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All the creative elements in Constellations, even the set, suggest infinite possibilities
Director Michael Longhurst isn’t big on naturalism—at least not for the shows he helms. That’s part of why he and playwright Nick Payne work so well together. Over the past three years, the British compatriots have collaborated on a number of thought-provoking productions. Now they’re both making their Broadway debuts with Manhattan Theatre Club’s Constellations, a remounting of their first project together in England.
The time-bending two-hander explores the notion of the multiverse by replaying key moments in the romance between a beekeeper (Jake Gyllenhaal) and a theoretical physicist (Ruth Wilson, of Showtime’s The Affair) in various ways. Exchanges end abruptly only to start over with subtle differences that change their outcomes. Sometimes it’s a tweaked line or situation, or maybe just a new intonation or attitude. Its structure is anything but realistic, and that’s why Longhurst went for a symbolic aesthetic.
“I wanted to celebrate the theatricality of the piece,” he explains. “The only props are a wedding ring and a piece of paper, and there are no scene changes. The design challenge was, how do we show they’re jumping universes? Tom [Scutt, the scenic and costume designer]‘s elegant set taps into the larger themes of the play. They’re standing on a slice of honeycomb floating in the galaxy. They’re atoms colliding and re-colliding, so they’re surrounded by balloons, which are delicate and can burst at any time, a wonderful metaphor. The balloons delicately rub against the ideas of the show in a way that was better than if we had hung up a bunch of stars. I nearly went to art school so the visuals are very important to me. The set should be a device to frame the actors, a playground for them to work in.”
Though Longhurst brought most of his West End creative team with him, including Scutt and lighting designer Lee Curran, both Gyllenhaal and Wilson are new to the show. However, Longhurst had worked with both of them previously, which he says is essential for such an intimate production. “I directed Jake in If There Is I Haven’t Found It Yet [Off-Broadway at the Roundabout Theatre], and I directed Ruth in a student production of The Crucible when we were at the University of Nottingham. Constellations is incredibly intense, both its subject matter and its acting challenges. You want to know that you have actors who can go to the places they need emotionally, have the skills to deliver a stage performance, and are people you want to be in a rehearsal room with!” [Read more →]
January 14, 2015 No Comments
Playwright Jenny Rachel Weiner uses broad comedy to explore the drama of preprepubescent girls
While most dark comedies about adolescent angst take place in high school (see Heathers, Mean Girls, et al), playwright Jenny Rachel Weiner thinks the anxiety sets in before the teen years. Even now as an adult, she still finds tweens totally terrifying. “When I see a group of middle schoolers walking down the street, I have heart palpitations!” she says with only a trace of sarcasm. “I feel like they’re going to make fun of me all over again.”
Weiner grew up in suburban Florida, just like the gaggle of unhinged 12-year-olds at the heart of Horse Girls, her brazen and bloody coming-of-age satire at the Cell Theatre. However, at their age Weiner wasn’t into steeds at all—she was fixated on theatre. “I was obsessed with the stage and playing make-believe and Barbies, but that wasn’t always acceptable,” she recalls. “Most of the other girls were into straightening their hair and going to the movies and meeting boys. I felt this sadness about losing my childhood, but I was also so excited to grow up.”
Horse Girls explores that fraught nexus between being a little kid and a young adult through the members of the Lady Jean Ladies, a tight-knit group of riders whose fierce love of horses makes the kid in Equus seem sane. Ruled with an iron fist by Ashleigh (the richest, blondest, and bitchiest of the bunch), the club is thrown off balance by the arrival of a stranger and a disturbing rumor about the girls’ beloved animals. At a breakneck gallop, the meeting devolves into chaos with lots of laughs, karaoke anthems, and social commentary along the way. [Read more →]
January 6, 2015 No Comments
Whether protesting climate change, racial injustice. or overconsumption, Reverend Billy and his Church of Stop Shopping do it in glorious song
It’s going to be a very busy Thanksgiving weekend for the Talen family. For the holiday, Bill Talen, better known as political performance artivist Reverend Billy; his partner and longtime director, Savitri D; their young daughter Lena; and their Stop Shopping Choir are heading to Saint Louis, Missouri to enjoy an organic Thanksgiving feast on the lawn of the world’s largest biotechnology seed company, Monsanto. Afterward, they’ll bring food to nearby Ferguson activists, who have been protesting nonstop since a grand jury decided not to indict police officer Darren Wilson for the August shooting of unarmed African-American teenager Michael Brown. Then it’s back to their home base of New York City on Sunday, where this self-described “radical performance community” continues their five Sunday Joe’s Pub holiday run of Monsanto Is the Devil, equal parts evangelical church service parody, musical extravaganza, town hall meeting, and call to action.
While those may sound like independent events, Reverend Billy sees a very clear through line. Although the Church of Stop Shopping’s original focus was counteracting rabid consumerism, Reverend Billy and his cohorts have spent the past year using their unique brand of musical activism to spotlight corporations’ insidious role in climate change, including a 15-minute protest/performance at a Manhattan JPMorgan Chase bank last fall that got the reverend arrested, not to mention lots of international media attention. To Reverend Billy, all of these happenings are theatre, whether they’re taking place on a stage, out on the street, or in the aisles of Walmart, and it’s a compelling way to bring the group’s message to the people. I talked with Reverend Billy and Savitri D about connecting various sociopolitical dots, how they come up with their shows, and what they hope audiences take away from the experience.
Raven Snook: Consumerism used to be the Church of Stop Shopping’s core issue, but you’ve been very concerned with the environment of late. How did you segue from one to the other?
Reverend Billy: We didn’t! Consumption is among the primary causes of climate change: consumption of energy, consumption of fossil fuels that become products, etc. I would say that [the Church of Stop Shopping's] turn toward this end of the spectrum, concentrating on environmental issues, began in about 2005 around Hurricane Katrina. But we’ll always continue with our main mission. When we’re down in Ferguson, it will be Buy Nothing Day [a.k.a. Black Friday]. So we’re going to have to buy everything ahead of time and make sure we don’t break the boycott. These issues are never separate. Everything is connected.
Savitri D: We try to be current with what’s going on right now and still address our core issues. Consumerism hasn’t gone away. Americans and people in other countries are consuming as much as ever. The crisis has escalated in such a way that we have to tackle things more directly. There’s a larger issue they fall into: citizenship. The fact that there’s police violence in our city, that we’re still blowing up mountains in West Virginia, these things are connected by our not being able to respond through the normal democratic process. We are addressing climate change very directly now and we have in our shows for the past couple of years. In a broader sense, we’re trying to activate people. Don’t let this be normal! It’s not normal to just turn away from police violence, to accept mountains being blown up, so we’re trying to de-normalize those kinds of things. The problem right now for most people is not a lack of information. We all know about climate change, so that isn’t the focus of our work as activists. We want to inspire people to take risks in their lives, to change their lives and the lives of people around them.
RS: So you’re trying to find the intersection of art and action.
RB: Well, action is theatrical. Action is anticipated, framed, and packaged, but it’s hard to make one that people notice. I think the challenge of our time is how do we break not the fourth wall, but the 400th wall? We’re all dazzled in a hall of mirrors. This modern information age is making us passive and we don’t know where to look. So when something like Ferguson happens, when a bunch of teenagers in a little part of Missouri that nobody’s ever heard of rise up and say no and break that 400th wall and everybody looks over at them, they are theatrical. We went [to Ferguson] back in October on Moral Monday and now we’re going again. It’s the same feeling I had when we went to the Wisconsin protests in 2011. Our daughter, Lena, was six months old, and we held her up in the roar of people who had taken over the state capitol. That first day in Zuccotti Park: it was theatre, and I was floating on air. We look for it now, where is this kind of activist theatre taking place? The anti-war march in Moscow, the protests in Burma, the students down in Chile who did that massive “Thriller” dance. The activists of today have to find a way to break the wall. We have an imperative. We’re not sure the life systems of the earth will continue. Scientists are telling us we’re in trouble. 2030, 2050 2070, choose your apocalypse. Right now we’ve got a tremendous requirement as activists to run down the middle of the street and be planet criers.
RS: It’s one thing when audiences come to see you in a theatre and pay for tickets. But when you’re performing outside of a traditional setting, what kinds of reactions do you get from viewers?
SD: We’ve had people join the choir from the street! One Buy Nothing Day, we had a guy get off a public bus and walk back two blocks to join us—that’s one end of the spectrum. The other is extreme defensiveness of hyper-consumerism. We get where that comes from. Brand loyalty is deeply ingrained in the spirit of the American people. The response we always hope for is to open someone’s mind. In NYC, there’s an expectation of street magic. In other places, people are surprised, not just at our message but that we’re good at what we’re doing. We use our chops to open up doors. Of course, delivering any message in a public space is upsetting to some people, never mind what the message is. We’ve been mistaken for an actual Christian choir with people saying, “Don’t talk to me!”
November 26, 2014 No Comments
Bradley Cooper wasn’t the only actor obsessed with bringing the Williamstown Theatre Festival revival to Broadway
Welcome to Building Character, our ongoing look at performers and how they create their roles
When director Scott Ellis called Alessandro Nivola back in 2012 about playing the part of moralistic Victorian doctor Frederick Treves in a mounting of The Elephant Man at the Williamstown Theatre Festival, the actor knew he couldn’t say no. After all, his old friend Ellis was responsible for his entire career in the theatre and beyond. “It’s true!” Nivola insists. “In 1995, Scott cast me in a revival of A Month in the Country opposite Helen Mirren. I was just one year out of college and that play was not only my Broadway debut but my first show in NYC. It was entirely because of that exposure that all the other opportunities came.”
In fact, so many Hollywood offers flooded in that Nivola’s stage career was immediately sidetracked. Although he and Ellis attempted to work together many times over the years, their schedules never aligned… not even for The Elephant Man. “I was filming a movie [Devil’s Knot] in Atlanta at the same time as rehearsals,” Nivola recalls. “I had to fly to and from Williamstown three times if that gives you any indication of my level of commitment. There was no way I wasn’t going to do this thing.”
The life of Joseph Merrick, a real 19th-century Englishman afflicted with mysterious deformities who was treated and befriended by Dr. Treves, seems to have a compelling effect on actors. Nivola’s costar, Bradley Cooper, who plays the title character, recently revealed that David Lynch’s movie The Elephant Man is what inspired him to become an actor. And when he discovered Bernard Pomerance’s Tony-winning play of the same name, he did it for his grad school thesis.
Nivola, similarly, was introduced to Merrick’s story through the film, but he was pleasantly surprised when he realized the movie and the play were completely different. “I remember loving The Elephant Man but it was so filmic, especially Dr. Treves, who was played by Anthony Hopkins,” he says. “The character was fascinating but so understated. I couldn’t imagine how it would translate into a great theatre role. And then I read the play and was struck by Treves’ main arc. He goes from having supreme confidence and conviction in his own beliefs and the cultural values of the time and place to just total loss of faith and self-loathing. There are hints of that in the film but nothing like what plays out onstage. I saw it as a huge opportunity.”
Thanks in part to Cooper’s movie star cred, The Elephant Man was an insanely hot ticket at the Williamstown Theatre Festival, so a Broadway transfer seemed like a no-brainer, especially since the lead actors and director all wanted to do it. It was just a question of juggling everyone’s commitments, which wasn’t easy. As Nivola explains, “We were supposed to do it last fall so I had blocked out that time but when it fell through, that’s how I ended up doing The Winslow Boy,” which was produced by the Roundabout Theatre Company, where Ellis is associate artistic director (yup, him again).
[Read more →]
November 20, 2014 No Comments
How writer/performer Peter Michael Marino’s biggest professional failure led to the founding of SOLOCOM.
When Peter Michael Marino‘s splashy West End musicalization of Desperately Seeking Susan opened to scathing reviews in 2007 and closed a month later, the performer/writer/director thought his entertainment career was over. But after emerging from a year-long depression, he developed the no-holds-barred one-man comedy, Desperately Seeking the Exit, about the harrowing experience, which toured for two years to three continents and turned him into a solo show guru. After directing dozens of one-person pieces and teaching solo theatre classes at The Peoples Improv Theater, Marino and Toby Knops cofounded SOLOCOM, NYC’s only solo theatre festival dedicated to brand-new comedic shows.
For its second year, SOLOCOM expands from two nights to three, and 60 shows to 90, each presented for one performance only at The PIT. (The shows play this weekend, November 14-16.) In between producing 89 shows, and writing and starring in his own new one, Marino chatted about the differences between stand-up and solo theatre, the rewards of taking a chance on untested material, and the SOLOCOM entries he thinks could have a future.
Raven Snook: So let’s start with a serious question about a comedy theatre festival: How and why did SOLOCOM come about?
Peter Michael Marino: As someone who works almost exclusively in the solo show genre, I was seeing a lot of solo theatre festivals in NYC that didn’t have much comedy in them. The United Solo Festival, the All For One Festival, the Sola Voce arm of the EstroGenius Festival, they’re all great but comedy isn’t their thing. While teaching my Flying Solo classes at The PIT, when I added the words “funny stuff” to the description, I suddenly got all these people who wanted to take their unhappy childhoods, battles with various diseases, coming out of the closet stories, all of those clichés we tend to see in solo shows, and find a way to make them funny. I thought if I created a festival that was about presenting only comedic solo shows, it might change the way people view the genre.
Raven: And how do you think the general public sees solo shows? As these dire, depressing performances or Karen Finley covered with yams? [Read more →]
November 10, 2014 No Comments