The cast of Ghosts begins rehearsals with tablework

Our next play is Ghosts, by Henrik Ibsen. Our Artistic Director Preston Lane adapted the script from William Archer's translation.

From the perspective of the dramaturg one can see the script, the dramaturgical notebook, and then various books around that assist with any questions the cast may have about the play.

Along the wall in the rehearsal hall we display costume renderings, a map of Norway, old images of Norway & Ibsen, the model of the set, and scenic renderings.

Here is detail of one of the scenic renderings designed and drawn by Howard Jones.

During the tablework phase of rehearsal (which was last week) we read through the script asking questions about character's objectives, historical references, potential interpretations, & peruse photos & other images from the period.

(photo by Asha)

Rebecca Nerz (playing Regina Engstrand) & Blake Delong (playing Osvald Alving) read & talk through a moment in the script.

(photo by Asha)

Jeff West (playing Jakob Engstrand) & Gloria Biegler (playing Helena Alving).

(photo by Asha)

Highlighting his script next to me sits David McCann (playing Pastor Manders). As pictured previously, the dramaturgical notebook that sits in front of me is full of research: biographical information, history of the play & the period, dramatic criticism, facts about Norway, & facts about syphilis. So, I try to bring to everyone else supplemental information about the play. Finally, all the information I have accumulated will eventually be condensed & distilled into the program notes.

(photo by Asha)

Preston is able to edit the script as we read, discuss, & discover new possibilities for the play. Eric, our stage manager, sits next to him and updates the script on his computer.

Tartuffe

Tartuffe [TAR-toof] or The Hypocrite [a guy who pretends he's pious while attempting to steal another man's wife & money]

As some of you may know, we decided to replace our last show of the season, One Flew Over the Cuckoo's Nest, with the classic French comedy, Tartuffe, by Moliere. (You can read Preston's note on that the subject here.)

I'm actually really looking forward to this production now because:
It's going to be funny,
I have never seen done onstage,
We are going contemporize it & heighten it,
And Gordon Weiss & Rosie McGuire are coming back to play the funniest roles.
(You might remember both husband & wife from Tobacco Road & just Rosie from Night of the Iguana.)

Mad at Miles opens tonight in our Upstage Cabaret

Mad at Miles is new play adapted from Pearl Cleage's writing. She builds a strong case against Miles Davis to justify why she is mad at Miles. Three actors take on questions essential to women in a piece of theatre I believe at least every college-aged girl should see-- and everyone else in order to better understand some of the realities women have dealt with for decades.

From left to right we see: Donna Baldwin-Bradby directing TaNisha Fordham, Jamila Curry, & Tenille Foust.

Donna (center) adapted and directed this production of Mad at Miles.



Odori Miyako Hines, or "Echo," the Scenic & Props designer with Scout the lighting intern.

(This is just rehearsal--you should see these ladies in costume.)

And here is Emily Mails, the cabaret stage manager.

(Nick is trying to figure out where his legs went-- or maybe cue up some lights.)

Rumor has it that Black Pearl Sings! will open at Ford's Theatre!

We have received information from a very reliable source that the new play we have helped develop, Black Pearl Sings!, will be appearing in Washington D.C. at Ford's Theatre in their next season. (Not our production, of course, but the play itself.)

Congratulations to the playwright Frank Higgins! The Ford's Theatre production will be only the third proper production of the play ever. To visit the Ford's Theatre website, go here: http://www.fordstheatre.org/ (the photo tour of the theatre is downright impressive).

Cherene & Bernadette (aka: Pearl & Susannah) @ PostScript

Here is Cherene Snow (Pearl) & Bernadette Quigley (Susannah) at the PostScript talkback where the actors answer questions from the audience.

PostScript is always the Thursday after opening night.

(photos by Scout)

(They drink water like fish.)

Here is some more interesting information about them:

Cherene Snow hails from Chicago (south side) and first got into theatre after doing her first film at the age of 13. For this show she had to learn polyrhythmic percussion,

presented as "juba" in the play which is also known as "hambone." When asked what she likes about Greensboro she replied, "I like this theatre, the people of Greensboro, and the rhythm of the city."

Bernadette Quigley hails from Peekskill, New York, and started out as a dancer and then knew she belonged to theatre after performing as Helen Keller in The Miracle Worker. For this show, however, she had to relearn the autoharp & how to "navigate my way through some enormously painful moments of racial tension & misunderstanding in the play." When asked what she likes about Greensboro she complimented the lovely staff of Triad Stage (thank you, Bernadette, you are too kind), and then gushed about the great restaurants--especially the Simple Kneads bakery across the street.

Insight Speaker for Black Pearl Sings!

Lorenzo "Logie" Meachum spoke on Insight Sunday about local music & the stories associated with them.

Insight Speakers always come and visit the first Sunday after opening night.

Mr. Meachum also shared with us his penchant for persimmon pudding.
(photo by Rich.)

Opening Night of Black Pearl Sings!

Just after the traditional toast Rich Whittington, the managing director, raises his glass.

Cherene Snow talks with students from Bennett College who came to see the show.

Playwright & Actor: Frank Higgins with Cherene Snow.

Andy, Scout, and Shelley enjoy opening nights--yes, they do.

Preston & Kelsey at the after party on opening night.

Technically Talking and more...

Asha, the artistic intern, listening to tech notes after a preview performance.

Hey Asha: What have you learned being so closely involved with most of the shows this season?

" The Night of the Iguana was my first time being in constant contact with so many professional theatre artists. Just getting a chance to soak up their passion & commitment to the craft was amazing. I was running crew for Beautiful Star, so it was a very different experience. It showed me how putting together a production is a lot like putting together a puzzle. If one piece is out of place, then everything is affected. And you can never underestimate the importance of organization and communication. During Black Pearl Sings! I learned [as the assistant director] that there are as many perspectives on a play as there are people involved in the process. Not agreeing on every point yet finding common ground is a part of what makes art beautiful and worthwhile."

Andy, the wardrobe intern, listening to tech notes, too.

Frank Higgins, the playwright, and Benny Sato Ambush, the director, go over notes before the show's opening.

Here is Eric, our stage manager.

Hey Eric: As a stage manager, what point in the process do you find the most rewarding?
"It’s a toss up for me really. The tech process is very rewarding because it is the time when I feel the most collaborative, and collaboration feeds me as an artist. However, I find it equally as rewarding when the audience joins us for the first time. I equate it to finishing a 500,000 piece puzzle where the picture can’t be complete until they arrive.

I believe in the power of what we do, and approach each performance as though it might just change someone’s life in a variety of ways.

It’s rewarding to be a part of something that can affect people that way."

He controls the world (of the play).

He sets up right there in the walkway only during tech rehearsals, but if you look up into the booth at the top of the house seats you might be able to see him.

This was Technically Talking when the designers & the playwright spoke with the audience about technical aspects of the show. (photo by Scout)

Here we see (from left to right) Frank Higgins, the playwright; Robin Vest, the scenic designer; Kelsey Hunt, the costume designer; Geneva Conaway Bennison, the sound designer; John Wolf, the lighting designer; Benny Sato Ambush, the director; & me, moderating Technically Talking.

(photo by Scout)

Andy wonders why fish have to die, our dear leader likes pushing chairs around the office, and Kelsey studies the office aquarium.

Benny Ambush converses with Kelsey Hunt & Bernadette Quigley about a quick change.

Heather sews by lamp light.