Posts Tagged theatre

Job Description: The Mentor

Producers, writers, directors, dramaturgs, choreographers, agents, actors, singers, coffee runners.  You name it and it exists in show biz, where just about every facet of the theatre has its designated leader–the one who takes control of that job.  This is done for obvious reasons: No man is an island, and burnout should be avoided.

But what about the mentor?  What function does this title serve?  Is it even a position worth considering when it comes to describing the jobs of the theatre?  I would unequivocally argue:  yes!

More than a teacher, the mentor takes the student-teacher relationship to the next level, instilling not just knowledge but wisdom upon the fortunate.  The lesson does not end when the bell rings or the class is over; the guidance continues after school and throughout life.  Through the mentor you are opened to the fact that the world is your classroom and, if you are of age, even the bar.  I had wonderful acting training in my undergraduate years, but I wouldn’t hesitate to say that I learned more about what drives an actor (life, love, loss, etc.) by grabbing some beers with two or three individuals who truly transcended the role of “teacher.”  They became mentors.  I maintain close friendships with them now, well beyond graduation, still asking for their advice as I navigate the always tricky waters of professional theatre.

Not everyone can attain this lofty mark, however.  Indeed, what makes the role so special is its exclusivity.  Personally I would count only two in my life, and they shepherded me through the trials of high school and college theatre, respectively.  They were men whom I looked up to for being themselves in the face of adversity and completely selfless in their work as well as patiently listening to the seemingly endless problems that can befall a student of the theatre.  Will I have more in my life?  It is hard to say, for while anyone can be a mentor, you can’t find one simply by looking through the classifieds or applying for one.  It just happens.  

While I believe everyone should benefit from a mentor’s guidance, the door swings both ways: You must take some initiative as well to cultivate the relationship in the same way you would with a best friend, faithful dog or trusted lover.  Anything lasting has to be built on a foundation of mutual respect and accountability.

As I grow older with various real-world experiences of my own, I’m learning to “send the elevator back down” and give a hand to those younger than me.  Not that they’re much younger, of course, but age has very little to do with experience.  I’m finding that with even the little amount that I possess, I can share some with kids whom I meet in elementary and high schools.  They’ve got a long way to go so if I can give them just a nugget of insight, it could be the difference in having them reach the next level.  Such was my case so, to all the mentors out there, thank you; and to those of us who have them, appreciate what you have and never let go.

 

yoda-quote

True Gems

I was recently inspired by Matthew Glover’s blogs on June 1 (“When 40 Feels Like a Lot”) and June 3 (“The Finish Line”). Glover was co-Director and Project Lead on Sandbox Theatre’s Queens, which just ended its run on Park Square Theatre’s Andy Boss Thrust Stage. Each of his posts gave us a glimpse of the immense dedication of artists to bring their creations to audiences, regardless of size, and how they feel called to give beyond the best of themselves—in this case, performing through excruciating pain from an injury.

Glover made me recall how I had discovered Sandbox Theatre at Park Square Theatre last season. The ensemble was performing War With the Newts, also on the Boss Stage and as part of Park Square’s Theatres in Residence Series. It was a truly groundbreaking production, described as “a deep exploration of the themes of nationalism, exploitative business practices and human nature’s self-destructive tendencies.” In short, humanity faced extinction at the hands of anthropomorphic newts. Reviewers described the play as “quirky” and “darkly funny.” The utter originality of the production simply blew my mind—in a very good way, leading me to see it twice.

war-with-the-newts-notext

As you can imagine, I could not wait to see Queens this season. But like War With the Newts, Queens also fought for a larger audience, though both garnered good reviews. The sheer quiet beauty of the sure-footed performances made me want to see Queens again as well, though I was unable to do so this time.

In a May 25 review on Queens in City Pages, Jay Gabler wrote, “If you’re willing to set aside your expectations of a conventional narrative, though, you’ll find a show built on trust—trust among the performers, trust in the material, and trust in the audience.” I think that his words would also ring true for War With the Newts a year ago. Sandbox Theatre does excellent but unconventional work that may challenge the audience in new ways; and, often, cutting-edge art takes time to be recognized for the gem that it is—to, essentially, build an audience.

Pondering on the incredible dedication of Sandbox Theatre to its craft made me think about all the other smaller theatres in the Twin Cities that have or will perform at Park Square Theatre this season–Wonderlust Productions, Mu Performing Arts, Other Tiger Productions and Flying Foot Forum–and how they “sweat blood” to inspire us, broaden and challenge our views, and bring us together.

New start-ups, such as Full Circle Theatre (co-founded by Rick Shiomi who was also co-founder of Mu Performing Arts) and Hero Now Theatre (which cast our own Vincent Hannam in its inaugural play), have only cropped up this past year; and you can be sure that others will keep coming, all bent on working to build mutual understanding and inspire a better future.

I encourage you to come and engage with these and other theatres as you discover their existence. Come be challenged. Come to explore. Come to receive their gifts—always with an open mind.

 

Sons of the Prophet: A Gift to Our Audiences

Sons of the Prophet was produced with special support from Pat and Paul Sackett and the Park Square Premiere Producers’ Club. Wondering how and why this particular play proved to be such a powerful choice for its producers, I received this response from Pat Sackett:

 

Pat and Paul Sackett

Pat and Paul Sackett

Paul and I first saw Sons of the Prophet at Roundabout Theater in New York in October of 2011 during a two-week stay for business.  As we were heading back to the hotel that night, we recast it with Twin Cities actors (no easy task, the options are so extensive) and concluded this was A Park Square Play.  When we returned home, we handed over our collection of 15 Playbills to the PST staff and put Sons on top of the heap, saying this was one they definitely needed to explore further.  We enthused over it, we hinted, we suggested, we cajoled, we badgered, we nagged, we forwarded the glowing reviews from the NY Times and The New Yorker, we made sure everyone was aware it was a finalist for the Pulitzer, we got to the point that Artistic Director Richard Cook knew we were going to corner him about Sons every time he saw us and probably avoided us on occasion as a result.  After two and a half years, we gave up and tried a different tactic: we bought the script, handed it to him and pretty much stood over him tapping our feet until he read it.  At that point, he was hooked and suggested we put our money where our mouths were and provide the cash to secure the rights.  So we did, and it finally found a spot in the 2015/2016 season.

Why are we so obsessed with this play?  The tagline is “A comedy about suffering” and, yeah, that sounds like a hard sell.  Everything in Joseph Douaihys’s life is going wrong and he might just as well have been named Job.  Yet the writing is so excellent, you find yourself laughing out loud; the characters are so well drawn and so decidedly human, you find yourself wanting things to work out for each of them.  They are us, just trying to get through life with as much happiness as possible and striving to overcome whatever difficulties they slam into.  It’s a tricky piece to pull off, and I suspect that’s why it’s taken so many years for it to find a place in theaters across the country.  Some plays are immediately forgettable; some you wish you could forget immediately; some you keep returning to for days or weeks or months afterward.  This is one of those works–the ones that bring you somewhere you’ve never been and make you think about how that might fit into your own life.  In short, A Park Square Play.

Any residual fears we might have had about whether we’d totally missed the boat recommending this piece totally dissipated when we were honored to attend the cast’s first read-through in late April.  When we introduced ourselves to the actors as the folks who’d brought the play to Park Square, they couldn’t thank us enough for the juicy roles they’d received; and each of them told us how rich the language was, how much of a challenge the play presented.  Despite this being the very beginning of the process, it seemed to us that even without costumes, sets or movement around the stage, each of them had nailed their roles and were going to produce a truly memorable experience for themselves and their audiences.

Come join us during the final shows—the play ends on Sunday, June 5–and see for yourself!

 

 

Running On: Three Marathon Runners Talk More About “Sons of the Prophet”

After seeing Sons of the Prophet at Park Square Theatre’s Proscenium Stage in which the main character, Joseph, is a former marathon champion sidelined by health issues, runners Peter Erickson, Eric Larson, and Jon Thomas met to talk about the play. This is a continuation of that discussion. (You can read the first part of their conversation in the blog, The Run of a Lifetime.)

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Eric Larson

Eric Larson

Peter Erickson

Peter Erickson

In Sons of the Prophet, the Douaihy family –Joseph, his younger brother Charles, and their uncle Bill—are Lebanese-American. Larson wondered if playwright Stephen Karam had purposely made them Lebanese as a tie-in to a Persian War event that later inspired the first Olympic marathon race in 1896. In that war, the Greek soldier Pheidippides ran over 25 miles from the battlegrounds of Marathon, Greece, to Athens in 490 B.C. to announce the defeat of the Persians. After such a strenuous run to deliver the news of “Niki!” (Victory!), Pheidippides dropped dead. Did this possible link to the Persian War also foreshadow death in the play? And do our lives carry messages that get passed on?

Thomas noticed the connection between the Lebanese to the pervasive theme of suffering in the play. The Douaihy’s are Maronites, an oft-persecuted Lebanese Christian group that migrated to the mountains of Lebanon for refuge. And in the play, a painting of Saint Rafke, born in Hemlaya, Lebanon, in 1832 was cherished by Joseph and Charles’ recently deceased father. She had devoted her life to Christ, asking to share in his suffering. Thereupon, she experienced continual head and eye pain as well as joint deformities, all the while rejoicing in prayer and remaining ever-patient in her suffering. (Perhaps she would also make the perfect Patron Saint of Marathoners, who feel euphoric even while patiently enduring pain to complete the last miles!) Isn’t life also like that–a test of perseverance, of mind over matter?

Erickson brought up more than once the notion of choice—how we can lose choice when trapped by a debilitated body, as we witness with the ailing Bill and Joseph, and how we can gain choice through our outlook on life. With all this suffering, what can one do?

“Try to enjoy what you can in life,” Thomas suggested. “We can dance . . . listen to the music . . . move on . . . .”

Jon Thomas

Jon Thomas

The Run of a Lifetime: Three Marathon Runners Talk About “Sons of the Prophet”

 

Jon Thomas, Eric Larson and Peter Erickson

Jon Thomas, Eric Larson and Peter Erickson

Joseph, the main character in Sons of the Prophet, currently showing on Park Square Theatre’s Proscenium stage, is a marathon champion sidelined by chronic knee pain and unexplained physical symptoms.  His entire life has taken a downturn as unrelenting challenges ensue–from his father’s unexpected death to witnessing his uncle’s own declining health, from taking a crappy desk job under a needy, unstable boss to have health insurance to necessarily becoming his uncle’s medical advocate in the convoluted Medicare system, from becoming head of household for himself and his younger brother Charles to facing loneliness as a gay man in Nazareth, Pennsylvania.  The emotional toll has left him “cut off on the knees,” with enough stress to cripple even the strongest of men.

Knowing only about the lead character’s marathon background, three marathon runners attended Sons of the Prophet on Saturday to watch then give us their take on the play.  They were:

Peter Erickson, who ran in junior high as an outlet to get out of the house.  With continual travel in his adulthood, he stopped exercising for years but returned to running in 2008.  He loved running 5Ks, increased to half marathons, then finally committed in 2010 to his first marathon, the Twin Cities Marathon.  With a fall this past winter, Erickson was sidelined to walking the dog but has no plan to stop running.

Jon Thomas, who was introduced to running by a mentor during his 1986 residency at the Mayo Clinic.  Thomas had exercised and remained fit during medical school, yet felt dreadful after his first long-distance run.  To see his over 50-year-old mentor complete a mile in seven minutes truly impressed the then 25-year-old Thomas.  He continued running and, in 2011, ran his first marathon, also the Twin Cities Marathon.  He has now run it and the Los Angeles Marathon more than once.  His future goal:  the Boston Marathon.

Eric Larson, who attended junior high in a class of 35 students in Shepherd, Montana, recalled that “everyone” went out for sports.  He was a skinny 13-year-old who lacked arm strength and also not fast so settled on long-distance running.  He especially loved 10Ks.  Like Peter, Eric did not return to running until his adulthood when a friend talked him into doing a relay marathon in Rochester, Minnesota.  After passing the baton in that race, Eric decided to continue running, specifically aiming to actually complete a full marathon.  In 2003, he ran Grandma’s Marathon in Duluth, Minnesota.  He is currently a diehard squash player, though still runs the odd 5K with his teenage daughter.

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Being a physician, Thomas initially related more to the medical aspects of Sons of the Prophet, which he felt were portrayed quite realistically, such as patients’ struggle with healthcare costs, the nightmare of navigating Medicare, and most strongly, the diagnosis and treatment of patients.

Thomas wondered, as Joseph’s doctor performed a spinal tap and ran tests to find the root of his symptoms, whether Joseph’s psychic pain had actually manifested as physical pain.  At the hospital, Thomas sees many patients overly stressed by the complexities of modern life and pained without explanation.  Their tests come back negative; there is no diagnosis for them, yet they are suffering.

Larson noted that even Joseph himself wonders in the play:  “Could the inflammation be caused by something…else ….?” As a squash player, Larson notices that he is in good shape for squash but not necessarily for soccer, biking, or now running, whenever he dips into those sports.  Similarly, each character in the play does well in their own area “of being” but when set in situations that they are not “in shape” for, then they have problems and experience intense stress.

Having been sidelined from running this winter, Erickson could relate to what it’s like to want but not be able to run.  He would have been miserable (and been a pain to be around) had he not been able to mitigate his loss by taking long walks, something Joseph could not do.   Erickson knows how it feels when “running becomes a need; you can’t wait to get out there, especially after a hard day.”  Joseph had no choice but to stop running, which was a core part of his being.

All three reflected on the transformative stages of a long run–how one can reach a point of being “meditative yet actively thinking” for Erickson, of being in the zone when “solutions to seemingly intractable problems would organically come about” for Larson or “becoming one with the environment and feeling in flow–smooth–as if running on pillows” for Thomas.  Pleasure is followed by the agony of pushing through those last miles, when the body may feel like it wants to break yet the mind holds firm through all the hurting.

To the runners, playwright Stephen Karam’s decision for Joseph to be a marathoner rather than a football or baseball player, was, of course, because a marathon–not a sprint–is a journey, just as life is a journey.  They connected how a marathon has its stages–meditative, euphoric, suffering–similar to life stages.  And they understood how as in life, according to Erickson, “marathon running depends on the strength of your mind to get through the difficult parts.”

“There are multiple layers of struggle in the play,” said Erickson.  The play delves into race, gender, religion and generational issues, to name just a few.

“And each of those layers is a marathon, ” Thomas pointed out.

(Upcoming blog – RUNNING ON:  Three Marathon Runners Talk More About Sons of the Prophet)

 

What’s in a List?

The other week on Facebook (I know… I know…) I came upon this list that was circulating among my network of fellow artisans entitled, “25 Most Important Plays Every Actor Should Read“.

Now, first off, when I see a headline like that, I immediately roll my eyes and assume that the list is going to include the already established classics from one’s theatre history class. And guess what? I was not surprised. But here’s the thing: I didn’t expect to be surprised. Did I want to be? Sure! I would have loved to have seen playwrights like Lorraine Hansberry, Athol Fugard, or Lynn Nottage included. It’s frustrating but I’m not upset at the some website for regurgitating the same ten or twelve plays over and over again because the . argument here isn’t disputing their “worthiness” it’s that there should be more diversity among them. While that is an argument we must continue to push, we have to do it the right way. How about the next time one goes around we circulate our own “Top Plays List” so that catches fire in the community and shows up on everyone’s feed. I’m talking the works too: Published on a blog from a reputable company with pictures and everything.

GIFS.

Seriously though, how cool would it be if there if a poll were taken at Park Square Theatre to determine the “The Top Plays Every Actor Should Read”? I like it – I think I’m gonna make it happen because we don’t need some random Facebook post determine for us what’s “important” to read in the ever expanding and diversify canon of Western drama.

Park Square will let you know when we can but what do you say now? What do YOU think should be included?

Alexandra is a Park Square Ambassador; we think you should get to know her! Check out her recent presentation.

By Alexandra Harder

Some of you may recognize me because I spoke at last year’s fundraising gala. Last year, I spoke about being a Park Square Theatre Ambassador. This year, I can not only speak about being an ambassador, but also about being an intern, an employee, and a member of the Park Square family. But first, for those of you who don’t recognize me, I started here at Park Square as a Theatre Ambassador. What this means is that one Saturday a month, I come here and spend an entire day and night with 19 other young theatre lovers. We learn from master classes, speak with a diverse variety of theatre professionals, see a Park Square show and discuss it afterwards with our peers. My favorite part of the program has always been speaking to Twin Cities artists about what they do. In the past year, I’ve had the opportunity to pick the brains of Regina Williams, Ricardo Vazquez, Joel Sass, James Williams, Ann Michels, and more.

IMG_23711So that’s how I started here at Park Square. Shortly after the gala last year, I started In the Ambassador2 program as a second year ambassador. Our summer training involved meeting with Richard Cook, Mary Finnerty, Michael-jon Pease and other staff members, and learning about how Park Square works day-to-day and what their mission and goals are. During these meetings, not only did we get valuable information on how and why Park Square exists, we were also asked for our opinions and thoughts. Think about that. Several successful adults genuinely wanted to know what we, a group of teenagers, thought about their company and how it could be more accessible for people like us. If that doesn’t show how inclusive Park Square is as a company, I don’t know what does.

In the fall, I started as an intern in the Education Department. During  six hours each week, I learned to do things like book matinee tickets for schools, send out emails and invoices and even make phone calls to teachers. This may sound very mundane to a lot of you, but I’m a Virgo, so these things are very exciting to me. My long term goal has always been to own my own theatre company, so interning has given me invaluable skills I couldn’t have gained anywhere else, especially at such a young age. Megan Losure and Mary Finnerty (the two women the education program could not run without) go out of their way to make sure I’m learning not only how to do the things they ask me to do, but also why they are done, and how I would go about doing them if I had my own company in the future. This opportunity has given me the confidence to go out and actually take a big first step towards my dream.

This winter, I decided to start my own independent theatre. A friend and I, both seniors in high school started GIRL Theatre, a company dedicated to the empowerment and liberation of young women in our community. We produced a short devised piece titled Into the Red at Bryant Lake Bowl this February, entirely on our own. Thanks to Park Square, I had both the artistic skills to create a bold and imaginative piece and the practical skills to build an audience, sell out our shows, and actually make a bit of a profit.

Now, as if Park Square hadn’t already given me enough, I was recently offered a job as an Education Assistant. I will work part time through May, June and July, and I will be paid. As a young person who plans on going to college in the fall to get a degree in Theatre who is constantly being lectured on how wanting to be an artist will lead to a life of poverty, unemployment and tragedy, nothing gives me more hope for my future than being given a paid job at a theatre company at the age of 18.

AlexandraFor two years Park Square has tirelessly pushed me to grow as an artist and as a person, given me unparalleled opportunities and invested enormously in my future. If they had done all of this for me, just one young person, they would have done enough. But I am not unique. Park Square treats young people the way they have treated me. Thousands of kids have been touched by Park Square this year alone, and I guarantee you, I’m not the only one with glowing reviews!

Alexandra Harder is a senior at St. Paul Conservatory for Performing Artists, director, and founder of GIRL Theatre. Her upcoming project will be co-directing American Idiot with TASU Theatre Co. opening this month. 

Artist Spotlight: Ben Cook-Feltz, Musician

Last week I showed off the musical prowess of my Park Square cohort, CJ Pitts, and this week I want to bring another masterful musician to the forefront: Ben Cook-Feltz! By day BCF can be found working in Park Square’s ticket office, so if you’ve ever called in to order tickets you’ve probably already heard his soulful croon and didn’t even know it. I also do want to let everybody know that Cook-Feltz will be playing Vieux Carre this Wednesday, April 6 from 6-7:30. If you’ve never been, it’s  downstairs next to Park Square’s Andy Boss stage and features great music, drinks and food in an intimate setting.

It all began in Iowa where he was born and raised, learning to play and appreciate music from both his parents. Don’t get any false impressions about him being from Iowa, though. As Cook-Feltz will tell you: “I spent the first 23 years of my life in Cedar Falls, doing all your typical Iowan things, which actually aren’t that different from what everyone else was doing in the 80’s and 90’s (for instance, I have no idea how to tip a cow, much less milk one).”

At twenty-four, Cook-Feltz made his way up north to the Twin Cities to study record production at McNally Smith College of Music. From there he discovered just how vibrant the music and arts scene is in Minneapolis-Saint Paul.

Adding an indelible voice to this community through various capacities, he plays music as a “Side Guy”, is a member of two bands, Mother Banjo Band and Art Vandalay, as well as fronting his own band called what else? Ben Cook-Feltz. His eponymous group dropped an album last year called, She Doesn’t Believe Me, and it’s pretty rad. Combining observational and quirky lyrics, his melodies are often reminiscent of the 60s and 70s.

When asked why he does what he does, he states, “What it all comes down to is, I love making music. It makes me feel alive, and it gives me so much joy. I am thrilled by any chance I get to share that joy with other people.”

From one artist to another, I know the feeling.

So now that you know the man-behind-the-box office window you should check out his website and schedule, but don’t forget this Wednesday at Vieux Carre!

Happy Birthday, Mr. Mann!

Richard Mann at Nina Simone

One of the many great moments of Nina Simone: Four Women has to be the appearance of Richard Mann and his family when they came to celebrate his 102 birthday! If you missed this special night you can read about man, the myth, the legend here.

 

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