“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.