. John Middleton reprises his role as Henry, and Carolyn Pool plays Alice. Melanie Wehrmacher plays Alice’s sister, Diana.

So come on out and camp with us anytime between September 15 and October 22. In the dark with just the stage lights glowing, we’ll tell you a story that will make you laugh hard enough to need to hold it in your seats.

 

Sexy Laundry

Charity Jones and John Middleton as Alice and Henry in Sexy Laundry during our 2014-2015 season
(photo by Petronella J. Ytsma)

 

The Art of Disappearing

Actor Michael Paul Levin has a knack for disappearing into his characters on stage. When he plays Otto Frank in The Diary of Anne Frank, he is Anne’s strong and gentle father. In Of Mice and Men, he is the loyal and compassionate friend, George, to the vulnerable Lenny; and in The Soul of Gershwin: The Musical Journey of an American Klezmer, he channels the brilliant George Gershwin. Currently, Michael transforms into the ever pissed off Inspector Cramer in Might As Well Be Dead: A Nero Wolfe Mystery on Park Square Theatre’s Proscenium Stage until July 30.

Michael Paul Levin as Inspector Cramer; E. J. Subkoviak as Nero Wolfe; Derek Diriam as Archie Goodwin; Jim Pounds as Fritz
(photo by Petronella J. Ytsma)

Of course, Inspector Cramer is a fully drawn out character in Rex Stout’s Nero Wolfe mysteries for Michael to emulate. However, Michael was also able to model his portrayal of him after his short-tempered father.

“He had little patience in dealing with people whom he considered to be fools,” Michael said. Inspector Cramer himself does not suffer fools gladly.

This side of Michael had not been something I’d experienced of him before, having watched him on Park Square’s stage as part of its Education Program for the past three seasons as Otto Frank and for a season as Lenny’s friend George, both incredibly patient men in very trying circumstances. He no doubt pulled from his own experiences of fatherhood–Michael has four sons–to portray Otto, but he turns out to have also done so for his role as George.

“One thing that appealed to me about Richard Cook directing Of Mice and Men was that he’d seen it in Spain where Lenny is characterized as being on an autism spectrum,” said Michael. “He had me audition for George because he knew that I have a son with autism. This created an interesting dynamic between the characters of George and Lenny.”

It seems ironic that an actor must dig deep within himself to be able to totally submerge into a character that is not him. Michael’s disappearing trick, seemingly done with ease, is a testament to his talent as an actor. The illusion of ease comes from years of practice–in fact, over 30 years for Michael. He was first awakened to acting as something he’d want to seriously pursue after seeing a production of Barefoot in the Park as a high school junior; ultimately, he’d reached the point of realizing “that I’m not qualified to do anything else.” His longevity in show business is itself a testament to his skills, not only as an actor but also as a playwright, instructor, voice artist and everything else in between.

In personally meeting Michael as himself, I encountered a man who may rather “fade into the woodworks” when not in the spotlight. He’s an unassuming man who would likely rather be left to anonymously go about his own business. Yet, he owns a hairless Chinese crested dog that cannot help but draw attention to itself and, hence, its owner, an apt symbol of the paradoxical nature of being a performer.

In all those years of watching Michael on stage, why had I not caught on before?  Michael doesn’t simply disappear on stage. What he does is much more complex: Michael hides in plain sight.

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.

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