Meet Braxton Molinaro

By Manny Fernandes. Posted on 04/04/13
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Braxton Molinaro as John Wilkes Booth

Katie Harroff sat down with Braxton Molinaro, who is currently playing John Wilkes Booth in ASSASSINS at Cygnet Theatre. Braxton went to school in North Carolina and currently lives in New York.

Hi Braxton, Welcome to San Diego!  How are you enjoying working with Cygnet Theatre?  How did you become connected to us? 

Oh man, Cygnet Theatre is an absolutely stellar company.  They are as pro as it gets.  I believe the designers, the cast, and all of the work that has gone into Assassins is inspiring.  The actors are remarkably talented!  Sean does such a great job casting unique people who bring a lot to the table.  You can’t overlook the weather out here too.  It’s pretty ideal to get notes in the sun.  I get to smell flowers and see palm trees.  San Diego has become an amazing retreat.

As far as how I became connected to the company- I was in a production of Oklahoma directed by Terrance Mann at my now alumni school: The North Carolina School for the Arts, where Sean Murray had also attended.  In the production I played Judd.  Sean came out to NC to see the show and we became friends.  When the season was announced at Cygnet I saw that they were doing Assassins so I reached out to Sean and asked if I could send him a tape and he said sure.  I was fortunate to get an offer!

Who are you playing, and what is your character like? 

I’m playing the infamous John Wilkes Booth- the very first presidential assassin.  Obviously he is deeply flawed, but he loves presentation.  Booth was the bastard son of a famous acting family.  He had a good career as an actor- sometimes 9 different pieces of material in a week.   He had a plethora of opportunities to get on the stage, and probably what would be considered a very admirable performance career to most people.  Comparatively, however, to other members of his family he was not successful.  This made him very desperate when he came into adulthood.  He wanted to live up to the fame his father had succeeded in achieving.  As far as motives to killing Abraham Lincoln- Booth had strong ties to the south, and had slaves.  He believed it was an important part of being an American.

As an actor, I’ve had to find empathy for a man that is truly full of hate.  While very challenging, finding the theatricality in that has been fun.  Booth has this daring, unapologetic outward buffoonism to him.

Why should people come see this production of Assassins?

I’m biased because I’m so happy to be here.  But I can’t say enough about the importance of this piece.  I believe Assassins is such an important play to be performed right now.  It will inspire theatre goers to have a conversation- which is what theatre is about.  This play gives us the opportunity as a society to look at the people that are causing a lot of turmoil in our country.  The message of Assassins is to listen.  The Assassins aren’t being heard and they think killing is the only way to make that happen.  I think that scary sentiment is shared with a lot of people that live in this country today, and we need to take a look at this.  We need to become aware of the possibilities of the things we don’t want to address.

I think a musical-format in expressing this idea is brilliant trickery that allows audiences to see this message while being wildly entertained.

Assassins runs through April 28th!

Playing a ‘pretty crazy guy’

By Manny Fernandes. Posted on 03/21/13
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Geno Carr as Charles Guiteau.
Photo by Rich Soublet II.

We recently sat down with Geno Carr, who is appearing in ASSASSINS at Cygnet Theatre, to get his impressions of the musical, his character and Stephen Sondheim…

Who are you playing and what is your character like?

I’m playing Charles Guiteau who assassinated President James Garfield.  In this piece Sondhiem wanted to explore who are these people, these “Assassins” and why they did what they did.  What drove them to this magnitude?  What motivates a person to assassinate one of the most powerful people in the world?  It’s been a great challenge to find empathy for this character, and try to make people feel something for this horrible person.

Charles had a very interesting life; he was a pretty crazy guy.  He believed that after he delivered a speech he had written in favor of Garfield during Garfield’s campaign for presidency, that he was responsible for Garfield’s victory. This wasn’t true; however Charles believed that he was entitled to things, like becoming the Ambassador of France, but obviously this didn’t happen.  And then Charles went crazy.  However, I can’t play him crazy- that’s not something an actor should do. It’s our responsibility to understand the mentality of our characters. I’ve been working on his eccentricities and finding out what makes him tick, which is a lot of fun as an actor.

What do you enjoy about Sondhiem what’s special about Assassins to you?

I was fortunate to perform in Cygnet’s production of Sweeney Todd two years ago, but also when I was in college, I directed Into the Woods - which was incredibly cool and really fueled my deep appreciation for him.  Somehow Sondheim is able to take subject matter that no one would ever imagine being a musical, and allow audiences to become invested.

His music is brilliantly difficult- it’s not something you might hum walking out of the theatre, but it’s so smart.  He writes his music to inspire the characters and the story.  Assassins is a musical about America- and so much ‘American’ music pops up throughout it.  John Phillip Souza, a 70’s pop ballad- he draws from American music throughout history, and turns it into a Sondhiem masterpiece.  Like the song ‘Another National Anthem’.  It’s indeed this rousing anthem, but with a twist.   There is this group of people in this country that have a different idea of what it means to be American.  Sondhiem takes something familiar, like a ballad or an anthem, and twists the knife- adding layers and all these intricate elements that tell a story.

It’s fun to sing, and fun to act- it’s music that’s ‘performable’.  His characters have thematic melodies that track throughout his productions. Sondheim does this throughout his work- he provides layers to a character, and that gives an actor and an audience a clear definition to the voice of these people.

Why do you think people shouldn’t miss this production?

I love working at Cygnet. Sean and his team take the work very seriously.  Sean approaches musicals as though they are plays with music. I think in some crowds, musicals get a bad rap that it’s not as fulfilling as say, a Checkov play- but Sean picks musical that are for actors.  Coming to a Cygnet musical means you’re not going to something fluffy.  You’re going to leave wanting to talk about it, you’re going to think of something differently- it will have an effect on you.

Sometimes theatre should be passive, but Assassins will make you think.

I think it will be a huge conversation starter.  This is a fascinating, interesting, fun night of theatre.  You will laugh, you’ll be shocked, and you may cry.  Assassins is one quality evening of theatre.

Cygnet’s Eleventh Season

By Manny Fernandes. Posted on 01/31/13

CygLogo_10thAnn_4cHere we are, halfway through our tenth anniversary season, and we are already getting fired up about our next season. Artistic Director Sean Murray and Executive Director Bill Schmidt have assembled a package of plays and musicals for the 2013-2014 season that we feel just may be our most exciting yet. Cygnet’s eleventh season will feature seven productions including two plays performed in a rotating repertory, two musicals, two San Diego premieres and a holiday revival. “The scripts that we have assembled all went through the ‘is-this-exciting?’ filter!” says Murray. “We feel that we have put together a line-up that continues to serve our eclectic, artistic-whiplash tastes here at Cygnet. All of the stories in next season’s list concern relationships, love and the challenges of making personal connections.”

Ok we admit it.  We love Stephen Sondheim. A Little Night Music, Sweeney Todd, and the upcoming Assassins.  Not to mention the concert readings we have done of A Little Night Music, Assassins (twice) and Passion.  To launch our next season we present Company, with music and lyrics by Sondheim and a book by George Furth. The Tony Award-winning musical is an exploration of marriage and commitment.

In the fall, we offer up a creative treat for theatre-philes: two very different comedies, linked together through a playful twist, playing opposite each other in a rotating repertory: Oscar Wilde’s classic comedy, the delicious The Importance of Being Earnest and Tom Stoppard’s wilde [sic!] take on it, Travesties. Earnest, a comedy of mistaken identities and surprising twists, is a mash up of Downton Abbey style and Oscar Wilde’s wit. Paired with the vaudeville-style of ideas, wit, revolution, politics and history that is Travesties, both plays will be performed on alternating nights throughout the run.

It wouldn’t be the holidays at Cygnet without a 1940’s style live radio program.  This seven-year tradition continues with the return of the WCYG Playhouse of the Air production of Charles Dickens’ A Christmas Carol, adapted by Sean Murray with an original score by Billy Thompson.

2014 kicks off with Southern California premiere! We have snagged the rights for Jordan Harrison’s Maple and Vine, a sensation last season Off-Broadway at New York’s Playwrights Horizons. This comedy focuses on a couple who have become allergic to their 21st century lives and decide to move into a closed-community of 1950s re-enactors who forsake their cellphones and sushi for poodle-skirts, milkmen and Tupperware parties. They are soon surprised by what their new neighbors––and themselves––are willing to sacrifice for happiness.

Cygnet loves to mount exciting musicals, and in the first local professional production, we bring Spring Awakening to the Old Town stage. The youth-inspired rock musical is an eight-time Tony Award-winner with an electrifying score by Duncan Sheik and book and lyrics by Steven Sater. The show is an intoxicating story of youth, sexuality and self-discovery that is sure to awaken passion in the heart. Contains mature themes, sexual situations and strong language.

And then there is the last show… without a doubt, the most provocative we have ever announced, possibly the most hilarious, and definitely one that we jumping up and down with excitement about.  Our eleventh season will conclude with the San Diego premiere of The Motherf**ker with the Hat by Stephen Adly Guirgis (The Little Flower of East Orange). The “high-octane verbal cage match about love, fidelity and misplaced haberdashery,” is set smack in the center of New York’s Hell’s Kitchen. A Broadway hit that is exhilarating, hilarious and totally irreverent, this comedy is also, surprisingly, an examination of acceptance, loyalty and above all, love. This play contains drugs, violence, sexual situations and, in case you haven’t figured it out, a lot of strong f**king language.

Current Subscribers can renew their subscriptions now by contacting the box office at 619-337-1525 or returning the renewal forms that are being sent out.  Sales for New Subscribers will begin March 1st.

It’s going to be an exciting season, thought provoking season, one that we can’t wait to share with you.

The Drama-WHAT?

By Manny Fernandes. Posted on 01/22/13

My name is Taylor, and I am a theatre junkie.  The only thing I find more enjoyable than writing an analysis of some theatre history topic or performance theory concept, is doing the countless hours of research beforehand.  I plan on being a student for the rest of my life while constantly searching for jobs that will pay me to sit and compile massive heaps of research related to absurdly specific topics.  You can only imagine my enthusiasm when I was finally enlightened to the fact that there is actually a specific role in a theatre’s production team responsible for these very duties: the dramaturg.

A drama-what?  (Don’t worry, I had the same reaction the first time I heard the word as well, and it took some serious focus to teach my brain to consistently pronounce it properly.)  If you look up dramaturgy on Wikipedia or the Literary Managers and Dramaturgs of the Americas (LMDA) website, you will learn that a dramaturg is a sort of historian/researcher who helps all those involved with a production, from the creative ensemble to the audience, understand the greater context in which a performance occurs.  Therefore, you might say one of my jobs as dramaturg for Cygnet’s production of August Wilson’s Gem of the Ocean is to figure out how best to explain why we’re producing it in the first place.

When I asked Cygnet Theatre’s Artistic Director Sean Murray this very question, he responded with, “Gem is about owning one’s destiny, accepting responsibility for the world in which they find themselves, facing one’s self on a deep level to forgive in order to move on, and connecting with one’s past as a means of building the present towards the future that provides.”  My knee-jerk-reaction to this sounded something like, “Great, thanks!” as I silently wondered how this abstract idea was an answer to WHY we’re producing it.

Then I came across this great article inspired by remarks from Howard Shalwitz, the Artistic Director at Wolly Mammoth Theatre Company.  The article shares Shalwitz’s reasons as to why exactly theatre makes us better, and upon reaching reason number seven, something clicked in my head.  As he puts it, theatre “influences the way we think and feel about our own lives and encourages us to take a hard look at ourselves, our values, and our behavior.”  In retrospect, as I sit here typing this I can’t help but think, “well DUH, Taylor.  Sean couldn’t have been clearer.”

Despite the specificity of the play- its setting in Philadelphia, 1904 and the circumstances of the characters just after the emancipation proclamation- it maintains a universal theme that everyone can relate to.  Like Citizen Barlow and Solly Two Kings and countless other African Americans who changed their names to reflect their ownership of their new-found freedom, we are in charge of our own destiny.  By listening to different sides of the story, we empathize with the struggles of our fellow human beings (whatever their views may be), and are forced to reflect on our own behaviors and beliefs.  Thus, it’s not just the characters in Gem who are owning their own destinies; it’s the audience members, too. And that, my friends, is why I’m a theatre junkie/dramaturg.

Taylor Wycoff
Dramaturg, Gem of the Ocean

Behind the scenes with Mrs. Cratchit

By Manny Fernandes. Posted on 11/29/12

Maggie Carney in A Christmas Carol

Now that performances have begun for our brand new, radio-play A Christmas Carol, we took the opportunity to sit down with one of the cast members, the delightful Maggie Carney, for a behind-the-scenes chat on her work in the production.  Maggie gives voice to a plethora of characters, including Mrs. Cratchit, Mrs Dilbur and the Ghost of Christmas Past.  Check out what she has to say!

Q: What is your personal relationship or history with “A Christmas Carol”? 

A: I grew up in southeastern Wisconsin, near Milwaukee.  Every Christmas Eve, without fail, my family gathered around the tv to watch the 1951 film “Scrooge” with Alistair Sim.  It is my mom’s favorite.  I just figured out she was 9 years old when it was released, so it left a big impression on her.  I love the black and white film and the scene at the end when Scrooge experiences his great spiritual change.  We all cried into our mugs of hot cider at that point.

Q: What about Cygnet’s Radio-Play production do you find special? 

A: I adore radio theatre…I think I was born too late.  Cygnet knows how to do radio theatre! As a newcomer to the Cygnet family, I really love the ensemble that we created.  As we tell this beautiful story together, I am struck by the level of trust, compassion and love that all of us pour into the show.  It is wonderful when a group of artists gathers and really commits to the concept that the director visualizes.  And I loooooove the Foley and sound effects for the show… the arrival and departure of the ghosts is super-scary and eerie – just right.

Q: Are there any special moments in the production you’d like to share with the audience? 

A: At a recent rehearsal the women of the cast got their wigs and the whole ensemble had many of their costume pieces…oh my goodness!  As I walked on the stage and looked around, I really felt like it was 1944. We all held ourselves differently; walked differently, sat differently…it was great. It definitely informed the characters.

Q: Are there any additional tidbits you’d like to share with the audience about the show before they come to see it?

A: The audience has a wonderful opportunity to watch the show (it is quite beautifully lit and staged and designed) and to close their eyes and immerse themselves in listening to the show.  It’s fun to be able to do both.

Thanks for your time and wonderful insight Maggie!

Sounds like an invasion

By Jason Connors. Posted on 10/29/12

I can’t get too comfy and cozy in anticipation of the winter holidays or settle in to doing the sound effects for Cygnet’s new live radio play, A Christmas Carol.  Not yet.  Not until after I help space aliens blow up New Jersey.

When I was hired to bring the soundscape of War of the Worlds to the stage, I had to ask myself some very odd questions: What does a hillside sound like when it’s set ablaze by a heat-ray?  And, by the way, what does a heat-ray sound like?

We’re basing our staged-reading of H.G. Wells’ sci-fi novel off of a 1938 radio adaptation created and directed by Orson Welles before he rocketed to international fame with Citizen Kane.  Most of you probably know the story of how the program’s fake news bulletin format freaked everybody out because they all thought it was real.  That wasn’t an accident.  Welles’ idea was to give everyone a good Halloween scare, and the only way to do that was to go for absolute realism.  He had his company of actors to listen to the firsthand newscast of the Hindenburg disaster (only one year old) for inspiration.  Oh, the humanity!

Ora Nichols, the first and only woman working in her field, was tasked to match the level of realism in her sound effects that the actors were bringing to their vocal performances.  She completely lived up to the challenge and the product is a gloomy, creepy, legendary piece of radio history.  I recommend listening to it on YouTube.

Whatever it takes!

Nichols’ design was a major inspiration for my sound design, which you are all invited to come check out on Monday and Tuesday of this week (see showtimes for details).  I borrowed a couple techniques directly from her, like putting a kitchen timer in a tin bucket to create the echo of a ticking clock inside a vast astronomical observatory.  I even went to Lowe’s to see if I could re-create her technique of unscrewing a glass jar inside of a toilet bowl for the reverberation of a Martian cylinder being opened by aliens from the inside.  Here’s a candid picture taken by a friend I bumped into at the store!

However, most of what I’ve created for Cygnet’s reading is a departure from Nichols’ original soundscape.  I wanted to give audiences the sound of the gigantic tripods moving about like the destructive war-machines they were described as in the the book.  I wanted to hear the Earth being crushed underfoot (Lowe’s and Toy ‘R Us both came in handy for this particular effect).  Also, I wanted audiences to hear what the aliens would sound like emerging from their metal cylinders–sloshing a wet rag inside a mug of water was helpful to that end.

There are a number of other strange little tricks I have up my sleeve to treat you with (involving a warbling metal shingle and something called a standoff column base), and I can guarantee that should you come you won’t be disappointed.  And, hopefully, you won’t be able to get to sleep either.  After all, it is almost Halloween.

Cygnet’s Tenth Season!

By Manny Fernandes. Posted on 02/03/12

Nine years ago when we opened the doors of Cygnet Theatre in a strip mall near La Mesa, we were presenting the birth of a new theatre company whose mission was to offer exciting and provocative live theatre as its niche.

Today, we’ve grown from an idea budding around our kitchen table into the fifth largest professional theatre in San Diego. We’ve gone from welcoming 37 subscribers our first season to 2,400 subscribers today. After nine years, we’ve settled into our beautiful home in Old Town; produced 58 plays, created jobs for 367 actors, 98 Equity contracts, 190 designers, 58 stage managers, 39 backstage technicians and 41 musicians; and it hardly seems possible that we are making preparations for our 10th Anniversary Season!

Cygnet’s season opens with MAN OF LA MANCHA, starring Sean Murray as  Miguel de Cerventes.  Considered one of the most enduring works of musical theatre, MAN OF LA MANCHA tells the story of Cervantes, a failed author, actor, soldier and tax collector awaiting trial by the Spanish Inquisition.  His desperate attempt to prevent attacking fellow prisoners from destroying his novel leads to a unique agreement. Cervantes is permitted to act out the story within the novel, and the prisoners will decide if the tale is worthy of saving.  What follows is a play within a play of a delusional man who believes himself to be the noble knight, Don Quixote.  With book by Dale Wasserman, lyrics by Joe Darion and music by Mitch Leigh, LA MANCHA opened on Broadway in 1965, ran for 2,323 performances and won five Tony Awards, including Best Musical. The principal song “The Impossible Dream” is now a classic of the stage. Cygnet Theatre’s MAN OF LA MANCHA will run July 5th through August 26th, 2012.

In late September, Cygnet Theatre is pleased to present beloved, veteran actor Phil Johnson in the West Coast Premiere of MISTAKES WERE MADE by Craig Wright.  This hilarious, fast-paced story of a B-list Off-Broadway producer and his messy quest for success was described by New York Magazine as “Ninety furious, fulminating, very funny minutes of American hucksterism in extremis.”  San Diego Critics Circle Award Winner Shana Wride (Private Lives) will direct Johnson in Cygnet’s side-splitting tour-de-force.  MISTAKES WERE MADE runs September 20th through October 21st, 2012.

At Cygnet Theatre, the holiday season wouldn’t be complete without a trip to WCYG, Cygnet Playhouse of the Air.   But this year, audiences will be treated to a new holiday classic, Charles Dickens’ A CHRISTMAS CAROL, adapted by Sean Murray.  Once again the 1940′s radio actors of “WCYG Theatre of the Air” will delight audiences with a “live radio broadcast” filled with music, sound effects and a wide array of treasured characters from the family-favorite.  A CHRISTMAS CAROL visits Cygnet’s Playhouse of the Air November 23rd through December 30th, 2012.

The new year offers something truly surprising! Cygnet has to hold off on announcing our 2013 kick-off, but stay tuned for all the upcoming details of our January/February slot.  The TBA production runs January 24th through February 24th, 2013.

Taking place in Spring 2013, Cygnet Theatre is proud to announce ASSASSINS, with book by John Weidman and music and lyrics by Stephen Sondheim.  Artistic Director Sean Murray has had a long-time love-affair with Sondheim’s tricky musical scores and ASSASSINS has topped his list of productions for Cygnet’s stage.  The uniquely dark and funny musical, which explores the motives and inner-workings of nine individuals who assassinated or attempted to assassinate the President of the United States, is Sondheim’s off-kilter exploration of the American Dream.  Cygnet Theatre has staged two concert-readings of the show during its history and both received raves from Cygnet audiences.  Murray is pleased to bring a full production to the stage during Cygnet’s 10th Season.  ASSASSINS will run March 14th through April 28th, 2013.

Cygnet Theatre will close its season with the San Diego Premiere of Joe Calarco’s SHAKESPEARE’S R & J.   Part Dead Poets Society, part Lord of the Flies, Calarco’s work takes its audience to a parochial boarding school where four schoolboys discover Shakespeare’s most famous love story.  The NY Times described it as “A vibrant, hot-blooded new adaptation of Romeo and Juliet…pulsat(ing) with an adolescent abandon and electricity of which Romeo himself might approve,”  and the Wall Street Journal declares it “A gem, the most inventive reimagining of a classic in years.”  The stunning drama comes to Cygnet Theatre May 22nd through June 16th, 2013.

Current Subscribers can renew their subscriptions now by contacting the box office at 619-337-1525 or returning the renewal forms that have already been sent out.  Sales for New Subscribers will begin March 1st.

We look forward to sharing these productions with you!

Reading Between the Lines…

By Jessica John. Posted on 08/11/11

(How Literature and the Local Library Turned Me into an Actress)

There is an oft-told family story about one of my trips to the pediatrician.   Only 4 years old and unable to read, I sat in the waiting room with my favorite book – a Little Golden entitled, Bugs Bunny…Something’s Fishy.   I loudly “read” it to the antsy parents and feverish children, whether they cared to listen or not.  Each character had its own unique voice; each page provided a new set of madcap capers, deft drama and screwball comedy.  The Looney Tunes were a wacky bunch and I suppose, in the mind of a toddler, the perfect diversion for the circumstances at hand.  I felt I was donating a much-needed service.  Anyway, I could hardly be held responsible for the “medical drama” I provided.  You see, my mother read to me.

My twin sister and I grew up with the standard fare of Goodnight Moon, Caps for Sale and The Pokey Little Puppy.   My mother animated every page… enlivening each drawing with a distinctive importance.  Each writer had a new, glorious story to tell, and each one was told by a brand new cast…puppies and moons and spoons and cap-sellers.   By the time my twin sister and I were 8 years old, my mother had moved on to over 1500 page novels like Sacajawea (The Lewis and Clark Expedition) by Anna Lee Waldo.  My sister and I would climb into bed and listen to tales about terrifying treks through precarious terrains, a papoose strapped to the Indian woman’s back, lean strips of buffalo jerky – her only source of nourishment for days.  The stories my mother read were as good as any movie.  Better, in fact, because the “visuals” (the teepees and bison and feather headdresses) were mine alone.  The stakes were as high as I made them, the cliffs as steep…

My mother imported her love for reading to her children.  Many hot summertime days were spent in the local library.   With my sister by my side, we’d choose one book a piece – conferring with one another for trade upon our own completion.  Then off to the bay, with books in hand, my mother and sister and I would eat picnic lunches in silence – each of us deep within our own individual saga, epic or comic adventure.  Sometimes we’d ask one another to listen as we read a particularly intriguing section from our library loaner and then, after a bit of conversation, we were back to world of our own selection – separately experiencing new dramas, love stories, history lessons – all within each other’s company.

My conversion from reader to performer started early and my love and connection to the written story has never left me.  I owe so much to my mother and to the libraries where I spent so many of my days.  For this reason, it has been a particular honor to head Cygnet’s TUESDAY ON TWIGGS STREET Event.  These quarterly free theatre parties (aimed at supporting local libraries) have been delightful introductions to others who, like me, are in love with stories and great books.  They too understand the excitement, the escape and the unique perspective these penned pieces can provide.  In my life it has only been matched by the magic of live theatre.  Both fill me with same sense of joy, emotion and awe.  Both invite me to participate in the story being told.  Both pay respect to my own uncapped resource…my imagination.

So this is my personal invitation to those of you who remember being read to, appreciate the gift of good storytelling or who simply owe your local library a “thank you” for years of free reading.  I hope you’ll join us at one of our TUESDAY ON TWIGGS STREET Events.  Cygnet provides the food, the drinks, the enter-to-wins, backstage tours and a nice group of like-minded company.  All YOU need to bring is a new or gently used book or a cash donation (of any size) for our specified neighborhood library.   In turn, our libraries will provide you unlimited days of travel, riches, poetry, laughter and drama; a private world of untouchable props, scenery, characters and costumes.  And you will be the producer, right in your very own living room.

The Set Design of Cabaret: Part 2

By Sean Fanning. Posted on 03/08/11

You Just Can’t Cheat!

What can I say about executing a set at the Theatre in Old Town? It’s not your everyday scene shop. As I pull up to the parking lot next to the theatre, I find myself peering over the rustic fence at the lumber racks, sawhorses, and various bits of flats from old productions. This is the shop, where the thermostat seems to vary as much as San Diego weather, and the paint takes eons to dry on a damp day, or dries too quickly in the hot sun. And the rain is a constant threat that can set us back days at a time!

The talented team of carpenters under Technical Director Andy Scrimger use the yard behind the theatre to pre-build our scenery in parts. It’s a tricky planning process, due to a few approaches we use on our sets, which I’ll get to in a moment.

Andy began working with Cygnet in 2009, and has consistently been one to balance the needs of the budget with the demands of quality. Any technical director would tell you this is not an easy task. These days, we work together to implement strategies towards putting up a set by being very frugal, and as a byproduct (and a constant goal) using green, sustainable methods of creating scenery. Read the rest of this entry »

The Set Design of Cabaret: Part 1

By Sean Fanning. Posted on 02/28/11

Cabaret as an Alcoholic Beverage

Last year, Sean Murray asked me to work with him on Sweeney Todd.  It was our seventh production together.  Working with Sean and co-director James Vasquez was

possibly the most freeing experience that can be asked of a designer for a musical theatre setting: we threw out all preconceived notions of the staging, we started from scratch and found our own voices in the piece.

And I discovered that doing a musical on a thrust stage means that, despite the amount of decorative flourishes I may apply to a setting, my eye always becomes inexorably riveted to the performer.  Out there on that thrust surrounded on three sides by a rapt audience, and commanding a story.  In one breathless moment, I can forget about everything I’ve been hired or trained to do as a designer, as I sit back and watch energy flow. Read the rest of this entry »