Posts Tagged The Diary of Anne Frank

A Season of Perspective and Sharing

Park Square and SteppingStone Theatres Announce Joint Season

MEDIA CONTACTS
Mark Ferraro-Hauck: 952.220.2178 mark@steppingstonetheatre.org
Rachel Wandrei: 617.543.5770 wandrei@parksquaretheatre.org

Saint Paul, Minn., April 20, 2022 – Park Square Theatre and SteppingStone Theatre for Youth announced their 2022-2023 season plans today, continuing the process of bringing the two companies together in one downtown Saint Paul home. The two organizations will retain their names for their first united season, but are planning to become a single legal entity this fall.

For Park Square’s 48th season, the cohort of five artistic associates has worked to select plays that come from many points of view, with the goal of creating theatre filled with both meaning and entertainment. “We strive to be a place where everyone is able to tell their story, and where we can hear and see each other with open hearts, particularly as we rebuild connections and communities after these years apart,” says Executive Director Mark Ferraro-Hauck. The season includes two world premieres, two regional premieres, a Tony Award winner, a Pulitzer Prize winner, and the 25th anniversary of a play that has become central to Park Square’s youth education programs. The SteppingStone performance calendar will include a winter-themed play, Shakespeare performed by young people, and a touring production for very young audiences.

A slightly smaller season than in previous years, the theatres are aiming to reset and organically rebuild after the pandemic. Each play will have a slightly shorter run, have fewer preview performances and a modified rehearsal schedule that eliminates the “10 out of 12” rehearsal days that are notoriously grueling for the artists involved. 

The theatre year will open with the 2016 Tony Award winner for Best Play, THE HUMANS (Sept 14 – Oct 9, 2022), by Stephen Karam. Three generations of the Blake family have assembled for Thanksgiving and everyone is determined to make the best of it, but as they attempt to focus on the positive, old wounds, current mistakes, and future fears threaten their stability. Both blisteringly funny and deeply chilling, the play offers a stunning portrayal of the human condition; a family at its best and worst navigating the challenges of everyday life.

Next, Park Square deepens its relationship with Full Circle Theater Company with a co-production of FIRE IN THE NEW WORLD (Oct 19 – Nov 6, 2022), written by Rick Shiomi, who is a co-founder of Full Circle and serves as an artistic associate for Park Square. In this world premiere noir mystery, Sam Shikaze, hard-boiled private eye, fights crime and discrimination in Vancouver’s Japantown in the years after WWII. When the beautiful Japanese American wife of an ambitious real estate developer goes missing, Sam is on the case in a savvy detective caper that mixes social commentary with plenty of sly intrigue.

For the holiday season, SteppingStone will present THE SNOWY DAY AND OTHER STORIES BY EZRA JACK KEATS (Dec 1 – 23, 2022). With a script by Jerome Hairston, and based on the books by Ezra Jack Keats, this magical tale will explore the wonder of a fresh snowfall, the delight of whistling for the first time, the awe in finding special treasures, and the joy of making new friends. A timeless classic, THE SNOWY DAY is the most checked-out volume of all time at the New York Public Library and is known for being the first book featuring an African American child to win the Caldecott Medal. This new ensemble-driven production will explore connections to water and the changing of the seasons through movement and storytelling.

Frances Goodrich and Albert Hackett’s adaptation of THE DIARY OF ANNE FRANK has become a core part of Park Square’s educational offerings over 25 years, with over 265,000 students having experienced Anne Frank’s story at the theatre. To commemorate the anniversary, the company will present an all-new production. As the Frank family hides in Nazi-occupied Amsterdam, Anne shares both her everyday teenage challenges and the terror of the Holocaust. Now more relevant than ever, this resonant story of hope and imagination in the darkest of times illuminates a part of history that must not be forgotten. On the Park Square Theatre mainstage for all audiences Jan 18 – Feb 12, 2023, with an extended run for education groups.

In February, SteppingStone will produce its first ever Shakespeare featuring a cast of actors ages 16-21. A MIDSUMMER NIGHT’S DREAM (Feb 8 – Mar 5, 2023) will bring a genuinely youthful perspective to some of the bard’s most well-known young characters. Available to both school and public audiences, this production will be a new variation on the theme of literary classics that have been at home on the Park Square stage for many years. 

Collaboration continues in the spring with a co-production with PRIME Productions of THE REVOLUTIONISTS (Mar 29 – Apr 16, 2023), by Lauren Gunderson. In this riotous comedy four women find themselves caught up in the French Revolution: an assassin, a spy, a playwright, and, of course, Marie Antoinette. They plot murder, find friendship (and do some good writing), in an irreverent, poignant comedic romp that considers how we go about changing the world.

A comedy-drama exploring fatherhood, loneliness, and the complexity of justice, BETWEEN RIVERSIDE AND CRAZY (May 24 – Jun 18, 2023), by Stephen Adly Guirgis, won the 2015 Pulitzer Prize for Drama. The New York Times describes it as “a rich new play… Mr. Guirgis has a splendid ear in blurring lines between the sacred and profane and it is a dizzying and exciting place to be.” Surrounded by a beautiful and eclectic stream of family and houseguests, ex-cop and recent widower “Pops” is barely holding on to his stability and his once-grand apartment on Manhattan’s Riverside Drive. This production features a cast of well-known local artists led by James A. Williams as Pops.

SteppingStone has two titles yet to be announced for the spring and summer. In May, the theatre will devise a new work for very young audiences. The work will be hugely interactive and travel to schools, libraries, museums and other hot-spots of the under-5 set. Later, SteppingStone will bring back its annual summer musical performed by some of the Twin Cities’ most talented young performers.

Summer rolls in with some firebrand comedy as Park Square presents ANN (Jun 7 – Jul 2, 2023), a no-holds-barred portrait of Ann Richards, the legendary governor of Texas. This inspiring and hilarious solo play brings us face to face with a complex, colorful and captivating character bigger than the state from which she hailed. ANN takes a revealing look at this impassioned woman as she grows into her power and holds fast to her convictions while enriching the lives of her followers, friends, and family.

Finally, Park Square concludes its season with a world premiere mystery by Jeffrey Hatcher and Steve Hendrickson. HOLMES/POIROT (Jul 19 – Aug 20, 2023) is based on “Murder on the Links” by Agatha Christie with characters created by Sir Arthur Conan Doyle, bringing not one, but two of the greatest detectives of all time to the stage in a tour-de-force of cunning plot twists and deft storytelling. Separated by 25 years, the two master sleuths examine a related case, each employing their signature methods and indelible personalities. 

SEASON TICKETS are on sale now for the Park Square season. Subscriptions include seven or five show packages, as well as choose-your-own packages. Subscription prices begin at $66 and offer discounts up to $100 over single tickets. SINGLE TICKETS will be available on a rolling basis, with the fall productions becoming available July 5. SteppingStone’s THE SNOWY DAY is available for school bookings now. General audience tickets will become available July 5. 

The ticket office is open Wednesday and Thursday, noon-5pm, at 651.291.7005, or at tickets@parksquaretheatre.org.

2020-2021 SEASON ANNOUNCEMENT

Park Square Announces 46th Season

Fresh and Forward Looking Series Features Artistic Collaborations and Three World Premieres

MEDIA CONTACT
Connie Shaver, shaver@parksquaretheatre.org

Saint Paul, Minn., Feb 28, 2020 – Park Square Theatre announced the Harris Family 2020-2021 Theatre Season today, the company’s 46th.  The coming season is supported by a major gift from the John W. Harris family. The series kicks off in fall with a rebellious comedy rescheduled from the summer, and continues with artistic collaborations, three world premieres, one musical and two mysteries.

The season opens on the Proscenium Stage with guillotines and a cry for liberty with the regional premiere of THE REVOLUTIONISTS by Lauren Gunderson (Oct 2 – Oct 25, 2020). Produced with PRIME Productions, the show will be directed by PRIME co-founder Shelli Place in her Park Square debut. Four spirited women lose their heads in this irreverent comedy set during the French Revolution’s Reign of Terror. Playwright Olympe de Gouges, assassin Charlotte Corday, former queen (and fan of ribbons) Marie Antoinette, and Haitian rebel Marianne Angelle hang out, murder Marat, and try to beat back extremist insanity in 1793 Paris. This grand and dream-tweaked comedy is about violence and legacy, art and activism, feminism and terrorism, compatriots and chosen sisters, and how we actually go about changing the world.

Two white women sit in directors chairs. They are drinking whiskey and have two whiskey barrels at their feet.

Carolyn Pool (L) and Shanan Custer (R) in Bad Things, Good Whiskey. Photo by Richard Fleischman, hair and make-up by Jancyn Bindman.

Woman-centered writing continues on the Boss Stage with the world premiere of BAD THINGS, GOOD WHISKEY by Shanan Custer and Carolyn Pool (Oct 23 – Nov 22, 2020). Directed by Elena Giannetti and featuring music by Rhiannon Fiskradatz, this “comedy on the rocks” is the final installment in their beverage-inspired trilogy from the creators of 2 Sugars, Room for Cream and Sometimes There’s Wine. The comedic duo weave together “scenes from life and stuff we think is funny” – only this time the drink is a spirit as strong as the women who drink it!

November brings a special season add-on presentation of Katha Dance Theatre’s world premiere of SHAAMYA – OF EQUALITY (Nov 5-8, 2020) with choreography by Rita Mustaphi. Inspired by the poem “Of Equality” by Bengali revolutionary poet Kazi Nazrul Islam, this multicultural dance piece infuses poetry, gospel and R&B music with original Kathak choreography. This new work, with music composed and performed by J.D. Steele and poetry by Somali poet and playwright Ifrah Mansour, makes parallels between the experiences of today’s communities of color and those of Nazrul Islam’s era.

Winter brings the regional premiere of AIRNESS (Jan 29 – Feb 28, 2021) by Chelsea Marcantel. Five oddball rock fanatics go to dingy bars and cramped stages all across the nation to express their inner shred genius as they vie for a place at the National Air Guitar Championship. Following them on their quest to achieve ‘airness’ on the long road to qualification, this righteous and smile-inducing comedy shows how community is forged in unexpected places. “This show was the unexpected and universal hit for the group of Twin Cities theatre goers who accompanied us to the 2017 Humana Festival of New American Plays in Louisville, KY,” says Park Square executive director Michael-jon Pease.

Park Square and the Ordway, who first collaborated in 2009 on an acclaimed production of the off-beat Broadway musical Grey Gardens, present TRIANGLE (Apr 2 – May 9, 2021), with music by Curtis Moore, lyrics by Thomas Mizer, book by Curtis Moore, Thomas Mizer and Joshua Scher. Directed by Rod Kaats, this area premiere musical is original and compelling,  full of mystery and romance, with songs by two of America’s hottest new musical theatre writers. Two parallel love stories separated by a hundred years are woven together by the thread of the 1911 Triangle Shirtwaist Factory fire in New York City.

Summer in Saint Paul kicks off with two very different mysteries by local writers. First Park Square presents the Full Circle Theatre world premiere production of FIRE IN THE NEW WORLD written and directed by R.A. Shiomi (May 28 – Jun 20, 2021). In the third installment of Shiomi’s popular noir-style detective stories, Sam Shikaze, hard boiled private eye, fights crime in Vancouver’s Japantown and beyond in the years after WWII.  This time the beautiful Japanese American wife of an ambitious real estate developer goes missing, and Sam is on the case. The show is smart and fun with a dash of social commentary and plenty of sly intrigue.

The final mystery of the season is at press time, still just that – a mystery. What is known is that the writer and director will be award-winning playwright Jeffrey Hatcher (Holmes and Watson, Sherlock Holmes and The Ice Palace Murders, Sherlock Holmes and the Adventure of the Suicide Club) and that the dates will be Jul 9 – Aug 15, 2021. “One of the projects we’re working on should get confirmed in the next few weeks,” says Pease. “It will be a treat to have Jeffrey direct one of his own edge-of-your-seat scripts. After all, Park Square has produced three of his mysteries over the years and Jeffrey even wound up making his Park Square stage debut for one weekend in Sherlock Holmes and The Ice Palace Murders, so it’s about time to get him on as a director as well to round out his Park Square resume.”

In addition to the full season of public performances, Park Square will continue to serve the region’s largest teen theatre audience with daytime matinees for students in 7th-12th grade of THE REVOLUTIONISTS and SHAAMYA – OF EQUALITY as well as from its repertory of literary classics ROMEO & JULIET, adapted and directed by David Mann, and THE DIARY OF ANNE FRANK, directed by Ellen Fenster.

Beyond Park Square’s theatre season, its two stages will continue to be a home for productions by companies from across the Twin Cities, such as Flying Foot Forum, Trademark Theatre, Zorongo Flamenco, Theatre 55, and the Mysterious Old Radio Listening Society. “The Boss and Proscenium stages are amazing assets,” says Pease. “Sharing them with our area’s amazingly varied artists helps make Saint Paul a vibrant destination for all ages and tastes. I’m particularly excited by a brand new partnership with Metropolitan State University’s Playwriting Program that showcases staged readings and workshops of new plays by their diverse student writers on the Boss Stage. Each season and each partnership reveals new ways to center our community’s multiplicity of voices.”

SEASON TICKETS are on sale now. Current subscribers have priority in ordering through March. Seating of new subscriptions will begin in April. Season packages range in size from all six plays and three add-ons in the season to a choose-your-own series of three or more. Subscription package prices begin at $66.

Purchase Tickets Here

The Ticket Office is open from noon to 5:00 pm Tuesday through Friday. Call 651.291.7005.

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PARK SQUARE THEATRE. 20 W. Seventh Place, Saint Paul. Ticket Office: 651.291.7005. www.parksquaretheatre.org

Park Square Announces 45th Season

Park Square Announces 45th Season

First Season for new Artistic Director Flordelino Lagundino Features Big Scale, Big Heart, Three Musicals and One World Premiere

MEDIA CONTACT

Connie Shaver, shaver@parksquaretheatre.org

 

Saint Paul, Minn., Feb. 14, 2019 – Park Square Theatre announced its 45th theatre season for 2019-2020 today. This is the first season to be created by Artistic Director Flordelino Lagundino, who took the reins of the theatre on August 1, 2018, after a national search. Flordelino will direct two shows in his first season, both by Korean American playwrights: AUBERGINE by Julia Cho and UN (the completely true story of the rise of Kim Jong Un) by John Kim.

Flordelino is building on Park Square’s commitment to new work with regional premieres, as well as one world premiere. He is also continuing former Artistic Director Richard Cook’s legacy of guaranteeing that every season includes at least one directing debut by introducing Park Square audiences to nationally recognized directors Mark Valdez, Ilana Ransom Toeplitz and Madeline Sayet, as well as local powerhouses Marcela Lorca and Lisa Channer.

“I wanted my first season to have an emphasis on community and to show as many people as possible that they have a place at Park Square and that they belong here,” said Flordelino. “I’ve been listening carefully to our community my first five months in town and am working to provide us all with stories that uplift, entertain, prod, and ultimately help us understand each other as fellow humans. And I think this is a moment in time when we all need to get up and dance!”

The season opens with that exact counterpoint: a delicious human drama on the Boss and plenty of dance moves on the Proscenium.

First on the Boss Stage will be the area premiere of AUBERGINE (Sept 20 – Oct 20, 2019) by Julia Cho, author of The Language archive, directed by Flordelino Lagundino. In this poignant and lyrical new play, a son cooks a meal for his dying father to say everything that words can’t. Since this first-generation Korean American speaks English and only limited Korean, the making of a perfect meal is an expression more precise than language, and the medium through which his love gradually reveals itself.

“This was one of the most beautiful plays I have ever read,” says Flordelino. “When I encountered it for the first time, I felt it was the best play I had read by an Asian American author in the last ten years. The writing feels so personal. It is a humorous and sensitive play about memories, food, and a relationship fractured by the loss of native language and the distance created between families because of war and the resulting Korean diaspora.”

The season continues on the Park Square Proscenium Stage with the Tony Award-nominated campy rock musical THE ROCKY HORROR SHOW by Richard O’Brien (Sept 27 – Nov 2, 2019), directed by Ilana Ransom Toeplitz. “I really want to rock the house and upend the way that people think of Park Square,” says Flordelino. “This is a great show to bring the generations together – those that stood in line as teenagers to see the original movie in 1975 (coincidentally the year Park Square opened), and young people experiencing it for their first time. I want the walls to shake and for people to get up, dance, laugh and have a good time!”

Ilana Ransom Toeplitz

THE ROCKY HORROR SHOW will be Toeplitz’s Park Square and Twin Cities directing debut. She has served as associate director for the national tours of DIRTY DANCING: THE CLASSIC STORY ON STAGE and A CHRISTMAS STORY: THE MUSICAL!, as well as being a Drama League Director’s Project Alum (2017 Leo Shull New Musicals Directing Fellow). “The whole night should feel like a party that’s been locked up in a time machine for years, begging to come out and play,” says Toeplitz. “It all culminates in Frank-N-Furter’s epic floor show, which has all the glitz of a David Bowie concert combined with all of the glam of an episode of RuPaul’s Drag Race. Audience participation is encouraged.”

A special one-week only presentation of PAIGE IN FULL by Paige Hernandez will take to the Boss Stage (Oct 25– 27, 2019). This unique experience blends poetry, dance, media and music to share a multicultural girl’s journey through hip-hop to self-discovery. Since its premiere in 2010, this “visual mix-tape” has sold out performances throughout the country and garnered praise from critics and audiences alike for its energy, intelligence, and originality.

Paige in Full

Warren Bowles

Park Square will offer just one weekend of general audience performances of its critically acclaimed production of Lorraine Hansberry’s A RAISIN IN THE SUN, directed by Warren Bowles (Boss Stage, Dec 6-8, 2019), with student matinees playing (Nov 18 – Dec 20, 2019).

Lisa Channer

For the holidays on the Proscenium Stage, Park Square continues its tradition of “counter programming” by featuring the regional premiere of PRIDE AND PREJUDICE (Nov 15 – Dec 22, 2019) adapted from the Jane Austen classic by Kate Hamill (SENSE AND SENSIBILITY, LITTLE WOMEN) and directed by Lisa Channer in her Park Square debut. This clever comedy offers a decidedly progressive take on the trials of Lizzy, Mr. Darcy, and the whole Bennet clan, with a few dance breaks thrown in for good measure. “I love it because of the emphasis on the actor and the emphasis on theatricality,” says Flordelino. “Many of the actors play multiple roles and there is a sense of joy and abandon. Like the original Austen, it also gets to the depths of what it means to really fight for love and family.”

Mark Valdez

2020 kicks off on the Proscenium with a brand-new take on the Broadway musical EVITA by Tim Rice and Andrew Lloyd Weber, directed by Mark Valdez in his Park Square debut with musical direction by Denise Prosek and choreography by Joe Chvala (Jan 17 – Mar 1, 2020). “Mark is blowing the dust off this classic,” says Flordelino. “He is taking on how populism meets politics. What does it take to rise up in today’s society and make a name for yourself? And at what cost do we make our way up the ladder of success and power in any political environment?”

Valdez, who directs frequently at Mixed Blood Theatre, just received the Americans for the Arts 2019 Johnson Fellowship for Artists Transforming Communities, a $65,000 award that will help Mark continue his ground-breaking work in community-based theatre engagement.

The world premiere of UN (the completely true story of Kim Jong Un) by John Kim (Feb 7 – Mar 1, 2020) will be directed by Flordelino Lagundino, who was involved in the early development of the play at Pan Asian Rep in New York City. The play is a hilarious, irreverent, and brutal take on the life and rise to power of Korean dictator Kim Jong Un. It chronicles his life as teen who loves basketball, Michael Jordan and the Chicago Bulls, through the shaping of his mythology as the Supreme Leader. “John Kim and I have known each other for about 20 years,” shares Flordelino. “We met when I directed him in David Henry Hwang’s THE SOUND OF A VOICE when John was an undergrad actor at George Mason University. His script looks at the often-insane ways in which power is given and taken, and how the western world looks and frames power from countries that do not share its Eurocentric origins.”

FACE TO FACE: OUR HMONG COMMUNITY (Boss Stage, Mar 5 – 15, 2020) is a first-ever partnership between Park Square and the internationally-renowned Ping Chong + Company, a New York-based leader in innovative community-based theatre engagement. FACE TO FACE will be a community-specific, interview-based theater piece examining issues of culture and identity within Saint Paul’s vibrant Hmong Community. This original play will feature members from the Hmong community that will tell their stories – in their own words. “Minnesota has crossed an important and exciting cultural threshold,” says Executive Director Michael-jon Pease, “with more state legislators named ‘Xiong’ than ‘Johnson.’ This project is a way to explore the many facets of a community who are woven into our Minnesota fabric.”

FACE TO FACE is a larger series of theatre-based engagement projects which lifts up different parts of our community so that we all can know each other just a little bit better,” says Flordelino.

Marcela Lorca

The community spirit continues with the Midwest premiere of MISS YOU LIKE HELL by Tony and Pulitzer Prize-winning playwright Quiara Alegría Hudes (ELLIOT, A SOLDIER’S FUGUE, WATER BY THE SPOONFUL, In the Heights) and acclaimed, genre-breaking singer/songwriter Erin McKeown (Apr 17 – May 17, 2020). Marcela Lorca is directing. The musical recently played Off-Broadway at The Public Theater in 2018, where it was nominated for five Drama Desk Awards, including Best Lyrics, Best Music and Best Orchestrations.

After living estranged from each other for years, 16-year old Olivia and her mom, an undocumented immigrant on the verge of deportation, embark on a road trip that crosses state lines. Together they meet Americans of different backgrounds, shared dreams, and complicated truths in this powerful new show with vast heart and fierce humor.

Michael Evan Haney

Summer in Saint Paul kicks off on the Proscenium Stage with Jeffrey Hatcher’s twisting, tantalizing mystery HOLMES AND WATSON (Jun 12 – Jul 26, 2020) directed by Michael Evan Haney. Sherlock Holmes has been dead three years when Dr. Watson receives a message from a mental asylum: three patients are claiming to be Sherlock Holmes. Did the world’s greatest sleuth fake his own death? Who is the real detective and who are the imposters? “Jeffrey is a local playwriting legend,” says Flordelino. “This mystery is Hatcher at his best. The writing is driving, taut, and will keep you on the edge of your seat.” Director Michael Evan Haney will make his Park Square directing debut. “Jeffrey Hatcher has built his play upon one of the most famous mysteries in English Literature—the death? (Disappearance?) of Sherlock Holmes at Reichenbach Falls” added Haney. “ He has created a Rubik’s Cube of a plot in HOLMES AND WATSON—a fast paced 90 minutes of suspense, mystery and thrills.”

The summer fun continues with guillotines and a cry for liberty on the Boss Stage with the regional premiere of THE REVOLUTIONISTS by Lauren Gunderson (Jun 19 – Jul 19, 2020). Four badass women lose their heads in this irreverent, woman-powered comedy set during the French Revolution’s Reign of Terror. Playwright Olympe de Gouges, assassin Charlotte Corday, former queen (and fan of ribbons) Marie Antoinette, and Haitian rebel Marianne Angelle hang out, murder Marat, and try to beat back the extremist insanity in 1793 Paris. This grand and dream-tweaked comedy is about violence and legacy, art and activism, feminism and terrorism, compatriots and chosen sisters, and how we actually go about changing the world.

Madeline Sayet

THE REVOLUTIONISTS will be directed by Madeline Sayet in her Park Square Theatre debut. Sayet is a recipient of The White House Champion of Change Award from President Obama and a member of the FORBES 30 Under 30 in Hollywood and Entertainment for her work as a director, writer, performer and educator. “This story is biting and playful, full of passion, humor and poignant truths for all of us — not just those who die for causes, but everyone who tries to stand up,” says Sayet. “It immediately made me think of the Oscar Wilde quote, ‘If you want to tell people the truth, you’d better make them laugh, otherwise they’ll kill you.’”

In addition to the full season of public performances, Park Square will continue to serve the region’s largest teen theatre audience with 127 daytime matinees for students in 7th-12th grade from select shows in the season as well as from its repertory of literary classics ROMEO & JULIET, adapted and directed by David Mann, and THE DIARY OF ANNE FRANK, directed by Ellen Fenster.

 

SEASON TICKETS are on sale now. Current subscribers have priority in ordering through March. Seating of new subscriptions will begin in April. Season packages range in size from all eight plays and three add-ons in the season to a choose-your-own series of three or more. Subscription package prices begin at $66.

 

The Ticket Office is open from noon to 5:00 pm Tuesday through Friday. Call 651.291.7005.

PHOTO LINKS

Madeline Sayet

Ilana Ransom Toeplitz

Michael Evan Haney headshot

Flordelino Lagundino and Michael-jon Pease headshots by Amy Anderson HERE

Paige in Full

Ping Chong + Co

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PARK SQUARE THEATRE. 20 W. Seventh Place, Saint Paul. Ticket Office: 651.291.7005. parksquaretheatre.org

Richard Cook: Boy with An Artistic Bent

“It’s just a run-of-the-mill story,” theatre professionals will often claim whenever I ask how they’d found their calling. But make them keep talking until dusty memories get re-aired, bringing back to light those personal details that, of course, reveal an extraordinarily unique journey. The response to my question from Richard Cook, who retires from a 43-year career with Park Square Theatre (38 as Artistic Director) after this season, was no exception. Luckily, he did keep talking.

“I was a boy with an artistic bent,” Richard began, “who grew up in a literate household in northwest Iowa. My mom was an English and Business teacher; my dad, a tenant farmer. Our house was always filled with magazines–professional journals, farming magazines . . . .

We raised livestock–mainly hogs–and lots of corn and beans. At first, we lived in a little house with no indoor plumbing until I was four. Then the landlord added an indoor bathroom. It was a truly rural existence, but what I remember is that our living room always had a piano which my dad–a great musician and singer, my older brother and I played.”

Richard Cook with Stage Manager Lindsey Harter during a rehearsal for The Diary of Anne Frank
(Photo by Connie Shaver)

Growing up as a farm boy, Richard experienced hours of sitting behind a tractor, riding up and down the crop rows. These potential periods of grinding boredom were, for Richard, “my time to think about my reading or what I wanted to read.” During breaks, he’d pull out the Steinbeck novel or Reader’s Digest tucked under his seat.

“I’d also sing while driving the tractor,” Richard said. “Barbara Streisand tunes. I saw her first television performance on Johnny Carson. I loved her theatre tunes–storytelling tunes! I had a crush on her and knew her body of work from top to bottom.”

Richard attended what he described as an “extraordinarily sophisticated” school. Living near a Strategic Air Command headquarter during the Cold War, many of his classmates were world-traveled Air Force “brats” whom Richard recalled as being “very ambitious, competitive and talented so kept us local kids on our toes.” Unsurprisingly, science and technology were also well-funded at his school.

Discussion between Richard Cook and actors Sulia Altenberg and Ryan London Levin
(Photo by Connie Shaver)

“Theatre was almost nonexistent,” said Richard, “but we did have a terrific music room and band instructor. The choir master was also good. We held exceptional concerts and had a very competitive marching band.”

During his formative years as a teenager, three people deeply impacted Richard’s life: the local Methodist minister and his wife as well as his high school English and Speech teacher. The couple took Richard under their wings, the intellectually curious minister serving as a mentor and his wife sharing her interest in art and music. His teacher was that “cool person” who comes along just at the right moment in one’s life.

“She was a character,” Richard fondly recalled. “She had a hot little sports car and bouffant hairdo. She was the smartest, most articulate and sophisticated person I’d ever met, and she passed on to me all the speech and theatre techniques that she could.”

While attending the small liberal arts college of Morningside in Iowa, Richard planned to study theology to go into the ministry but was, instead, seduced away by theatre. He remembers the college as a “hothouse” for him and how he’d seek every opportunity to perform. Then as luck would have it, the University of Iowa was developing its first MFA in Theatre while Richard was a senior at Morningside and recruited him into their new program.

“I took the path of least resistance,” Richard admitted.

Little did he know then that may have been his last chance to do so for a very long time.

Richard’s official retirement date is September 1st, on his 70th birthday. “I am confident that there is an afterlife,” Richard joked, “and I’m excited to find out what it is.”

The Conveniently Comforting Out?

October 18, 1942, diary entry: This is a photograph of me as I wish I looked all the time. Then I might still have a chance of getting to Hollywood. But at present, I’m afraid, I usually look quite different.
(Photo from Anne Frank: Beyond the Diary – A Photographic Remembrance by Ruud van der Rol and Rian Verhoeven for the Anne Frank House)

Every year, school groups flock to Park Square Theatre to see our production of The Diary of Anne Frank. Our play is powerfully moving, calling us to bear witness and remember so that we do not repeat history.

Recently I came across “Our Ongoing Trail of Tears,” an article in the March issue of Minnesota Women’s Press by Colleen Hawkins, a social worker in the Indian Child Welfare Act division of child protection. One of Colleen’s comments– “I know the history of the near genocide of Native Americans in our state and country.”–made me recall that my first history lesson on genocide didn’t occur until I was studying World War II and simultaneously assigned to read The Diary of Anne Frank. In fact, my initial and all subsequent history lessons left out America’s own earlier history of genocide and its attempt to wipe out the Native Americans.

I was surprised to then discover what Pulitzer Prize-winning historian John Toland had written in Adolph Hitler: The Definitive Biography:

Hitler’s concept of concentration camps as well as the practicality of genocide owed much, so he claimed, to his studies of English and United States history. He admired the camps for Boer prisoners in South Africa and for the Indians in the wild west; and often praised to his inner circle the efficiency of America’s extermination–by starvation and uneven combat–of the red savages who could not be tamed by captivity.

Indeed, genocide happens in America as well as somewhere else. It’s also not something in the past–it’s impetus lives on–as a quick skim of current news headlines reveals:

“The Power of the Presidency: Will Ethnic Cleansing Be Next?” (by Barbara Reynolds for The Charleston Chronicle, January 15, 2018)

“Neo-Nazis and Hitler Supporters Thrive with Impunity in Poland, Jewish leader says” (by Cristina Maza for Newsweek, January 25, 2018)

“Myanmar Bulldozes Rohingya Villages in possible attempt to hide evidence of ethnic cleansing (by Todd Pitman and Esther Htsusan for Business Insider, February 23, 2018)

“Wallenberg Foundation decries Israel not recognizing Armenian Genocide” (by Tamara Zieve for The Jerusalem Post, February 25, 2018)

No, genocide did not begin nor end with the Jewish Holocaust. Now 75 years after Anne had received her diary for her 13th birthday on June 12, 1942, her story continues to be read at schools and retold on American stages to preserve memory and promote empathy. But as audiences take it in, will they also ponder our own country’s culpability or continue to ignore it?

In her diary, Anne Frank bears the cruelty of what has befallen the Jews by hanging on for dear life to one deep belief: “In spite of everything…people are really good at heart.” As genocide has happened and keeps happening without remorse, does Anne’s anthem of hope transform into a conveniently comforting out?

This season, limited performances are available for general audiences on April 19, 22, 26 and 28 to see this powerful literary classic on our Proscenium Stage. Details and Information Here.

You may also attend student matinees through May 11 by contacting Connor McEvoy, Education Sales & Services Manager, at 651/291-9196 or education@parksquaretheatre.org for information on showtimes and ticket availability.

What If?

Sulia Altenberg (Anne Frank) and Ryan London Levin (Peter Van Daan) in a rehearsal
(Photo by Connie Shaver)

What if an English teacher had her class read The Diary of Anne Frank?

What if she’d asked permission from the principal to do an experiential lesson with her students?

What if that lesson involved deeming half the class to be superior to the other half?

What if the superior half got to reinforce their superiority through constant criticism and punishment?

What if the students skulked into class the following day wondering what would happen to them next?

Laurie Flanigan Hegge (Mrs. Frank), Robert-Bruce Brake (Mr. Van Daan) and Charles Fraser (Mr. Dussel) in a rehearsal
(Photo by Connie Shaver)

What if the teacher explained that they’d been part of a social experiment?

What if the “inferior” students got angry and upset?

What if they were mad that they wouldn’t get their turns to switch roles to become the tormentors?

What if there had only been one student of color in the room, and she was Japanese American?

What if this story is true?

***

Different approaches to teaching The Diary of Anne Frank can yield surprising, but no less valuable, insights for both teachers and students alike. Park Square Theatre itself supports teachers with comprehensive study guides for its student matinees that are loaded with contextual information, suggested classroom activities and numerous resources. Our study guides are lauded for their grade-appropriateness and usability, as they are created by educators for educators. They are also living documents, continually being re-evaluated and updated for relevancy, as well as inspiring tools for deep engagement and inquiry. 

Access the study guide for The Diary of Anne Frank here.

Just as Anne Frank’s diary has been a staple in American school curriculum for decades, the play has been one of Park Square Theatre’s longest running productions viewed by thousands of young audience members for decades. This season, don’t miss its limited performances for general audiences on April 19, 22, 26 and 28 (tickets and information here). 

 

 

Jane Froiland Defines Her Role

 

In last season’s The Realistic Jones on Park Square Theatre’s Boss Thrust Stage, Jane Froiland had a tricky part as a fear-filled young woman named Pony Jones who could have simply come off as being overly fragile and spacey. Instead, Jane smartly mined Pony’s vulnerabilities to make her into a complex woman who was arguably the wisest character in the play.

The Realistic Joneses (Photo by Petronella J. Ytsma)

From November 9 to December 16, Jane returns to the Boss Stage in Steinbeck’s Of Mice and Men to portray Curley’s wife, a young woman married to the cruel and possessive son of a wealthy ranch owner. Just as with Pony, her character could be in danger of appearing two-dimensional, but you can once again bet that won’t happen under Jane’s watch.

Jane Froiland plays Curley’s wife in Of Mice and Men (Photo by Petronella J. Ytsma)

 

In Of Mice and Men, Curley’s wife is perpetually defined by the men around her. She is without a name, always just called “Curley’s wife” as if he owns her. The men fault her for being a temptress, referring to her as “that bitch,” “a piece of jail bait,” “that goddamn tart” and “a tramp” because of the way she looks and dresses. Jane, however, humanizes her character and recognizes her predicament as indicative of the slut-shaming that’s still prevalent in our society.

“Curley’s wife is young and beautiful so seen as dangerous,” Jane said. “She’s isolated and lonely without anyone to talk to; she’s really just trying to be nice and friendly like she says. But whatever she says is never heard. I heard her, though, and I hope that other women and men hear her.”

Jane Froiland as Curley’s wife and E. J. Subkoviak as Lennie (Photo by Petronella J. Ytsma)

Jane is extremely aware that she’s the lone female in Of Mice and Men and particularly mindful of her impact on young people coming to see the student matinees.

“I feel the responsibility as a woman to portray women with great empathy and authenticity,” Jane continued. “If I can tell a story very well and authentically, then the audience members can see themselves in my character and perhaps feel understood.”

Tickets and more information HERE

 

NOTE: Be sure to also catch Jane’s performances in Park Square Theatre’s The Diary of Anne Frank on April 19, 22, 26 & 28, 2018.

STUDENT MATINEE FRONT OF HOUSE STAFF: the show before The Show

It was in the fall of 2014 when I sought a job that would match the year-round schedule of my daughter’s new school. I was doubtful that such a job existed when my sister spied and forwarded this job posting to me:

Open Positions – Daytime Usher: Help us to bring live theatre productions to junior and senior high school students as a daytime Usher for daytime weekday matinees at Park Square Theatre in Downtown St. Paul.

I almost didn’t apply, not wanting the hassle and expense of parking downtown. But why not just take a look? My background did include customer service and working with students. I’d even been a regular theatre-goer before motherhood and, in fact, was a Park Square subscriber for a season before giving birth.

My interview went beyond well. We were a good fit. And not only would I have the flexibility to work around my daughter’s school schedule, but it dawned on me that I could park and ride to work on the light rail. The job even came with the perk of free tickets to all the plays, reinvigorating my family’s theatre attendance.

The House on Mango Street was the first student matinee performed on the Andy Boss Thrust Stage.

Adding to my excitement was the prospect of being a part of Park Square’s new phase. The just completed Andy Boss Thrust Stage would open that fall, with the potential to expand their teenage audience from 25,000 to 35,000 students each year. They needed more Front of House staff to be able to service two shows running on two stages.

Our Student Matinee Front of House pre-season training introduced us to the Education Program’s “Evening of Theatre During the Day” concept for school groups. Basically, we give students the same amenities as our evening and weekend audiences but at a lower cost. The students get reserved seats, an unabridged program and the service of professional ushers–all that create a special outing to see a show. The Front of House staff set the initial tone for the “evening”; we’re part of the show before The Show. We even dress up for our roles: black pants or skirt and white top with permissible pops of color.

As an usher, I’m officially under the supervision of a house manager but, in reality, I work in partnership with her/him. The house manager and ushers also work in conjunction with the stage manager. Together, we aim for seamless service and a superior audience experience.

The ushers carry out many varied tasks. Pre-show duties include greeting buses, helping groups cross the street and into the lobby, tearing tickets, handing out playbills and directing patrons to their proper seats. During the performance, two ushers stay inside with the school groups while two ushers remain in the lobby to set up concessions. During intermission, the outside ushers sell snacks and beverages; one of the inside ushers come out to monitor the bathrooms, returning inside once intermission is over. While the play continues, the outside ushers do a post-count of concessions to check against the house manager’s money count, clean the lobby and throw out trash. An usher checks on bus arrivals and helps patrons cross to their buses post-show. All ushers pitch in to leave the theatre and lobby clean and, if necessary, set up the lobby for the nighttime performance. The house manager stays to complete reports and lock the doors.

While our Front of House duties may sound somewhat straightforward, true to the nature of live theatre, our workdays are open to unforeseen surprises. Snow may delay a group’s arrival; an actor may wake up sick, causing a scramble to bring in the understudy; once all the water in the building got shut off. Another time, Romeo accidentally slid his sword next to a student, who picked it up despite my whispered instruction to let it be. Medical emergencies arise; a section gets rowdy; a chaperone losses his temper. High drama can happen offstage, too. Front of House staff learn the art of letting go–but not letting it go to heck.

And how do we watch the same play over and over? The performance is actually different each time, depending on the synergy between the actors and audience members. As the house manager says in her/his pre-show announcement: “It’s you being here, creating and working with the actors that creates theatre.” Plus who says we’re just watching the play? We’re also watching the students react to the play. That gives us an added perspective. Students are generally less inhibited than adults to show how they feel during the play. I recommend sitting through The Diary of Anne Frank or our new adaptation of Hamlet with them to see what I mean.

If we’re lucky, a pre-show Build A Moment (a presentation by professional theatre artists to explain how a particular scene was created) or post-show discussion is scheduled for the day. Then Front of House staff can opt to come earlier or stay later to watch these fascinating events. We get to learn along with the students.

One thing that I’ve learned is that what Park Square offers through its Education Program travels well beyond our walls. We can be a student’s first exposure to professional theatre, first time to see themselves truthfully portrayed on stage or initial spark to a lifelong love of theatre. Comprised of hundreds of students from a number of schools, an audience may witness acts of racism, privilege, empathy, kindness and generosity in our theatre. All that becomes part of the learning experience that goes back with them as well. Theatre reflects humanity, both on and off the stage.

I’d say that a big responsibility of Front of House staff is to pay attention. Pay attention to what’s happening on the stage and all around us, how the program interconnects to the organization’s mission as a whole and how our role fits and matters in the bigger scheme of things. To care about doing this is the key to Front of House longevity. You need to be inspired, too.

If you would like to consider joining the Student Matinee Front of House staff for Park Square’s upcoming season, don’t hesitate to email a cover letter and resume to kunik@parksquaretheatre.org or contact PerformanceManager Jiffy Kunik at 651.767.8489 (or via email) with any questions. 

Personal Highlights of the Past Season

The Diary of Anne Frank at Park Square Theatre in Saint Paul, MN - 2018 - Actors playing Anne Frank & Father

It has been 75 years since Anne Frank was given a diary by her father. The Diary of Anne Frank remains a perennial favorite of school groups. This coming season, limited evening performances will also be available. (Photo by Petronella J. Ytsma)

Always, the Education Program

Park Square takes great pride in its Education Program for good reasons. It’s a powerfully transformative program, not just for its effect on its young audiences but also as an inspiration within our own organization. Mindfully created and led by the incomparable Mary Finnerty since 1994, the Education Program has often served as first exposure of professional theatre to young audiences. But you can see how it’s much more than that in such defining moments as when the lightbulb of understanding lit up for a student while Sulia Rose Altenberg, who played Anne Frank, answered his question as to why the Jews didn’t simply pretend to be Christians or the teacher of a Somali group explained that they came to be exposed to a broader community. Our Education Program provides a safe venue for our young patrons to grapple with self-discovery, self-definition and social interconnectedness. It has also been a catalyst for Park Square to consider those very same issues within its own walls. Impactful is only one adjective that best describes “The Program That Mary Built” (see the August 16, 2016, blog post).

A Raisin in the Sun at Park Square Theatre in Saint Paul, MN - 2018

A Raisin in the Sun knocked our socks off and will be back for another season by popular demand. (Photo by Connie Shaver)

Staying In the Thick of It

Park Square Theatre, with its long-held reputation as a white mainstream institution, has had to do much organizational soul-searching to embrace change. Is having to grapple with equity, diversity and inclusion a long and messy process? Does building trust feel hard-won or, more aptly, simply hard? Do they sometimes get things wrong (and, of course, right)? Have they kept forging ahead? The answer is a resounding “Yes!”

Mu Performing Arts co-produced Flower Drum Song with Park Square Theatre and returns with another production in the upcoming season.

The Independents

Collaborations with smaller independent companies through its co-production of Flower Drum Song with Mu Performing Arts and productions by its Theatres in Residence–Sandbox Theatre, Theatre Pro Rata and Girl Friday Productions–broadened the season’s scope. I loved the “one-stop shop” to be able to try out new companies and see what they’re all about. Look forward to French Twist by Flying Foot Forum and the return of Mu Performing Arts for A Korean Drama Addict’s Guide to Losing Your Virginity in our upcoming season.

H. Adam Harris and Kathryn Fumie in this past season’s The (curious case of the) Watson Intelligence
(Photo by Petronella J. Ytsma)

The (curious case of the) Watson Intelligence

Having been one of the volunteer script readers to consider this complex, time-jumping, contemporary play for production, it was exciting to see it finally come to fruition on stage. The thumbs up on the script was actually a tough call, surmising its challenge for audiences to grasp–both its pro and con. The play really made me think about the state of human relationships in our techno-world. Did it do the same for you? It also had one of the most beautiful sets ever by Set Designer Lance Brockman and moving performances by actors Kathryn Fumie, Adam Whisner and H. Adam Harris in roles that let their own true souls shine through their fictional facades. Hope you were there! Note: Contact John White, Literary Management Volunteer (white@Parksquaretheatre.org), to discuss your interest to become a volunteer script reader.

Jamil Jude with Hope Cervantes, who was in this past season’s The House on Mango Street
(Photo by Connie Shaver)

Jamil Jude, Park Square’s former Artistic Programming Associate

When Jamil had just been on board for several months, someone asked me, “Do you even know what he does here?” Guess what a young man with an expansive heart and the passion to build bridges and break down walls has done within his relatively short time in the Twin Cities community? Break a leg at your new gig in Atlanta! (Refer to past blogs “Jamil Jude, Artist Plus,” “What’s That Got to Do With Jamil Jude?” and “Jamil Jude, We’ll Miss You.”)

The Conversations That Became Real

Eric "Pogi" Sumangil

Eric “Pogi” Sumangil

In an industry that endlessly tries to grab a piece of you, remaining guarded is an act of self-care and self-preservation. You’re constantly navigating the minefields of others’ self-interests and being put in compromising situations. Who do you want to be in those circumstances? Who must you become? Who are you really? Whenever you get a glimpse into a theatre professional’s inner humanity, it’s a golden moment for sure! Theatre professionals rock!

Vincent HannamMy Fellow Bloggers

Getting Eric “Pogi” Sumangil on the team for this past season and blogging for another year with the wholehearted Vincent Hannam were awesome, to say the least. As the only blogger without a theatre background and career, following these two’s works online and onstage served as terrific learning tools. Each of us wrote around complex schedules due to multiple gigs and personal responsibilities. Thanks for being there!

 

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.

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