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Posts Tagged Signe Harriday

Cardboard Piano: Park Square Theatre’s Journey to Sharing Space

Breaking Character Magazine, a publication of Samuel French Inc., recently shared a report by Park Square Theatre’s Executive Director, Michael-jon Pease, regarding the company’s experience producing the play, Cardboard Piano, by Hansol Jung.

Our audience engagement with Hansol Jung’s beautiful play Cardboard Piano began with a dozen subscribers seeing the world premiere with us at the Humana Festival of New American Plays at Actor’s Theatre in Louisville, KY. After the blistering first act, set in Uganda at the height of the terror of the Lord’s Resistance Army, they felt that Park Square Theatre had to premiere this play in the Twin Cities. “Our community needs this play,” they said.

As it turned out, we needed to produce it to further our journey toward greater inclusion.

From left: Adelin Phelps, Kiara Jackson, Ansa Akyea in Cardboard Piano. Photo by Petronella J. Ytsma.

The play is indeed a unique offering for this time and for our place. The Twin Cities community is a sanctuary for refugees from many African nations and home to a startling number of nonprofits whose work in Africa encompasses everything from hunger relief and education to peace making and refugee services. Our key community partner for the artistic and engagement journey was The Center for Victims of Torture (CVT), which works around the world healing those fleeing from trauma, including the child soldiers and persecuted LGBT Ugandans depicted in the play. They presented a pre-show talk on their work in Uganda and they promoted the play to their large constituent base of (mostly white, older) social justice champions, many of whom came more than once.

Most importantly, CVT sent two of their psychologists into the rehearsal hall to talk through the script with our artists and staff. They shared their deep knowledge of trauma on the magnitude these characters face. They pointed out what was not true to life, leading to rich discussion about the nature of art, dramatic tension and “truth.” Best of all, they confirmed that while their clients could not handle this play full of traumatic triggers, it needed to be produced. The community needed to see it.

CVT’s insights were woven into the design, direction and acting of the production and their psychologists were impressed and honored to see the result. A combination of light and sound cues, together with true to life physical “tells” from the actors immediately communicated to the audience the realities of trauma (ringing in the ears, hyper vigilance, etc.). The partnership contributed something essential and authentic to the production that it wouldn’t have had if we’d relied only on our own dramaturgical resources.

We all agreed that audiences would need to prepare themselves for the experience of the play. In addition to a deep content analysis on the website, the lobby had comment boards which invited audience members to respond to leading questions such as “What is the role of forgiveness in my life?” and to revisit their responses at intermission and end of play. Some of the post-it notes that stuck with me said,

“Forgiveness is about my personal liberation from the prison of living with resentment.”

“Forgiveness is pointless if the forgiven remains unchanged.”

“I forgive so I can be transformed.”

Wow.

We had conversations with our front of house staff and crew about ways to let audience members know they could leave if they needed to, and how to help them re-ground and rejoin the play.

For Park Square Theatre as a small traditional regional theatre led by white cis-gendered gay men, Cardboard Piano was also an important opportunity to explore how we share space with diverse artists and audiences. The questions of who owns space, who creates sanctuary and who can offer absolution are central to the play.

We chose Signe V. Harriday to lead the production, specifically to bring her world view as a queer artist of color to the process, as well as her mad directing skills. The action opens in a small missionary church in Uganda with the secret wedding of the white daughter of the missionary pastor and her African girlfriend. Harriday choreographed a playful, yet sensual opening scene between the two young women that allowed them to claim the space and unashamedly celebrate their love.

Having queer people of color own the room was amazingly affirming to many audience members, giving us survey comments like:

“I see a lot of theatre and it’s rare that I go to a show twice, but this one I came back to. As a Lesbian, it was wonderful to see myself represented on stage so authentically.”

“Representation is beautiful. Black stories are beautiful. Stories about cultures other than our own are beautiful. It was deeply moving, the performances flawless. Thank you for giving this story space. “

“It was a wonderfully well written and eloquent play that was executed very powerfully. It was a truth-telling and fully immersive experience, emotionally. This play was raw, and it was real. I went twice. Park Square should stage more works like this.”

Make no mistake, that ownership of spaceby someone other than the dominant culture, especially one as intimate as our 200-seat Andy Boss Thrust Stage, was also a big turn off for some members of the mainstream audience who responded with comments like “I am growing weary of theatres thinking they need to keep presenting productions with gay/lesbian themes” to “Sexual scenes did not add to the play and may have demeaned it.” Many who saw the postcard with two women of different races embracing on the cover simply opted out from the start.

Our world premiere commission of Christina Ham’s Nina Simone: Four Women was another powerful experience of asking women of color to own the space. The show resonated with all audiences, but the affirmation about black resilience and black beauty for black audiences of all ages was palpable.

Our goal in building an additional stage was to expand our play selection and the range of artists and audiences who not only call Park Square home but think of it as “their” theatre. Aside from enabling our own productions to become a haven for diverse communities (new owners), another strategy we use to achieve this is to literally give the space over to diverse companies and artists for their own work through our Theatre in Residence program, “friendly rentals,” collaborations and co-productions with companies as diverse as Mu Performing Arts, New Native Theatre and Urban Spectrum. Along the way, we keep becoming more aware of who can and should “own” the room – from hiring professionals of color to moderate discussions with artists of color, to color conscious casting for our literary classics and having the welcome speech for our student matinees delivered by a person of color as often as possible for our teen audience of 32,000.

As a veteran executive director, it is a joy to recede from what can be the endless spotlight of organizational leadership to see the community take the stage in so many ways. Park Square – and the field – has much to learn about creating and sharing brave spaces. Plays like Cardboard Piano open us to exciting artistic and human lessons.

 

Originally Published in Breaking Character Magazine, April 16, 2018.

Hope is Esperanza

“In English my name means hope.”  Esperanza in The House on Mango Street

“How can art make a difference in the world?”  — Sandra Cisneros

 A selfie by Hope Cervantes

A selfie by Hope Cervantes

Hope Cervantes grew up in the rough-and-tumble world of show business, first led by her dancer-performer mother through the beauty pageant circuit as a baby and into early childhood, then as a child actress playing Tosha in Barney & Friends and various Barney videos, TV specials and live shows. In 2013, she drew from her life story to create and perform Imagination Island: Surviving Reality at the Minnesota Fringe Festival.

Born in Dallas,Texas, Cervantes has also lived in the show-biz meccas of California and New York. She attended performing arts middle and high schools, going on to earn a BFA in Theatre Arts from the University of Minnesota.

When asked what she may have become if she had veered off the performance path, Cervantes replied, “I loved science as a child so maybe a biochemist. Now I ask myself how I can still find a cure for humanity through theater. I believe an artist makes experiences to bring about change and give back to society. It can be self-centered–the desire for fame–but I need a deeper drive to remain in theater.”

Cervantes has been in previous Park Square Theatre productions, including A Midsummer Night’s Dream, Oliver Twist and Great Expectations, and appeared on numerous Twin Cities stages. This October, she plays the older Esperanza on Park Square’s Proscenium Stage in The House on Mango Street, based on Sandra Cisneros’ acclaimed book about a Latina girl growing up in Chicago.

Hope Cervantes with Atquetzali Quiroz in A House on Mango Street (photograph by Petronella J. Ytsma)

Hope Cervantes with Atquetzali Quiroz, as the young Esperanza,  in A House on Mango Street
(photograph by Petronella J. Ytsma)

Cervantes read Cisneros’ book when she was in the ninth grade and definitely related to the stories. She found them to be beautifully poetic, with a simplicity that a young person could access. An example of this poetic simplicity is captured when Esperanza’s friend Darius looks up at the sky: “You see that cloud, that fat one there? . . . . That one next to the one that look like popcorn. That one there. See that. That’s God.”

Cervantes recently reread the book with a different lens, having packed in more life experiences as an adult. She did it while in New York, sitting outside to be immersed in the urban setting and sounds of children’s laughter.

“I cried after reading the book again. It was very illuminating, seeing it with new eyes,” Cervantes said. “As adults, we have the vocabulary to name things such as abuse and immigration. But a young person may experience these same issues but not have the language to name them. She makes these characters and experiences accessible in a universal way. I also appreciate Cisneros’ approach to tackling these complex issues. She does it with grace and subtlety without being didactic. She was ahead of her time in writing about these taboo topics.”

Two evening performances of The House on Mango Street will be presented on October 21 and 22. Student matinees run from October 11 to November 4. If interested, the general public is also welcome to call the Ticket Office for dates and ticket availability to attend matinees.

“I am very excited to share The House on Mango Street with our student audiences,” Cervantes added. “These are their stories, and it’s very important for them to see their experiences onstage so that they don’t  feel so alone. Mango Street has stayed with me all these years; and I hope it changes their lives, the way it changed mine. Our director, Signe Harriday, is doing a beautiful job shaping these stories and lifting Cisneros’ words from the page and translating them into theater magic. Come join us on Mango Street!”

A scene from The House on Mango Street (photograph by Petronella J. Ytsma)

A scene from A House on Mango Street
(photograph by Petronella J. Ytsma)

 I make a story for my life, for each step my brown shoe takes.”  — Esperanza in The House on Mango Street

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