Clybourne Park: Old Problems, New Vision

Clybourne Park, written by Bruce Norris, is a modern play that serves as a bit of a spiritual sequel to Lorraine Hansberry's classic play A Raisin in the Sun. Taking place in two different centuries between two acts, it discusses the issue of the Younger family moving into a predominantly white neighborhood. But it doesn't stop there; it approaches the issues of racism and property values directly, both in the 1950's and in modern society.

A new production of this play for the year 2012 would have to be an interesting one, but handled carefully. While it is a shame to admit, the issues discussed in this play are indeed alive and well in the world today. So the audience for this play would need to be as carefully chosen as the directorial vision and the era costumes.

The ideal place for this play would be somewhere in the world with as diverse an audience as possible, preferably where the issue of racism is still familiar. Leading us obviously to the United States, where the play takes place, we could choose from any multitude of theatres around the country. According to a 2002 TIME magazine article by Ron Stodghill and Amanda Bower, and a 2011 Top Ten list on cnbc.com, the most diverse area of the country lies between Sacramento and Los Angeles, California. And smack in-between, at the corner of Roseville Road and Palm Avenue in Sacramento, is the Arden Playhouse.

The beautiful Arden Playhouse auditorium (courtesy of www.ardenplayhouse.com)

While it is a small theatre (seating only approximately one hundred people) it has the advantage of being away from Hollywood, where aesthetic can be so easily damned or overblown. While the size is regrettable, the stage is perfect. It is a flat stage that does not at all jut out into the audience. While this could provide some difficulty in the visual department, being that there are a total of seven actors in the play, it does create the perfect aesthetic of distance. So few of the characters in the play are even innocent, much less in the right, that it is difficult to identify with any of them at all. And the physical distance from the audience allows us to examine the characters and their twisted statements

Rather than what is suggested of the play, this director considers Clybourne Park less a dark comedy than a damning, depressing view of the seething cauldron beneath interracial cultures that is, regrettably, still bubbling today. It tears away a well-worn cloth revealing the horrible shame that America has carried for over 200 years, and should be sold as doing so.
Through the play, we learn that Russ and Bev's son Kenneth served in the Korean war. And through Russ's defense of his son, it can be gleaned that Russ also saw combat, whether in World War 2 or perhaps Korea as well. And so the placement of a worn flag among the stacks of boxes in the first act would not be out of place. The walls, while pristine in the first act and crumbled/cracked in the second, would be a bland gray-green to emphasize the grim, lifeless attitude of the play. As an added bit of detail, an empty, cracked flowerpot could be placed on the ground in the second act, paying homage to the Younger family's untouched residence in the house, and reiterating the dismal attitude of the play. It would contrast the hope represented by Lena Younger's potted plant in A Raisin in the Sun.

Lighting design would be done fairly simply. Both Acts of the play take place between 3pm and 4pm, so the lights of the day would be fairly bright. However in place of yellower lights to represent sunlight, bare white light would be used as a sort of expository measure. In the first act it would emphasize the mess and emptiness of the house as Russ and Bev attempt to move out. In the second act, it would expose the poor, beat-down condition of the house 50 years later. Peeled paint, cracked drywall, and worn would being the motif.

In addition to the background, the costumes for the characters would also be somewhat muted. Russ is in nothing but an undershirt and slacks with suspenders for the majority of his stage time, but proper 1950's attire requires long skirts and suits with slacks. Each of the suits would be a mix of dull gray and faded blue, and the dress (worn by Bev) would also be a worn color.

A men's tweed suit
(courtesy of rustyzipper.com) and a woman's housedress (courtesy of polyvore.com)

In the first Act, Jim would be given a slightly lighter suit, representing the religious aspect of the play that ultimately has no effect other than to badger the characters and worsen the issue. Betsy on the other hand, possibly the one and only innocent character of the play, would be given a slightly cheerier dress (preferably a relatively light blue floral print) to represent the hope for the future in the child within her. However this will be one of the few bright spots in the film. While Lindsey in the second act is also pregnant, her attire will be a simpler white dress, mirroring more of Jim's sanctimonious essence from the first act than Betsy's.

The final aspect would be the sound. Specific attention must be given here, due to the nature of the writing of a play. Several moments involve more than one (if not all) of the characters speaking at the same time. Both the actors themselves and the microphone managers in the booth would be required to give special attention to these overlapping lines in that they are both very pronounced, but also somewhat muted. These lines in the test are little more than babbling, and so the volume would be reduced to fit that, allowing the relevant, punctuating dialogue to stand out. The church bell that tolls in both acts would also be a target of this pronunciation, so that it may overlap the arguing whilst also sounding far away, in another part of the neighborhood.
Finally, the play both begins and ends on a song played on the radio. In both cases the mood is quite sullen, or at least inert, and it requires a slow 50's song of medial-to-sad mood. Of course, for the purposes of the stage, the music volume would also be fairly lowered, so as to not overpower the scene or the dialogue. To add to the sunken mood as well as the quality of the radio in the 1950's, I have selected a grainy recording of Johnnie Ray's "Cry" from 1952 as an example.

Daytona State College Gives "Reasons to be Pretty"

The Story
Reasons to be Pretty, written by Neil LaBute, is the story of Greg, an ordinary guy who finds himself caught up in the confusing world of emotions and the psychology of life when an innocent off-hand comment forces his girlfriend Steph to leave him. His friend and coworker Kent gives him somewhat of a reprieve, while it was Kent's girlfriend Carly that had spread the comment to Steph. As the story goes on and the plot thickens, alliances are made, un-made, re-made, and reasons are tested as our hero Greg seeks to find out exactly why everything is crashing down on him.

The Production
Reasons to be Pretty sports an interesting production style than other plays, in that the audience can view it from 360 degrees around the 'stage,' allowing for the maximum coverage of the events. While for most plays this would seem a strange choice, it allows Reasons to be performed in a much more natural manner. And being that all of the events taking place are more-or-less taken directly from daily lives, it makes the production seem that much more engaging. Expert work was done during the scene transitions, both in the lighting and stage-managing. The lights dimmed to a deep red, allowing only just enough light to see as the stage crew moved in to deftly replace the setting. Although, the interesting piece of this is that while the crew worked, our hero Greg would most-often remain on the stage. This gives the impression that like most of our lives, Greg's life seems to shift and change around him. Once again, another detail added to making Reasons an extremely relatable piece of writing.

The Script
While the script concerns only four characters, it wastes no time exploring the depths of those characters. Greg (played by Richard Morrissey) becomes your ordinary nice guy, who simply cannot say the right things at the right time but means nothing but the best. Steph (Jackie Ellerton), who initially seems like an outrageously angry and sensitive person, becomes a very sympathetic character struggling with her own issues with herself. Kent (Cory Hoffman) on the other hand, plays out exactly as you would expect. He's crude, rude, self-centered, and is revealed to be nothing more and nothing less than a total ass. While a completely anatagonistic character like this might seem the least realistic of the bunch, it is performed and written such that it still feels oh-so natural and human, rather than simply villainous. Finally, Carly (Bryce Erdman) is the gossipy type of girl who holds strong to her convictions, attempting to be the iron-willed character of the group. But even iron wills need support, and Carly's reaching out for it becomes one of the most subtle and engaging moments in the production and gives real depth and meaning to her character, also allowing us a brief-yet-telling view into her mind.
The plot and scene-by-scene writing for Reasons was just as stellar as that for the characters. While most of the conversations are largely meaningless to the plot, they come off as very witty and thought-provoking. Not simply as a way to view the play, but as a way to truly look at life. Are there really 'reasons' we fall in love with someone? Are some reasons more acceptable than others? If so, why? What are our reasons to be 'pretty?' And on top of all this stimulating rhetoric is a level of camaraderie between characters saved for the best of ensemble casts, with all brilliant wit and emotional engagement that goes along with it.

The Performances
The characters listed above may seem typical antagonists and protagonists in fiction, but the performances leave them as anything but. Richard Morrissey's Greg is infinitely entertaining to watch. Half for his infinitely sympathetic portrayal, half for his skill as a performer and master of emotion, and all for his tragicly-relatable performance of simply what happens to the "nice guy."
Jackie Ellerton's work as Steph was positively terrifying for all the right reasons, as the fiery-tempered woman seems to cut swaths through our hero Greg. And yet her emotional moments become amazingly poignant and moving to watch. And in many ways the play seems to be more about Steph than Greg in that she, like most of us, are searching for our reasons to be 'pretty.'
Cory Hoffman gives brilliant life to Kent, the braggart and all-around stereotypical bad-guy. In the hands of a lesser scribe, actor, or director, Kent would come off as cartoonishly evil rather than the one person everyone knows that needs to sort themselves out before life comes crashing down.
Bryce Erdman's play as Carly is the one that goes through the most dramatic transformation within the play. Initially the sadistic and all-powerful gossip girl, Carly becomes just as emotional as Steph and the level of sympathy we have for her as an audience rivals that of Greg.

The Overall
Reasons to be Pretty is an excellent concoction of theatre: a deftly-written script with deep characters, thought-provoking dialogue, and a truly relatable premise performed by excellent young actors and directed by someone that understands every aspect of the script. You'll laugh, you may cry, and you'll walk out of that panoramic theatre with a smile on your lips and new thoughts in your head. And isn't that really what theatre is all about? It may not give you the aforementioned Reasons to be Pretty, but it leaves you with the knowledge that that's what you have to find for yourself. As an audience member, and as a person. Stay pretty, my friends.

“Almost, Maine” : Tales of Love & Loss in the Frozen North

The Stories

Almost, Maine ,written by John Cariani, tells a series of vignettes about the citizens of the 'town' of Almost in Northern Maine. Focusing on various characters (lovers, beer buddies, fellow workers, and friends) the play tells various tales of love, loss, and variations thereof in a two-hour performance.

The Production

The Gillespy Theatre in Daytona's News-Journal Center is known for its fine performances (notably last year's performance of Rosencrantz and Guildenstern Are Dead) and Almost, Maine is no exception. The stage decorated to look like fallen snow, the effects of falling snow backstage, the heavy winter garb, and the occasional “Northern Lights” projection created a excellent atmosphere and solidly placed the performance in the frozen North of Maine.

The direction was also done quite well. Even from an awkward seat in the upper middle-right of the theatre, all of the sights and sounds were as clear as a bell. An interesting aspect was the use of projected 'scene-cards' above the stage, creating the segues from one scene to another. And like the rest of the script, these titles were deftly written.

The Script

One of the most notable and enjoyable aspects of the play were the characters. Each was flawed and quirky (even a little bit strange) enough in their own way to feel like individuals, yet without feeling beyond someone you might meet crossing the street some day. The two typical beer-buddies swapping sad stories, the not-so-star-crossed lovers wondering what happened, and those wondering where they're going yet. Most people have experience at least one or more of these situations on our lifetimes, and that makes the play and the players that much more accessible. But while the performances are all splendidly convincing and engaging, the actors & their characters do not convey the true appeal of this play. That lies with the tone and feel.

Almost, Maine is written with a sort of abstract analysis of the less finite elements of life, specifically love and loss. For example, a couple literally “falls” for one another on-stage, while another couple gives their love back to one another in physical bags. The silliness of this literal representation and the seriousness of the performers are what made these moments hilarious, and oh-so well-timed with the twists and turns.

The Performances

Another key aspect of any play is the performances, and Almost, Maine's ensemble is no exception. While several actors end up playing multiple parts, they each manage to present another aspect of the characters to shake away any confusion. And while the play is primarily a comedy, the solid, serious performances from the entire cast are what makes the few sullen, sad moments, as well as accentuating the comedic ones. Simply put, the emotional performances are all stellar. Carl Derks, playing the suave mill-worker as well as the nerve-dead Jimmy, and Etta June DeLanoy as the excitable Glory and the retentive Marci are specific highlights, showing brilliant memorization of their lines as well as perfect emotional timing, presentation, and projection.

The Overall

Almost, Maine is a superbly-written collection of vignettes that explore in absurdist detail the many, many ways to approach (and drift from) love in a small almost-town. The performances were all spot-on, with well-crafted characters that feel real without feeling boring. The production and staging were both exemplary, creating a perfectly-accessible theatre experience, as well as throwing a few new elements in. Though the star of the play is easily the message it leaves us with, and that is the many faces of love. While it can scar us, leave us cold and vulnerable, it can also be just around the corner, waiting to bring us to our knees or repair our broken hearts. It is harsh, but it is also beautiful and, like most other mortal ideas, infinitely entertaining.  

A Few (Thousand) Nights at the Improv

What do you usually think of when someone says "theatre?" Maybe a Broadway showing of Hamlet? Perhaps a performance of Moulin Rouge! or Rent? Or maybe you're a little less inclined to theatre shows, and you go for something a little less formal; namely, the Improv. A night of insanity, laughter, and oftentimes surprising cultural poignancy.

While improvisation itself has no date of invention, the act of storytelling has existed since the beginning of humanity. Telling and acting out events, scenarios or perhaps myths and legends has been a long tradition with mankind that can often be seen today in other cultures and forms of theatre. However improvisation, or simply improv, is a slightly more polished stone.

(Image courtesy of http://hotcelebstalk.com/2010/08/16/mullet-monday-comedy-vs-tragedy-mullet/)

Like storytellers, improvisers work within certain parameters, yet with a certain degree of freedom. An early example of this would be the Greek Mime (inspiration for the Comedy & Tragedy masks associated with theatre today), and the Commedia D'ell Arte, which was a form of performance in Europe during the 15th century, and went on as such for two-hundred years (www.creativity-engineering.com). Actors would follow a basic path of story called a Scenario, using whatever means to get from one pre-set plot point to the next without a written script. Actors would wear special masks that represent the typical characters present in such a story, such as the young fool, the stingy old man, the upstanding lad, and the lover (the latter three seen in the image below). In Africa, improvisation is a central part of culture. The tradition of audiences there is to shout praise and scorn for the characters, causing each show to be just a little different. Some African countries still continue a tradition very similar to Commedia, with basic plot outlines and character masks (Felner, Orenstein, 151).

(photo courtesy of http://www.ravenwoodmasks.com/)

However, modern Improv has changed to become a bit less direct in its construction. Like the Commedia D'ell Arte, there are modern improvisation groups that can sometimes travel from place to place. But these groups more often than not use very little to start their performance from. Oftentimes they will ask the audience for suggestions on places, jobs, situations, etc. and make up the performance as they go along, often introducing a hint of modern cultural and political comedy and controversy.

Most people would look up at the stage and ask "what's so special about just acting goofy?" As the stars of the once-great improv show Whose Line Is It, Anyway? can attest, it takes a certain degree of training to be able to think quickly and adapt to a given situation, even within a few set parameters, much less being able to do it in front of an audience. Actors are required to go through diligent exercises, both physical and mental, to keep their bodies and minds loose and agile in order to act upon the urges that first pop into their heads. Not to mention actually learning the ropes of comedy itself, which is usually the overall theme of an improv show, if not the sole intention.



As the above clip can attest, it does take a certain amount of talent (and restraint) to keep it together on stage while still making the experience comical for an audience. The scene above involved audience participation, in a game called "Sound Effects." Like the Scenarios of the Commedia D'ell Arte, there are certain 'games' that can be played to give the actors some sort of set up for their performance.
Another example would be the game 'Ding' where an a group of actors will begin speaking on a random subject. And when one of the other actors, or members of a small audience shout "ding!" they are required to immediately change to a new subject, tone, or even character, sometimes mid-sentence.

Whose Line Is It Anyway? is also a fine example of the concept of 'theatresports,' created by Englishman Keith Johnstone. He believed that, in his day, theatre had become too pretentious, excluding the audience of average people. And so, in an attempt to draw those people (who typically watched sporting events and boxing matches) Johnstone created the idea of opposing teams of actors, competing to create the funniest skit they could out of nothing. The winner would be decided either by audience applause, or by a pre-selected judge (www.improvcomedy.org). The idea being that conflict, or in this case competition, draws an audience.
In the case of Whose Line, the judge is also the host of the show, Drew Carrey. Of course, the idea of theatresports is also shown its age by the show, as they announce at the beginning of every episode: "Welcome to Whose Line Is It Anyway? where everything's made up, and the points don't matter!"

While Improv may not be the most refined of the theatrical arts, it is and has always been the most accessible. While it is our hope that through improv performances, we can becomes more acquainted and comfortable with the more theatrical forms of performance, we do appreciate the levity and talent it takes to perform on-the-spot before an audience.

http://www.creativity-engineering.com/history.html
http://www.improvcomedy.org/history.html
Felner, Mira, and Claudia Orenstein.The World of Theatre: Tradition and Innovation. Boston: Pearson Education Inc., 2006. Print.

Sanskrit Theatre: The Hindu Experience

Western culture is aware of theatre, in its own conventions. Formal dress for a Broadway show, or casual-wear for an evening at the improv theatre. However, other nations and cultural groups have their own forms of theatre that we may not understand. For example: the Hindu Sanskrit Theatre.

Considered one of the earliest forms of theatre, fragments of the earliest plays have been traced to the 1st Century AD.However, the physical tradition is believed to be much older. Despite its age, Sanskrit theatre is still performed today, with the tradition being passed down from generation-to-generation.

Now here is where the tradition get interesting. Like our own Western forms of theatre, make-up and costumes are relied upon for the performance, as well as dance and music (in the case of our musicals). However, the cosmetics are much more flamboyant and weighty in Sanskrit Theatre, as seen below.

(Image courtesy of http://www.unesco.org/bpi/intangible_heritage/india.htm)

In the above image, a man is portraying the Hindu deity presiding over the performance (in this case Brahma), with the use of fire representing divinity, as well as cleansing the stage for the performance.
The difference is not solely in the physical, though. There is also very very little ordinary speaking, with most of the vocalizations being in song, to the tune of sitars, drums, and other simple instruments. Sanskrit theatre is considered a spiritual, learning experience for its audience members, rather than the simple entertainment we associate with theatre in our own Western culture. Many of the dances performed (majoratively behind the curtain) are religious rituals to appease of the deity presiding over the theatre, and to bring good luck to the performers.

(Image courtesy of http://picasaweb.google.com/102974136723002078176/TheInternationalFestivalOfSacredArts2009?feat=embedwebsite#5443667386875280226)

Sanskrit one of the greater languages used in India, even today, and holds a high position with linguists along with Greek and Latin. One of the earliest forms of the language is known as Vedic Sanskrit, which is the language used in the Hindu Vedas, or collections of hymns with theological and religio-philosophical significance (not unlike the Christian or Catholic Ten Commandments, but much more detailed in a philosophical sense). And thus, Sanskrit Theatre and it's performances derive heavily from the Vedas in order to teach the audience something, rather than simply entertain. The "Rasa," or eight aspects of a performance, are sort of a guideline for each play. Each play must contain themes of Love, Mirth (happiness), Wrath, Sadness, Vigor, The Terrible (tragedy), The Disgust (horror) , and The Marvelous. These eight Rasa are, combined, meant to distill a sense of peace within the audience (Peace becoming essentially the 9th Rasa).

There is a mythical origin to the Sanskrit Theatre Art, involving the god Brahma. Having already given the original Four Vedas, the God Brahma supposedly, in a time of great sin and evil, created the Fifth Veda: Natya (Theatre). Unlike the first four Vedas, "Natya" was available to all classes (rather than solely the upper-class), even to the illiterate, so that everyone could be taught the ways of the Vedas. This is what gives Sanskrit Theatre its spiritual significance. And not only not, but it's refinement as well.

As mentioned above, Sanskrit Theatre is handed down from generation-to-generation, and performers are trained from a very young age to know each and every movement of their body for the stage. Unlike Western theatre, the story and lessons are told through dance and the movement of the body, down to flickers of the eyes and brows.


(Courtesy of Indiavideo.org's Youtube Channel)

The video above is an excellent example clip from a performance. In it, a male character physically describes the beauty of the heroine (or female hero) of the performance. Using specially coded hand/body movements and facial expressions, he conveys the heroine's physical properties as well as her mindset. This is a typical part of the beginning of a performance in which, like a flyer or program for a Western play, the story and characters are summarized so that the audience may see the message and lesson of the performance. The performer in the video above is considered a master of body control, to be able to match each and every movement perfectly with his facial expression. While this may seem somewhat comical to Western audiences, we must keep in mind the different meanings of motions and expressions throughout the world. For example, a smile represents shyness or defensiveness in certain Asian cultures. While in early Native American language, a smile, or showing of the teeth, is a sign of anger or disrespect.

While Western culture is indeed aware of theatre, and may possibly embrace it more than it seems, we must also strive to embrace the traditions of other cultures. And through that, we may possibly come to know one another better, and create a more peaceful world. As well as a more thought-provoked and theatrically-well-versed world.

Sources:
http://www.culturopedia.com/Theatre/sanskrit_theatre.html
http://en.wikipedia.org/wiki/Sanskrit#Vedic_Sanskrit
Felner, Mira, and Claudia Orenstein.The World of Theatre: Tradition and Innovation. Boston: Pearson Education Inc., 2006. Print.