Inside Triad Stage

Beautiful Star Opens Friday, Dec. 4th

2009-12-01T17:21:00.003-05:00

(Chip Johnson and Cinny Strickland as God and an angel.)

Beautiful Star, An Appalachian Nativity comes back for the fourth and final year for our holiday celebration.

Based on the Mystery Cycle plays from the Middle Ages, Beautiful Star tells many stories that culminate with the Nativity. It's written and directed by Preston Lane, and you will find it heart-warming and hilarious.

For more photos go to our Facebook page and click on photos.

Also, if you haven't seen it yet, visit Preston's new blog!

Santaland Diaries in the UpStage Cabaret

2009-11-18T15:11:00.007-05:00

The Santaland Diaries

The Santaland Diaries
by David Sedaris adapted by Joe Mantello

directed by Jim Wren
starring Jim Moscater

November 19 – December 19, 2009

"The cast and crew of Santaland Diaries put their hearts into the extremely difficult task of adapting a beloved holiday essay into a play, and pull it off with warmth, generosity and a large dose of the Christmas spirit."- YES! Weekly

Click here for performance calendar.

Click here to see more photos on our Facebook page.

Talk backs for Oleanna

2009-10-24T18:24:00.005-04:00

(Above is a photo from Technically Talking when we had the designers join us onstage along with the actors who are seated on the right.)

We will be having talk backs with the actors after every show throughout the run of OLEANNA. (We do, however, reserve the right to cancel a talk back if we must, but we hope that doesn't happen.)

The talk backs we have had thus far have been nothing but insightful and engaging.

It is true that OLEANNA sparks more questions than answers. Please join us for questions after you see the play.

Questions answered--from the actors.

2009-10-18T23:45:00.013-04:00

Ginny Lee and Lee Spencer, the actors from Oleanna, answer questions asked by Drew Barker.

Ginny Lee

DB: Because it was first performed in 1992 and mislabeled an “issue play,” why do think Oleanna is still relevant for audiences today?

GL: Well, at the forefront recently we have the Sotormayor confirmation hearings, which are completely relevant. Not only that she is a woman, but a Latina who has openly expressed her opinion that with her experiences as a Latina woman she might be able to reach better conclusions than a white man.

I think this play will always be relevant, not only within the political realm or issues of sex, but because it speaks to the everyday trials we go through as human beings as far as power and miscommunication go (within the workplace, relationships, etc). It's inescapable.

DB: What do you remember from your first play ever?

GL: My first play - I was in Annie with the Ashe County Little Theatre when I was 4 yrs. old. My mom played Miss Hannigan and I was third nameless orphan from the left. I remember loving every thing about being there, and being a little jealous that I couldn't be in all the numbers. During rehearsal I would crawl onto a table during "It's a Hard Knock Life" and act like I was scrubbing the table, I think in hopes that someone would see how dedicated (and good) I was and put me in the number. Oh man, I had put that out of my memory, until just now. :)

DB: What was your favorite book in college?

I was reading tons of plays in college and I was blown away by Titus Andronicus. The audacity of the action, the images, and the language amazed me.

DB: Who was your favorite teacher and why?

The one that had the earliest impact on me was my third grade teacher, Mrs. Francis. I think why I loved her so, was because she engaged our imagination--there was a tree house in her room, I still remember the stories I wrote for her, she taught us about Egypt and the pyramids which was so magical to me, AND she came to class dressed as a witch on Halloween and even though we suspected it was her she wouldn't let on and played the role all day, even going as far to write in squiggly letters on the blackboard.

~

Lee Spencer

DB: Because it was first performed in 1992 and mislabeled an “issue play,” but why do think Oleanna is still relevant for audiences today?

LS: Good writing stands the test of time. The play is well crafted and the conflict is so emotionally charged on both sides that it continues to make for an intriguing, albiet uncomfortable for some, evening of theater. People fighting desperately for what they want, what they need, is at the heart of all great pieces and that is why all the great works continue to be performed. I would put David Mamet material in that category of great playwrights.

DB: What do you remember from your first play ever?

LS: My first play ever was Vonnegut's Welcome to the Monkey House in high school. To be honest my only vivid memory is of walking onstage, saying these lines I had memorized, and hearing the audience laugh in response. The feeling is hard to describe but for better or worse I got the acting bug and have been unable to shake it for 30 years.

DB: What was your favorite book in college?

LS: My favorite book in college that was required reading was Uta Hagen's Respect for Acting --a sort of the Bible for all acting students at that time. My favorite non-required work I read at that time was and continues to be Of Human Bondage by Sommerset Maugham.

DB: Who was your favorite teacher and why?

LS: My favorite high school teacher was Dan Seaman because of his encouragement and his infectious love of the theater. My favorite college teacher was Thelma Carter at the American Academy of Dramatic Arts, because of her tremedous support and encouragement in my abilities. My favorite acting coach from the L.A. years was Bob Morrissey, himself a full-time working character actor who instilled in me the thought that ultimately I have to be my own judge of my work, and to guide my own career because no one else will for me.

~

To find out more about this production of Oleanna click here.

Oleanna in Rehearsal and Tech

2009-10-15T21:32:00.014-04:00

Oleanna by David Mamet has now entered tech/dress rehearsals at Triad Stage.

Lighting designer John Wolf intentionally evokes the look of a boxing ring because of the combative nature of the play.

Julie Allen runs the light board.

Kaylyn Lowe runs the sound board.

Ginny Lee talks to Preston Lane as Lee Spencer looks on.

Ginny Lee as Carol casts one of many dubious glances at her fellow actor playing John.

Lee Spencer as John wrangles with a telephone call. (The sound designer, David Smith, called the telephone a veritable 3rd character.)

A shot from the control booth.

"What do you want of me?"

There are many things in this play that raise tensions...

Lee Spencer plays John.

Ginny Lee plays Carol.

Preston Lane directs.

JOHN: ...that's my job don't you know...

CAROL: What is?
JOHN: To provoke you.

The Laramie Project: Ten Years Later, An Epilogue

2009-10-14T17:11:00.014-04:00

The Paper Lantern Theatre Company of Winston-Salem organized a reading (one of over 150 readings done by theater companies all over the country) of

The Laramie Project: Ten Years Later.

The reading was done at the Twin City Stage this past Monday, October 12, 2009.

YES! Weekly also ran a review for the event which you can read here.

The 1998 murder of Matthew Shepard in Laramie, Wyoming captured the nation's attention. A month after Matthew's death, the members of Tectonic Theater Project traveled to Laramie to record how this event affected the town. From their interviews, they wrote the play The Laramie Project, which has become one of the most performed plays in America in the last decade. The company later made the play into a film for HBO. The epilogue, Laramie Project: Ten Years Later, follows up on the tragic events of 1998 and includes the first interview with Matthew's mother, as well as the first interview with his killer. It also examines the lasting effects of such a crime on this small town in America. Tectonic Theatre has invited over 150 theaters, in all 50 states and across the globe, to participate in this one-night-only event simultaneously on October 12, the anniversary of Matthew's death.

(All photos by Kevin Davie.)

Amy da Luz, director that night and founding member of Paper Lantern Theatre Company, introduces the play.

Drew Rush center, Business Manager of Triad Stage, and Jeff West right (a sometimes actor of ours) read from the Laramie script.

(All photos by Kevin Davie.)

Our own Preston Lane also read that night as well.

At the end of the reading Molly McGinn played a wonderfully evocative song dedicated to Matthew Shepherd entitled "Scarecrow." Though the song was orginally written by Melissa Etheridge, Molly gave it her natural grit & passion and made it sound even better.

The whole night was affirmation of how telling American stories about can affect communites and the nation. Myths were debunked and voices were heard both with heartening and disheartening clarity concerning how hate crimes tear people apart and bring them together.

Oleanna Preview

2009-10-08T12:38:00.005-04:00

Check out our preview for OLEANNA that contains footage from when we performed it at An Appalachian Summer Festival this past July.

To link to our Triad Stage YouTube channel click here.

OLEANNA runs October 18th through November 8th. For more info click here.

Board of Trustees meets @ the Shop

2009-10-07T13:20:00.011-04:00

The Board of Trustees of Triad Stage met at our shop located off Swing Rd. in west Greensboro. Typically, the board meets at the theater downtown, but we wanted them to see where production team works & creates. They were able to meet most of the staff (who weren't loading in the Oleanna set) and tour the facilities. Many are sitting on chairs from the furniture stock we have out there, as well. The room you see them in now is the paint room where very large pieces of scenery can be painted and stored.

Christy Wright (production manager), Steven Box (director of sales & marketing), and Kathy Manning (vice-chair board member) look on as matters are discussed.

We had an invited artists panel to come talk to the board about being an artist at Triad Stage. Donna Bradby gestures as Krista Hoeppner and Beth Ritson look on.

Board members Hayes Clement, Ron Johnson, & Willie Taylor listen to the artists panel as Rich looks on.

Sherry Barr (director of audience services), Beth Ritson (actor), Donna Bradby (director & choreographer) and David Smith (sound designer).

The shop's main floor where sets are built in large pieces and then taken apart for transport and then loaded into the theater and put together onstage.

Managing Director Rich Whittington shares a little about the history of the shop as Christy Wright gets the board ready for a tour.

Board members listen as Christy Wright (production manager) describes how the departments work and how she has overseen tons of materials recycled or thrown away to in order to reorganize the shop.

Kelsey Hunt (resident costume designer & costume shop supervisor) explains how the costume stock is organized (by gender and decade).

Preston Lane (artistic director) and Kathy Manning (board vice-chair) make plans for future meetings. (Set pieces from our production of Streetcar Named Desire are seen in the background.)

One finds all kinds of interesting curios out in the shop. (I could not find out why we had this hanging around.)

Here is a colorful snapshot out at the shop of bolts of fabric used by props and costumes from everything from chairs to dresses .

PostScript for Picnic & Splendor in the Grass

2009-09-21T14:11:00.007-04:00

We had our PostScript for Picnic last Thursday. This is where we invite the audience to ask questions of the actors' choices and experiences with the play. We always hear very funny and insightful comments from the cast. For example, the audience becomes enthralled so much with the exchange between Rosemary & Howard that people begin vocalizing suggestions to the actors such as, "Why don't you slap him?!"

We also regularly host the post-performance talkback in our Upstage Cabaret, where you can order soda, beer, or wine while you enjoy the talkback.

If you are interested in a season pass for the PostScript series click here.

(photos by Charles Howard)

We will also be showing Splendor in the Grass in our Upstage Cabaret on our 3rd floor. William Inge won an Oscar for this 1961 screenplay.

Price: $7.00
Date: Monday, September 21, 2009
Time: 7:30pm - 10:00pm
Location: Triad Stage's UpStage Cabaret
232 South Elm Street
Greensboro, NC

And we're now on YouTube...

2009-09-16T14:19:00.011-04:00

(Blogger has a limited format, to see it bigger go click here.)

AND we got a nice (and rare) review from Shane Hudson, theatre maven of NC.

His "Theatre North Carolina" blog is linked on the right.

"Triad Stage’s Picnic Is a Superb Rendition of a Theater Classic"

2009-09-15T17:54:00.014-04:00

The Classical Voice of North Carolina, based out of Raleigh, has given us another insightful review of one of our plays.

Read the review.

Also, at our last Sunday matinee on Sept. 13th we had the definitive William Inge biographer, Ralph Voss, come and speak with us at our InSight talkback.

“Even an isolated prairie village can produce a killer or an artist, a thief or a saint, a dreamer or a builder: whatever possibilities human beings have anywhere else, they have also in the Midwestern village. That such an environment is uniformly wholesome and unerringly beneficent was a myth that had been well exposed by such Inge predecessors as Sinclair Lewis, Sherwood Anderson, and Edgar Lee Masters, who was also a native of Kansas. William Inge, however, was the first American writer to expose that myth in the dramatic genre.”

-Ralph Voss

Mr. Voss visited us last time to speak about William Inge we did Bus Stop way back in the fall of 2004. If you are interested in getting season tickets to our InSight Sunday matinee click here.

Technically Talking (about sod) and the Season Pass Drawing

2009-09-10T13:42:00.009-04:00

The News & Record has run an article about the sod we have used on the set for Picnic. Follow the link for the article and photos here: http://www.news-record.com/content/2009/09/09/article/picnic_gets_a_perfect_setting_real_dead_grass

Also, if you want to be updated on Facebook about the goings-on at Triad Stage you should become a fan @ Triad Stage's Facebook page.

Once again our website also has plenty of info that can get you to the theatre or find out about our season pass drawing! When you buy a season pass between now and Sept. 27, you will be entered into a drawing (along with all current season pass holders) to win a free night's stay @ the O. Henry or Proximity hotels.

Our Tecnically Talking talkback occurred this past Tuesday, where the designers the directors get together and answer questions from the audience about the play. Pictured above are myself, Howard Jones (scene designer), David Smith (sound designer), Preston Lane (director), Kelsey Hunt (costume designer), and John Wolf (lighting designer). Photos by Charles Howard.

Howard Jones talks about the sod and how he was inspired by the artist David Hockney when it came to designing the sky.

Kelsey Hunt describes the reasoning behind the neutral choices for costume colors.

David Smith describes how he sampled George Winston, but reconfigured the piano music to mold the moments of the play.

A patron peruses the dramaturgy boards in the lobby that include the prop newspaper created by Amy Peter.

The theater at rest.
(But just imagine all the seats filled.)

Tech into Previews

2009-09-08T19:09:00.015-04:00

We invite you to come see William Inge's Picnic because...

There will be dancing...

There will be drinking...

There will be heartache...

There will be accusations...

And there will be romance.

Amy da Luz plays Rosemary Sydney.

Beth Ritson as Flo Owens is asked by Joe Tippett playing Hal Carter if she would "mind a little fire?"

Matthew Carlson as Alan Seymour.

During a rehearsal, Preston Lane sits and chats with Meg Steedle and Joe Tippett.

Linda Carlisle, the Secretary of Cultural Resources for North Carolina, volunteered to help in the box office on our first preview night as a part of the national initiative United We Serve.

Here is Ms. Carlisle helping with will call tickets.

This is Sherry Barr, director of Audience Services.

Here is Amanda Waterhouse and Jennifer Blank who help bartend but also work respectively as a box office associate and adminstrative intern.

Picnic in Tech Rehearsals

2009-09-03T21:54:00.014-04:00

The moon rises above the buildings downtown during tech rehearsals for Picnic.

Beth Ritson, Cheryl Koski, & Lorraine Shackelford relax as an entrance is restaged with light.

Preston Lane, Kate Muchmore, Sasha, and Kelsey Hunt watch from the seats.

Kate Muchmore (assistant director), Howard Jones (scene designer), & John Wolf (lighting designer).

Emily Mark as Christine Schoenwalder.

Meg Steedle as Madge asks for her cue.

Preston at tech notes at the end of the day following rehearsal. Tech notes happen after every technical rehearsal and performance preview. All the designers, the director, and the crew get together to go over what needs to be fixed, changed, adjusted, reblocked, refocused, hemmed, or painted.

Amy Peter (props master) talks with Tom McCoy (master carpenter).

Amy creates prop newspapers with actual articles from 1950s newspapers. You will be able to see Amy's handywork on display in our lobby.

Lighting design by John Wolf.

David Smith (sound designer) talks with Preston Lane (director) as Meg listens.

Joe Tippett as Hal relaxes as lights are adjusted.

Amy Peter & Howard Jones wait to redress the laundry lines with new linens.

Donna Bradby (choreographer) watches the dance scene.

Amy da Luz & Jim Crawfor relax as sound & lights are adjusted for their scene.

Beth, Lorraine, & Amy.

Beth & Preston ponder milk.

Christina & Kate search for a snap.

Preston sometimes sits that close in order to get an audience's perspective from the front row and also to check sight lines.

Preston & Beth.

Meg Steedle & Beth Ritson.

"If there was one thing..."

2009-09-02T16:03:00.023-04:00

So, I asked the cast of Picnic the following curious question:

If there was one thing from your experience thus far that has helped you get into character within this William Inge world of the 1950s in Kansas,
what would it be?
Here's how some responded:

Emily Mark playing Christine Schoenwalder said, "If I had to choose one thing that's helped me the most I'd say it was the opening scenes from The Wizard of Oz. The flat landscape, the farm images, the way that people (especially Margaret Hamilton!) spoke, all of that has been the strongest influence for me. "

Matthew Carlson playing Alan Seymour said, "For me, its been Alan's car keys. My entrances in both Act I and II are preceded by the sound of a car, so I asked for a set of keys to use. It's been a subtle reminder of class difference for me, creating a little social distance and a pride that sets Alan apart."

Amy da Luz playing Rosemary Syndey said, "Images are big for me, I always cut and past a lot of historical and geographic (to set time and place), but also conceptual. Which is often a lot less "literal" as you know. Anyways, this one clicked for me in a big way for Rosemary. Everything about it. What it once was. What it is now. The proud stalk still standing - but with the hopeless droop of its head. The washed out fence behind it. It worked for me on several levels...

Funny thing is, I had no idea the state flower for Kansas was the wild sunflower until after I had cut the image. Who knew?"

Jim Crawford playing Howard Bevans said, "There were a lot of helpful visual images, but the thing that helped me the most on Picnic came from Chris Morris, our dialect coach. She recommended that we listen to Kansas-based Farm Radio (KFRM link). I listened to it often in my apartment. There is a particularly midwestern way of talking about business--the rhythm is clipped and upbeat, and it's simultaneously friendly and keeps people at arm's length. It helped me to get a handle on my character, Howard the shop owner, more than anything."

Beth Ritson playing Flo Owens said, "For me its the image of the landscape: flat, barren, and endless, but with a beauty so extraordinaire that its pioneer ancestors said, 'Let's stop here.' "

Don't forget the "Closer Look" @ our website...

2009-08-31T19:49:00.006-04:00

Click here

for Dramaturgical Links of the 1950s, Photos of the Set, Costume Renderings & more...

Picnic Cast & Crew Readies for Tech

2009-08-28T13:25:00.010-04:00

The set for Picnic under construction.

The technical director, Christian Young, checks something off a list.

The crew have cut out two seats from the house right seating area in order to make a door for Mrs. Potts's house.

Nick & Scout explain to Julie how scrollers (a fixture attached to the front of lighting instruments that has color scroll through at the lighting designer's choice) get power from that little black box.

Nick attaches a scroller.

Nick prepares to attach another scroller with help from Julie.

Photo taken on Wednesday.

Scout coils cable.

Jenny the carpenter nails in shingles as Christian the technical director rigs some wires.

Rich Whittington, our Managing Director, conducts the company meeting we had earlier this week.

Julie, Jenny, and Kalyn listen at the company meeting.

Then they listen to people introduce themselves.

Beth Ritson as Flo Owens in Picnic.

Meg Steedle tries to dodge explaining what getting romantic means to her mom played by Beth Ritson.

Preston watches as Lorraine (Mrs. Potts) consoles herself with a pair of boots.

Meredith Riggans spreads "dirt" made from glue and sawdust on the stage floor.

Amy Da Luz plays Rosemary Sydney.

Chatting about Greensboro history before rehearsal begins.

Amy Da Luz, Matthew Carlson, and Cheryl Koski listen to Preston recount part of the violent history of Greensboro.

The marketing staff interviews Meg Steedle (and others) on video for our forthcoming website addition.

Picnic Build & Rehearsals

2009-08-19T18:37:00.016-04:00

The load-in and build for Picnic has begun. Here you can see the groundplan and carpenters working.

Source 4's at the ready.

Master Electrician Nick Hussong handling pipe.

This is a pile of sod--which will be laid down between the two houses.

During the same day, someone kindly donated a couple dozen old shoes to our costume shop and our Production Manager, Christy Wright, inspects the goods.

(OMG, shoes...)

And then the costume ladies descend... Kelsey, Sasha, Kate, & Ms. Cassstevens.

Matthew Carlson & Joe Tippett go over their scene with Preston Lane.

Joe Tippett & Matthew Carlson.

On a break from rehearsal, Matthew, Preston and Joe discuss how the 1970s produced the greatest films of American cinema.

Meg Steedle resting on the fence post during a break from rehearsal.

Meg Steedle

Chris Morris, dialect coach, watches rehearsal.

Cheryl Koski resting on the fence post during rehearsal.

Chris Morris sits as Emily Mark and Joby Strachan anticipate their entrances as school teachers.

Meg Steedle, and Cheryl Koski (who play the sisters Madge & Millie) rehearse as Beth Ritson readies for her entrance as their mother, Flo, before most of them go to the picnic.

Picnic Rehearsals Begin

2009-08-17T18:58:00.009-04:00

On the first day of rehearsal for William Inge's Picnic, Preston explains a couple important features of the set designed by Howard Jones.

This is the second time in Triad Stage's history that we have produced a William Inge play. (The first being Bus Stop back in the fall of 2004.)

Kelsey Hunt, the costume designer, explains the overall neutral color palatte and the reasoning behind her choice.

Here is a sample of one of her renderings AND to see more you should go to the
"Closer Look" page on our website.

Cheryl Koski (playing Millie) and Beth Ritson (playing her mother, Flo) react to questions about the script during tablework.

Amy Da Luz (playing Rosemary) and Jim Crawford (playing Howard) listen to Preston explain his thoughts on their tenuous relationship.

Phillip Eggers (playing Bomber) and Cheryl Koski (playing Millie) listen to others read during tablework.

Matthew Carlson (playing Alan) and Emily Mark (playing Christine Schoenwalder) listen to others read, as well.

Joe Tippett (playing Hal) and Megh Steedle (playing Madge).

Preston on Inge: "I found in his work an authentic regional voice, a writer who places his work firmly in a specific context but reaches far beyond his small corner of Kansas toward the universal and the true."

Various pieces of Picnic on the rehearsal table including the model, an old playbill from a Picnic revival, the definitive Inge biography by Ralph Voss.

Howard Jones's scene renderings.

Visit our website for more info:

http://www.triadstage.org/

Providence Gap Reading, a picnic & more in Boone

2009-07-30T14:15:00.010-04:00

Last week we had a reading for Providence Gap up in Boone for the Appalachian Festival, the new Preston Lane & Laurelyn Dossett collaboration that we will producing on our mainstage in June of 2010.

The playwright and the composer talk to the cast during rehearsal for the reading.

Cinny Stickland reading Levathy Lovell.

Laurelyn Dossett singing "Lady of the Mountain."

Yours truly reading the stage directions.

Laurelyn Dossett on banjo with Christine Morris and Noah Duvarney reading.

Jeff West, Katy Sink, & TJ Austin.

Josh Yoder, TJ Austin, & Lee Spencer reading Nurvel Greene, Chance Presnell, & Jackson Johnson.

Josh Yoder & Ginny Lee.

Patrons persusing the dramaturgical boards in the Valborg lobby before a performance of Oleanna.

App. Heights where we where we resided and where we had a tech picnic.

John Wolf giving some straight talk.

Boone boys who helped us with the production: Grayson, Marshall, & Jason.

Sean Dumm on the Barby!

Carrie Cook & Lee Spencer.

Emily Mails surprised, but still very cool.

Christy Wright & Ginny Lee.

Preston says, "I ain't a-goin' on no gosh darn picnic!

I'm a-goin' to do some office chair calisthenics instead."

Tech in Boone for Oleanna

2009-07-19T13:22:00.016-04:00

We are teching are rehearsing Oleanna in Boone for the Appalachian Summer Festival.

Cumulus clouds pile up over the mountain tops boasting how beautiful Boone can be in the summer.

King Street in downtown Boone.

John Wolf, the lighting designer, directs focus. He has designed the lights in such a way that highlights the combative nature of the play. He alludes to a boxing ring, but utilizes very neutral color.

___________

John Wolf, the man of light & shadow.

Nick Hussong, the master electrician, helps John with focus.

On genies and on ladders, in the air and on the ground, Nick Hussong is everywhere.

David Smith, the sound designer, reveals to Carrie Cook the implementation of his theory of "mid-side playback." The side speakers are hung in the middle of the house in such a way (pointed away from the stage so as to bounce off the back walls) which creates more a sense of a real environment.

Scout, the assistant stage manager, listens as Amy Peter explains to Lee Spencer how his computer is more than a prop.

Ginny Lee, Preston Lane, & Lee Spencer pause during tech rehearsal.

Preston Lane ponders the magic of theatre.

John Wolf is seen here wiring rope lights for the seating we have placed upstage.

Jennie Lynn, carpenter and sometime painter, touches up the set's ceiling.

Carrie Cook (sound supervisor), Amy Peters (props master), & Randy McMullen (scene designer) look over the phone and the Tele-Q-- a device that makes the phone ring independently and whenever we want.

Emily Mails, our cheery stage manager.

JOHN: ...that's my job don't you know...

CAROL: What is?

JOHN: To provoke you.

Oleanna Rehearsals Begin

2009-07-01T19:39:00.013-04:00

We will be taking Oleanna up to Boone for the Appalachian Summer Festival later this month.

More info below...

Preston Lane, director.

Ginny Lee, playing Carol.

Lee Spencer, playing John.

Table work for Oleanna.

Ginny Lee (Carol) has also been seen at Triad Stage in Brother Wolf.

From the perspective of the dramaturg...

(i.e. me.)
We have been reading through the script, answering questions and trying to find the right rhythms.

Lee Spencer (John) has also been seen at Triad Stage in Little Foxes and the Upstage Cabaret production of Dracula. Sitting next to him is Scout, who is the assisant stage manager for this production.

Ginny Lee and Emily Mails, the stage manager.

This year the Applachian Summer Festival is celebrating its 25th season. We will be performing Oleanna on July 21st & 22nd. And, on the 24th of July we will doing a reading of Providence Gap, the new Preston Lane & Laurelyn Dossett collaboration that is not only our last show this coming season at Triad Stage, but will also be performed at the Appalachian Summer Festival next year.

For more information about the Applachian Summer Festival click here.

Tartuffe is Open & Running Away with Laughs

2009-06-14T20:48:00.009-04:00

Richard Whittington & Preston Lane, the co-founders of Triad Stage, give the Opening Night curtain speech.

Our Opening Night audience--a very full house.

Opening Night of Tartuffe, Thursday June 11th.

Eric Moss painted live in the lobby before & after the show.

Russ, Cana, Emily & Kelsey.

Overlooking opening night festivities are Franny, Emily, Scout, Nick & David Jr.

Josh Yoder as Cleante reads the prop paper in the stairwell.

TJ chillaxin' in the electrics room (aka the elevator room).

Chris Morris sittin' a spell between her bookended scenes.

Assistant Stage Managers Mary Beth, Sam, & Molly wave as Jason Scott Quinn waves his baguette.

We have a new Facebook page!

2009-06-09T16:21:00.007-04:00

"OMG, have you heard?"

We're blowing up all over Facebook, so don't get shown up by your friends or kids-- YOU be the one to say: "You're not a fan of Triad Stage on Facebook?!"

(click on the above link)

Tartuffe Tech photos

2009-06-07T17:41:00.014-04:00

Actors & director stand in silhouette during tech.

There are a lot of funny entrances & exits...

Heather Vandergriff, the draper, works on Mariane's skirt.

Emily Robertson, the assistant costume designer, stands with a wig in our greenroom.

Costume renderings with image research by Kelsey Hunt.

This photo was taken the first day of rehearsal (May 13th), and that is when the designers who can be present explain their designs to the company.

Here Kelsey Hunt explains the nuances of Orgon's trousers. In some of the other photos you can see how the costumes turned out, but if you want to see the rest of the costumes you're gonna have to come see the show...

Chris Morris as Madame Pernelle.

I am seen here cutting dramaturgical boards for the lobby that have embellished truths. (wink)

Josh Yoder (as Cleante) & TJ Austin (as Damis) converse in character.

Jason Scott Quinn (as Loyale) inspects a snack.
(He's a snacker.)

What are they all looking at??

Even Preston is trying to see...

Q & A with a couple cast members

2009-06-03T19:38:00.009-04:00

DB: Hi John. A table becomes very important to your character, Orgon, in the play. Has a piece of furniture ever been so significant to you?

John Tillotson: Well, dining tables are very symbolic of group activities. Gathering for meals, discussions, holidays, etc. For more than 20 years I lived in NYC without one large, flat, smooth surface--not even a desk. Four or five years ago I finally was able to fit a table into my space. Well, it has changed my daily life immensely. No more meals with plates on laps. No more wrapping gifts on the floor. Now all those activities have a surface. But what is best is now that I can idle with friends over drinks & dinner, all relaxed and comfortable for hours on end, enjoying ourselves. (Sidenote: I recently used my table for a sawhorse and gouged a chunk out it. I shrugged--it gave the table additional purpose & character.)

DB: Hi Rosie. Your character in the play has lots of lazzi & the comedy seems second nature to you because it's so funny. I was wondering: what was the most recent favorite comedy that you were in?

Rosie McGuire: I'd have to say my own one woman show called Color Me Neurotic. I played over a dozen characters--some were very, very funny and some were quite tragic. But my favorite character was Kay-dee Bleeker--a homeless woman turned homeless dentist.

Kay-dee found some discarded dental tools behind a clinic one day & decided to teach herself denistry to help out her homeless community-- although she does use crazy glue occassionally. Mostly when a tooth is rotten, she'd give her patient a good swig of liquor and tell them to squeeze their "hoo-ha" so they don't feel the pain.

The audience was in love with this character, and loved her to a point where they would let her examine one of them. If she could finally get them to open their mouth, Kay-dee would then say, "That's it--yank it!" And the house would come down laughing. For me it was a comedy orgasm every night.

DB: Hey Gordon! Real quick: If Tartuffe was an animal or famous person or something, what or who would he be?

Gordon Weiss: Ah... probably Yosemite Sam, Bette Davis, and... a ferret.

Set building and storytelling

2009-06-02T11:37:00.010-04:00

Jennie Lynn, one of our carpenters, removes the blue lining from the plexi-glass used on the set for Tartuffe.

Nick Hussong, the master electrician, gets help from our new sound supervisor, Carrie Cook.

(Note the rocks bordering the stage.)

Tom McCoy, the master carpenter (aka the Green Lantern), poses in our the back of our box truck with a fraction of the rocks used to line the set. They literally hauled in a ton of rocks for the set. Last year at this time, however, we had hauled in 3 tons of sand for Bloody Blackbeard.

Tom watches Jennie slice and peel the plexi lining.

I found the fireman's pole! That very pole will be used for entrances during the play...

Carrie is seen helping the unseen Scout focus some lights backstage. The little console on top of the light plot at her feet is a remote control for the light board in the booth so that they can manipulate lights while they are close to them. (Note the pole on the left.)

Shelley, our scenic artist, drafts floor designs in one of our vomitorium corridors.

Gordon Weiss & Rosey McGuire are married to each other...

... just so you know.

And, they, like most people, love listening to Preston Lane's stories about his family.

He keeps his cast enthralled.

(The punchline delivered.)

Family storytelling begets more family storytelling while on a break from rehearsal.

Preston directs TJ Austin, John Tillotson & Gordon Weiss.

Shhh... TJ Austin is hiding behind the topiary (as Damis).

WUNC in the Upstage Cabaret

2009-06-01T19:25:00.006-04:00

The State of Things, hosted by Frank Statio, broadcasted live from our Upstage Cabaret last Thursday and Friday.

His first guest was Mr. Jake Henry, the principal at the Newcomer's School here in Greensboro which serves primarily refugees from other countries in order to give them a transition into American public education.

The next guests were artists from Greensboro. On the left are George & Stephanie from Elsewhere Collaborative based just a little futher down on Elm Street than we are, and their living museum has a collection of things dating back to 1939 when George's grandmother began running myriad businesses there. On the right sits Harvey, who has a kitchen where he interviews local artists. Harvey's website is Monkeywhale.com.

Molly McGinn played with her band, Amelia's Mechanics, to round out the hour.

Molly explains how she got the name for the band as Laurelyn Dossett stands behind with a bass (a rare thing), and Kasey Horton looks on holding her viola.

Listen to the smooth & subtly gritty performance here.

Tartuffe sur la radio

2009-05-30T18:46:00.011-04:00

John Tillotson (Orgon) reads a scene from Tartuffe at the Greensboro branch of WFDD 88.5.

Artistic intern, Asha, looks up and admires the exposed remnants of Revolution Mill (in Greensboro) where the radio station offices are located.

From left to right: John Tillotson, Katy Sink & Rosey McGuire inside the studio.

While we wait on others to be interviewed, Gordon Weiss tells us a story about waking up really early to run lines with Richard Dreyfuss when they both were in Sly Fox.

"So I picked up the phone-- and it was Richard..."

Gordon & Preston laugh about something funny as I take pictures behind the glass window of the studio.

Here is Krista Hoeppner (Elmire) as she performs a scene with Gordon Weiss who is playing Tartuffe.

It really was quite fun.

The Tartuffe interview with 88.5 FM will air on Tuesday, June 9 at 8:50 AM and again at 1:50 PM, then once more during “Triad Arts This Week” at 1:30 PM on Friday, June 12.

If you don’t have a radio, but do have your computer handy, you can listen on the web at:
http://wfdd.org/listen.php

Select WFDD-1

The segment should be uploaded to the “Triad Arts Up Close” archives by Friday, June 12.

You’ll be able to find it here:
http://wfdd.org/tauc.php

Find the Program Archives box and select June 9.

Tartuffe publicity shoot

2009-05-20T17:28:00.006-04:00

This a snapshot from the press photoshoot at the Proximity Hotel.
Bert of Vanderveen Photographers shoots over Krista as Eric and Emily watch Gordon and John pose/improv.

Here's one of the best.

John Tillotson who was cast as Orgon looks on as Gordon Weiss, in the role of the hypocrite Tartuffe, attempts to seduce Krista Hoeppner Leahy who is playing Elmire.

Tartuffe rehearsals have commenced

2009-05-19T20:14:00.014-04:00

Tartuffe rehearsals began last week and already it's hysterical. Did you know that is a contemporary adaptation? Yep, and we threw in a couple fun anachronisms just for the hilarity of it.

Preston steps into the role of Dorine and enters with luggage so that he might divine where the comedy lay while Rosie McGuire (who really plays Dorine) looks on at right.

Katy Sink playing Mariane and Krista Hoeppner playing Elmire look on as Preston gives direction.

Jason Scott Quinn gesticulates while playing Loyale.

Asha, the assistant director.

Everyone ponders the potential of funny.

Ready to enter are Chris Morris, Josh Yoder, Krista Hoeppner, and T.J. Austin.

Here we see the bigger picture with the stage managers: Eric, Marybeth, and Sam. Beneath the map of Paris is Katy. Costume renderings and research bedeck the rest of the wall.

Who are they all bowing to?

Gordon Weiss, who is playing Tartuffe, inspects the model of the set during rehearsal.

Rosie, Asha, and Gordon.

Here's Preston--blurry, but still grandiose.

Blackbeard cARTwheels tour

2009-05-08T13:54:00.007-04:00

For those of you who may not have known, Triad Stage created and toured a 50 minute school version of last season's Bloody Blackbeard entitled Blackbeard.

Triad Stage presented these cARTwheels performances through the funding support from the North Carolina Arts Council, an agency of the Department of Cultural Resources.

The cast & crew shared live professional theater with four counties in the southeast part of the state during the last part of April 2009.

To view the Blackbeard cARTwheels performance guide at the NC Arts website click here.

The following is a link to Andrew Rein's website where he has created a short and brilliant slideshow: http://andrewreinphotography.com/blackbeardtour.html

Andrew Rein: Blackbeard
Mike Tourek: Caesar
Joseph Sturgeon: Hornigold, Spotswood, Bonnet, Maynard
Jesse Presler: Jesse, Owen Roberts
Terra Mackintosh: Marla, Sarah, Anne, King George, Mariette, Mary
Chris Wright: Neddie
Molly McGinn: Musician
Scott Manring: Musician
Director: Jim Wren
Composer/Musical Director: Laurelyn Dossett
Scenic Designer: Alexander Dodge

Tour Manager: Nick Hussong

Stage Manager: Emily J. Mails

Production Manager: Christy Wright
Costume Designer: Kelsey Hunt
Lighting Designer: John Wolf
Sound Designer: David Smith
Sound Engineer: Daniel Horney
Props Master: Amy Peter
Vocal Coach: Christine Morris
Wardrobe Supervisor: Andy Cutler
Education Liaison: Drew Barker
Company Manager: Amanda Baker-Lane

Technical Director: Christian Young

The following photos were taken by Jeff West.

A review from the Classical Voice of North Carolina

2009-05-07T12:41:00.002-04:00

This online arts journal is based in Raleigh, and it is refreshing to read its in-depth and comprehensive review of our production.

Click the link below to read.

http://www.cvnc.org/reviews/2009/052009/TriadStage.html

BBVR Opening Night, Technically Talking & more...

2009-05-03T15:59:00.014-04:00

Our opening night for The Blonde, The Brunette and The Vengeful Redhead was last Thursday, April 30th.

The inimitable Andy.

Andy, Nick, & Asha.

Christy & Jennie looking splendid.

Our fabulous patrons...

Here we have the lovely Emily (our sometime stage manager) & Shelley (our full time

scenic artist).

Rich chatting with Ms. Young.

Christian Young chatting with Eleanor Holdridge.

Eleanor with her husband David, & Norman.

Emilia in the box office.

Our box office lovelies.

Theresa smiling with smiling Jenna.

Co-founders Rich Whittington & Preston Lane giving the opening night curtain speech.

Our amazing performer, Kate Goehring.

This is Technically Talking with the designers after our second preview performance.

Here's Eleanor perusing a map that Bill, the projection designer, made for her.

From left to right we have Bill McCord (projection designer), Geneva Conway Bennison (sound designer), Anya Klepikov (set & costume designer), Norman Coates (lighting designer), Michael Kohler (projection assistant), Eleanor Holdridge (director) & myself introducing them all.

Eric, our beloved stage manager.

Tomfoolery with wigs. (Nick and Amanda.)

Asha.

Preston Lane, Rich Whittington, & Drew Rush.

More images during tech week for BBVR

2009-04-27T20:23:00.010-04:00

Anya with our dare-devil Amy.

Our own redhead, Anya Klepikov the costume & set designer, seems to have no vendettas here in Greensboro and that sets our assistant stage manager, Geoff Baronda, at ease.

Anya speaks with Kelsey about color choices.

Norman Coates & Robbie Virenzo look at and discuss light changes. Both the lighting designer and the master electrician are visiting us from UNCSA.

Amy Peter, our props master, cuts out wig head patterns in order to cover some of heads that are used atop the set.

Geneva Conway Beninson, the sound designer for this show, sits at her table during tech.

Scout tries explain how adjust a lighting instument-- or maybe how to drive a go-cart.

Here Amanda Baker Lane talks with Asha about ideas for Mad at Miles when Amanda was the scenic artist for that show.

And here are a couple of my favorite people again, talking about arrivals and departures.

Tech for The Blonde, The Brunette and The Vengeful Redhead

2009-04-23T14:08:00.009-04:00

Projectionist Michael Kohler looks at how the projections actually appear on the set.

Director Eleanor Holdridge talks with projectionist Michael Kohler, assistant stage manager Geoff Boronda and the projection designer Bill McCord at tech notes.

Here they are again earlier at break trying to solve the question of how projections should relate to the lights and the sound during the transitions.

The set is interactive.

Here are a couple of characters Kate Goehring will play.

Eleanor Holdridge speaks with Norman Coates.

The costume and set designer, Anya Klepikov, looks out over the stage from atop the set.

Geoff Boronda backstage in the shadows.

Focus for The Blonde, The Brunette & The Vengeful Redhead

2009-04-20T17:43:00.007-04:00

A focus is when the lighting people get together and hang the lights, then "focus" them by pointing, shuttering, rotating, and more to get the desired effect before the rest of the tech process happens with costumes, set, and the actors.

In the center of the light is Norman Coates, the lighting designer.

Here is Norman giving us his rendition of an Apple press conference.

Anya Klepikov, the costume and set designer, looks on from the outskirts. (She will be more visible later in tech.)

Scout, the lighting intern, focuses a lighting instrument.

Robbie Virzera, the master electrician for this show, helps Scout out with direction.

Norman Coates, the lighting designer, looks over his plot as Scout looks up.

He's all about focusing.

More to come later...

Preston in Harvey's Kitchen

2009-04-16T12:36:00.003-04:00

Follow the link below to view a few hilarious anecdotes from the life of Preston Lane.

http://www.monkeywhale.com/video/harveys-kitchen-preston-lane/

The Blonde, The Brunette, & The Vengeful Redhead

2009-04-10T14:42:00.007-04:00

Rehearsals have begun for our first one-woman show.

There will be wigs...

Kate Goehring talks about one of the seven characters she will play during table work.

Kate Goehring rehearses in front of the director, Eleanor Holdridge.

Geoff Boronda sets out wigs after rehearsal as Kelsey Hunt, the costume shop supervisor, and Kate Goehring discuss make-up nuances for the show.

PostScript for Ghosts

2009-04-01T12:20:00.005-04:00

PostScript is our talkback with the actors where the audience is invited to ask questions to the actors after the show. The actors talking back: Rebecca Nerz, Jeff West, Blake DeLong, Gloria Biegler, & David McCann.

Here we have rapt patrons enjoying drinks & cheesecake in our Upstage Cabaret.

(All photos by Asha)

Drinks & Cheesecakes by Alex were consumed, great questions were asked, & one question could not be answered, but instead was thrown back to the audience: "Did Mrs. Alving do what her son requests at the end of the play?" The majority of the audience answered in the affirmative, but Gloria (who plays Mrs. Alving) sagely abstained from answering the question so as not to compromise the process of the other actors & the work as a whole.

Remember the poll...

2009-03-31T14:18:00.004-04:00

I am fascinated to know what you think about the suspended choice at the end the play.
For those of you who have seen the play, please tell me what you think Mrs. Alving does after the play ends. The poll is located down on the right side of this page. I will leave it up so that you can see how the results turned out as well.
Takk!

(UPDATE: The poll feature seems to be malfunctioning for this entire website not just this page, but vote anyways and we'll see how it comes out.)

Playworks @ Triad Stage

2009-03-23T13:39:00.005-04:00

We hosted Playworks this past Saturday in partnership with the Theatre Education program at UNC Greensboro and North Carolina Theatre Arts Educators.

Above we have Alexander Quitman Volpi who was the White Oak High School playwright of

The One, which was directed by UNCG student Whitney Chilton (to his right), and standing and moderating is Alan Cook, professor of Theatre at UNCG.

In attendance was Mr. Jim Fisher, head of the UNCG Theatre Dept.

UNCG actors (left to right) Elizabeth Pigg, Logan Ford, Amanda Frazier, and Brandon Rieder perform Great Minds Think Aloud by Jordan Hamlin of Asheville High School.

Playworks is a program created by North Carolina Theatre Arts Educators where elementary through high school students write plays (sometimes with an actual playwright in residence to help them) and then one script is selected to be performed here at Triad Stage by UNCG actors.

It's a wonderful opportunity for students to see their own words and ideas come to life onstage.

http://www.nctae.org/ & http://www.uncg.edu/the

Ibsen's Birthday is on March 20th...

2009-03-17T15:42:00.012-04:00

"I will be 181 years old."

"No, you can't be!" decries Mrs. Alving.

"How do you make your skin and plays look so radiant & fresh?"

"I play with peoples' minds--it's what I do.

I also like to dance with myself, you see."

"And, I was young once, and was quite a hit with the young ladies..."

"Until they found out I was made into a puppet."

Laurelyn Dossett goes big time... (symphonically)

2009-03-13T16:16:00.007-04:00

(rock star when she's not waxing classical)

For those of you who have seen the past Preston Lane & Laurelyn Dossett collaborations that include Brother Wolf, Beautiful Star, & Bloody Blackbeard, you will be interested to know about happenings with those productions outside of Greensboro:

The North Carolina Symphony in Raleigh is putting together a summer pops concert tour called Blue Skies & Golden Sands that will include a few of Ms. Dossett's songs from Bloody Blackbeard.
The Water Tower Theatre in Addison, Texas performed Beautiful Star as their holiday show this past December and was wonderfully received as well.
The Human Race Theatre in Dayton, Ohio performed Brother Wolf in collaboration with a dance company which ran through January 2009 through February.
And “Anna Lee,” a song Laurelyn wrote for Brother Wolf, was recorded by Levon Helm for his Grammy-winning album Dirt Farmer.
A youth version of Bloody Blackbeard entitled Blackbeard is touring the eastern counties of North Carolina in April, performed by Triad Stage actors and funded by NC Arts Council.
And visit here for Laurelyn Dossett's website full of photos, video, & her calendar. (Have fun at the Ramble, Laurelyn.)

Ghosts in tech

2009-03-11T18:12:00.013-04:00

Helene Alving played by Gloria Biegler waits as lights are adjusted.

(photo by Jeff West)

David Smith, the sound designer, tweaks some music used as underscoring in the show.

Eric Tysinger, our stage manager, reviews & corrects cues in his promptbook.

Here's a glance at the set without giving too much away...

A few small props that become a big deal...

And detail of the stage floor & Mrs. Alving's dress...

Shelly, the scenic art apprentice, talks with our production manager, Christy.

Rebecca Nerz as Regina Engstrand, Gloria Biegler as Mrs. Alving, & Blake DeLong as Osvald Alving.

From left to right: Stuart Nelson the lighting designer; Nick Hussong the master electrician, Howard Jones the set designer , Eric Tysinger the stage manager, Preston Lane the director, & David Smith the sound designer.

Blake in his dressing room that is decorated with self-portraits of 19th century painters, because Osvald Alving, the character he plays, is also a painter during that time.
(photo by Jeff West)

Regina and her bucket.
(photo by Jeff West)

Jakob Engstrand played by Jeff West floats a proposition with Rebecca Nerz playing Regina behind him.

Learn About Norway!

2009-03-10T16:55:00.007-04:00

Why learn about Norway?
Because Henrik Ibsen set his play Ghosts there (along with all his other plays, too).
Wikipedia actually has a lot of cool info... Do you know what a stave church is?
Do you know where Norway is exactly?
Did you know that Norway was once part of Sweden & Denmark?
Did you know Scandinavians believe in elves??

Norway's geography & weather actually figure prominently in our current play.
Even Ibsen once quipped, "If you don't know Norway, you can't really understand my plays."

a photo shoot

2009-03-03T16:40:00.009-05:00

Gloria Biegler & Blake Delong

We had the publicity photo shoot at

the Blandwood Mansion in Greensboro.

It was originally built in 1795, and expanded through the next century--so we thought it was good enough for a photo shoot of our current period piece.

These photos are a bit ad hoc because I was helping direct, and then just snapped some photos of my own of over the real photographer who is a fella named Nyght Falcon.

(A couple of Nyght Falcon's photos can currently be seen in the slideshow on the right.)

Here we were going for one of the more famous images from the play, Ghosts. Osvald has just told his mother some rather terrible news, and frequently the play ends with Osvald embracing his mother, or Mrs. Alving embracing him. I have always been reminded of the Pieta when seeing this image in the play's context. It's the suffering and cradling aspect that links it best.

For more information about Ibsen & Ghosts, I would recommend exploring these two websites:
ibsen.net
&
Voyages in Drama with Ibsen

Ghosts in Rehearsal & in Build

2009-03-03T15:26:00.010-05:00

Here's a sneak peek into rehearsal & the build...

Scout rolls up a lighting plot.

Jenny the carpenter drills into the skylight high above the stage.
Left, Tom the master carpenter, explains to James, the carpentry intern, how to tie off a clove hitch.
Gloria Biegler, Jeff West, & David McCann rehearse one of the opening scenes of Ghosts. (Ms. Biegler is wearing a rehearsal skirt in order to begin to get used to eventually wearing a dress. Actors often begin wearing specific articles of clothing in rehearsal, even if they aren't exact replicas, so that they can begin feeling a difference in how to sit, walk, or stand.)

The cast of Ghosts begins rehearsals with tablework

2009-02-24T15:58:00.002-05:00

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

2009-02-23T12:16:00.000-05:00

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

2009-02-12T16:19:00.000-05:00

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!

2009-02-12T11:18:00.000-05:00

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

2009-02-09T15:33:00.000-05:00

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!

2009-02-01T18:06:00.001-05:00

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!

2009-02-01T17:36:00.000-05:00

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...

2009-02-01T15:01:00.000-05:00

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.

Black Pearl Techs!

2009-01-20T21:03:00.000-05:00

Finding how the rugs will enter and exit: Nishi Hamrick, Sound Intern; Eric Tysinger, Stage Manager; Stephanie Jobe, Assistant Stage Manager; Sean Dumm, Production Intern

Sarah "Scout" Hough on the light board.

During a tech rehearsal: Stage Manager, Eric Tysinger; Lighting Designer, John Wolf; Scenic Designer, Robin Vest; & Lighting Intern, Scout Hough

The Costume Clan outside the dressing rooms: Wardrobe Intern, Andy Cutler; Stitcher, Sophia Clark; Costume Designer, Kelsey Hunt; & Draper, Heather Vandergriff

Going over the script: Artistic Intern, Asha el-Shair & Actor, Bernadette Quigley

Kelsey setting 1930s finger waves into a wig.

Managing time and everything else: Our Production Manager Christy Wright

Your wide-eyed photographer, Drew Barker

Some of us on the job...

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Here's Justin & Emilia in the box office.

That's Shelley offering some cheese cloth as she paints.

Here's Nick doin' up some lights.
They're working on the set and lights for Black Pearl Sings!
More photos of this process will be forthcoming as they are captured.

The Inaugural Blogpost

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Welcome to our new blog where we will updating our process and progress as a theatre in Greensboro, North Carolina--a city much like other cities in a time when we all are attempting to keep our spirits high in light of many dynamic changes in our country.

The plays we are striving to create here at Triad Stage speak to our spirit this season: The Night of the Iguana showed us the challenges of facing despair and moving beyond it; Bell, Book & Candle magically revealed how love can make us see things again for the first time; and Beautiful Star cheered us once again with holiday music inspired from Appalachia.

We now are getting prepared to open Black Pearl Sings! at the end of this month on January 29th (previews begin on the 25th). As with Ghosts, and the other plays that will follow on our mainstage and in our cabaret space, this blog will chronicle our creative process and our artistic progress.

Keep checking back here to see behind the scenes photos and interviews, along with other interesting bits that will give you a better picture as to what goes on Inside Triad Stage.