Questions answered--from the actors.

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.

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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

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.

Oleanna Preview

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.

Tech in Boone for Oleanna

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.

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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

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.

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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.