Director’s Notes: A Little Night Music
Cygnet Theatre is excited to revisit A Little Night Music. Director Sean Murray shares his thoughts on this popular musical.
When Stephen Sondheim and Hal Prince began to work on their next collaboration following Company and Follies, they were responding to criticisms that these works, both explorations of the difficulties and anxieties of marriage, were cold and overly intellectual. They set out to prove in their third effort that they could also create something both commercial and adult.
After a search, Sondheim/Prince found in an Ingmar Bergman film, Smiles of a Summer Night, the perfect material for their sophisticated sex comedy: mismatched couples, longing, regret, reconciliation, all under the magical dusk of the Summer Solstice. Literature is filled with such stories as mismatched lovers leave their world of society, etiquette and rules and find themselves in a forest or garden and return to society transformed. Think A Midsummer’s Night Dream, As You Like It, Into the Woods or any of the fairy tales of the Brothers Grimm.
Sondheim is famously obsessed with games and crossword puzzles and often thrives when creating musical and linguistic challenges for himself. In adapting Smiles of a Summer Night into a musical format, he came upon the realization that the film is filled with the number three: three smiles of the summer night, the three generations of the Armfeldt women, the three misaligned couples. The essential energy of the number three is unstable. Three wants to pull towards the more solid number two. A love triangle needs to resolve itself into a single couple. Each character finds themselves locked into an unsatisfactory triad: Fredrik-Anne-Desiree, Fredrik-Desiree-Carl Magnus, Desiree-Carl Magnus-Charlotte, Charlotte-Desiree-Carl Magnus, Anne-Charlotte-Fredrik, Petra-Henrik-Anne, etc. In Night Music, even the songs that are sung by two characters together are almost always about a missing third person! It takes the smiles of that summer night to transform these triangles into couples and reconcile them to get to our story’s resolution.
Inspired by the number three, Sondhiem set for himself the challenge of writing the entire score based upon variations of the waltz. (Alright, there is one very short segment of underscore that is not in waltz time!) But the lilting waltz time in the score definitely lends the story the air of elegance and magic. Sondheim’s score is firmly rooted in the Viennese operetta. The show-opening “Night Waltz” provides the perfect theme for these variations of three—both musically and dramatically. Sondheim uses this as his framing device, saying that “the whole score would feel vaguely like a long waltz with scherzi in between so that no song would seem to have come from another texture.” Sondheim puts the triple meter through hoops as he uses different dance forms as the basis for various songs: the mazurka in “The Glamorous Life,” the martial polonaise for “In Praise of Women,” and a sarabande to accompany Madame Armfeldt’s reminiscing “Liaisons.”
The result is that this gorgeous piece finds itself a classic of musical theatre. As the character’s stories span several generations, from the young, to the fools and to “those who remember,” there is a way into this story for everyone. I have certainly found more in the text and score every time I’ve worked on it. It’s a rich and delightful piece and I hope you enjoy it.
A Little Night Music runs March 7 – April 22, 2018. Click HERE for tickets.
Cygnet Theatre Announces New Pricing Structure
Here at Cygnet we feel theatre should be accessible to everyone. That’s why we’re shaking things up. We want you to see our plays for $25!
How can you get a $25 ticket?
- You can Subscribe.
- You can purchase a Member Card.
- You can buy your tickets early.
Subscribing is the best deal with the most perks! Subscribers are guaranteed their favorite seats PLUS the lowest price for each show. Click here to subscribe.
You also can get best prices year-round with a Cygnet Member Card. A member card allows you to purchase $25 tickets for any show we offer, any time you decide to buy. Contact the box office at 619-337-1525 to purchase a member card.
Not a member? You can also get your $25 tickets by purchasing them early. Ticket prices will go up as the show date approaches. Click here for ticket info.
TIER1 – $25 for a play and $35 for a musical
TIER2 – $35 for a play and $45 for a musical
TIER3 – $45 for a play and $55 for a musical
For more on the new structure and how the tiered pricing works, please contact the box office at 619-337-1525.
Q&A with The Cast of The Last Wife
This contemporary re-imagining of the compelling relationship between Henry VIII and his last wife, Katherine Parr, is a witty and powerful examination of sexual politics and women’s rights.
We asked The Last Wife cast about this wonderful play. Here is what they said:
ALLISON SPRATT PEARCE (Kate)
Why do you feel this play is relevant today?
It’s a play that has many layers. Not just about the struggles that women have dealt with for centuries, but how people use power to control and manipulate.
What drew you to this script?
Katherine Parr was an unknown hero. She changed the course of history for all women. I wanted to play that woman. I wanted to live in her daily life filled with danger, struggles, and successes. What better way to do that, than peel Parr open with The Last Wife!
MANNY FERNANDES (Henry)
Why do you feel this play is relevant today?
In today’s sexual/political climate it is extremely relevant, maybe more so than it was just a couple of years ago when it was written. It’s an example of the seemingly endless struggle women have had in gaining what should be their natural rights of equality and respect.
What drew you to this script?
I was drawn by the strong writing and the chance to dive into this complex character. During his reign, Henry seemed to be both feared and beloved. A man who was a reluctant King and yet not afraid to exercise his authority.
CASHAE MONYA MEADS (Mary)
Why do you feel this play is relevant today?
This play is relevant because there is a dire need for discussion about gender equality and patriarchal privilege.
What drew you to this script?
I was drawn to the script because I love exploring history in an accessible, contemporary, and dramatic manner. History usually never interests me unless it is told in a way that doesn’t feel static or irrelevant. This play is not only relevant but deeply necessary in this current political climate.
GIOVANNI COZIC (Eddie)
Why do you feel this play is relevant today?
I like this show because it is about strong women. I think men try to control what place women have where they work and in politics and pretty much everywhere and it has happened throughout history. I also think this play shows how families can change and look different. It is not about just a mom and dad and their kids, there are other people who come into their lives and change how the family works.
What drew you to this script?
I didn’t read the script before I auditioned. The part of Eddie is a bit sad because his mom died and he now has a new mom, a dad who doesn’t spend a lot of time with him, and he is just a kid who doesn’t have any control of the things that are happening in his life even though he is stuck in the middle.
BOBBY CHIU (Eddie)
Why do you feel this play is relevant today?
The personal and social issues still resonate, and the danger and intrigue is exciting.
What drew you to this script?
Who wouldn’t want to be a prince?!
STEVEN LONE (Thom)
Why do you feel this play is relevant today?
It seems as though every day we learn of a new person-in-power stepping down from allegations of sexual misconduct, misogyny, inappropriate behavior, to name a few. With the head of our country also steeped in such charges, now more than ever, a story about women living surrounded by such men is more poignant than ever. But even more important, a story about strong women who fought through the noise and risked death for what they believed in, in order to advance women even if it wasn’t in their lifetime, is such an important part of history to know and hopefully inspire all people in our current climate to fight for what they believe is right.
What drew you to this script?
The point of view of the story. I’ve known the story of Henry VIII through various studies of the classics and history, but never have I learned much about the women who endured him. Especially never about his last wife and all the incredible things she accomplished as a woman in those times, not just as the kings wife, but as a person in general. Plus, it’s expressed beautifully with great dialogue and complex characters. Really humanized these people, which is attractive to an artist like me when considering a project.
Get your tickets today! The Last Wife closes on February 11th.
The Last Wife: Designs and Inspirations
We are taking you behind the scenes of The Last Wife with the design team to get a glimpse into the process of creating this exciting production. Read on to find out, in their own words, where their inspirations and designs for this powerful play came about.
Veronica Murphy – Costume Designer
“This is a contemporary play about historical figures. The playwright calls for contemporary clothing so you might think that would make it easy. Not necessarily so. These are royals and we need to believe they are royals. The play spans four years with many changes in the characters’ positions – and in the case of Bess, she goes from a child of 11 to a young adult of 15. The scenes flow like Shakespeare, often seamlessly from bedroom to dining room to hallway, to conference room and so on.
A monochromatic set – we chose monochromatic costumes with touches of color, crimson for the Tudors (also the real Katherine Parr’s favorite color) and blue for the Seymour’s. Thom is, after all, a man of the sea. And the young prince follows in blue, as we are continually reminded that his mother was the beloved Jane Seymour. As Kate gains her place in the palace, her lines are less fluid and more structured and powerful, while maintaining femininity, so important in keeping Henry on her side. And once she marries Thomas Seymour, she is also in blue. Everyone is trying to please the King, save Mary, the Catholic rebellious daughter. Note the clerical lines that tie her to the church. Ironically, she is in black, like her father, but without any crimson, so as not to suggest her later nickname “Bloody Mary.” As Bess is mothered by Kate and grows into her womanhood, her dress is similar to Kate in line and color. There is also all that getting dressed and undressed, especially for Kate, making the underwear just as important as the outerwear.
A challenging project like this has to have some whimsy so – Henry has a lapel pin in the style of U.S. politicians but it is a Tudor Rose, Prince Eddie’s blue pajamas are covered in castles and dragons and the various ruffled necklines are a consistent nod to the true period.”
Sean Fanning – Set Designer
“The world is a contemporary re-imagining of Henry’s space. It is raw and modernist, and inherently masculine. At the same time, we are using simplicity and open space to make a world that is less about scenic detail and more about the emotional worlds and power play between the characters. The main inspiration for the setting is the Japanese architect Tadao Ando – who created spaces that lived between the world of a dwelling and a public arena. I was inspired by how he used containment and enclosure, and then created ways for light to stream into the container. In a theatrical context, this helps us to change the space in evocative ways. There is a trinity of antlers that always lives on the wall – these stag horns represent Henry’s savagery and love of hunting and are one of the few nods to the period. They cast foreboding shadows across the wall when lit from above.
The container acts a little as a puzzle box, and has several key compartments or openings that then support the action or change the context of the scenes. There is a center door that can be opened to reveal a glowing upstage hallway. This opening can also be raised to be a tall opening for Henry’s Commission. There’s an upstage left opening that can be slid open to reveal an oversized brutal fireplace – this is used for several locations with different furniture arrangements. Upstage right is a similar door that is slid open to reveal a concrete bed that pulls out from the wall, and a little compartment in the wall that holds the basin and pitcher with which Henry’s wound is washed. Stage right has a drop-down opening for liquor in the Act 1 courtship scene and elsewhere.
We are also using some grand gestures as a part of the storytelling as well as the tall velvet banners with the Tudor Rose motif for the commission scene. Two rolling tables that are used throughout the play become joined together to create a 12-foot long dining table with a chandelier that flies in for the family dinner scene. For the top of the second act, “Training Day”, a flurry of books will drop from the sky and tumble to the stage. At the end of the show, the space gets transformed to a more feminine soft environment when we bring on a set of sheer draperies that cover and obscure the container.
By envisioning this environment as a cold, masculine and harsh shell representing Henry’s space – with a sense of charged and compressed spatial volume – we have created an opportunity or invitation for Katherine to come forth into that space and rise above it, and claim power.”
Kevin Anthenill – Composer & Sound Designer
Kate Confronts Henry Scene 4
Wedding Scene 5
“When approaching the sound design and score for The Last Wife there are a few key elements which are important to director Rob Lutfy and myself. The play is a modern telling of historical figures, so I wanted to create a soundscape which had both modern, synthesized elements, as well as classical instruments such as brass and strings. The intention when the brass is playing is to give the score a noble feel – to create a regal sense – a royal sense.
The strings are intended to center around Kathrine’s delicate touch, while still maintaining an air of class. The synthesized elements are deployed to create pace and drive. In a fast moving play, Rob Lutfy and I wanted to ensure the music was equally as driving. I intend to use the Synth-Pulse as a driving undercurrent that gives the sense of the “psychological thriller” genre.”
Catch The Last Wife through February 11th!
Cygnet Theatre Announces Season 16
We are excited to announce our next season!
Join us for another wild ride as we explore different themes, different communities and different stories…all designed to support our mission to “startle the soul, ignite debate and embrace the diversity of the community”
Irreverent Cult Comedy
Monty Python’s SPAMALOT
Book and Lyrics by Eric Idle
Music by John Du Prez and Eric Idle
Directed by Sean Murray
Music Direction by Terry O’Donnell
Jun. 27 – Aug. 5, 2018, Opening Jun. 30, 2018
This highly irreverent parody tells the story of King Arthur and his Knights of the Round Table as they embark on their quest for the Holy Grail. Flying cows, killer rabbits, taunting Frenchmen and show-stopping musical numbers are just a few of the reasons you’ll be eating up Spamalot. Winner of three Tony Awards, including Best Musical, the show elevates silliness to an art form.
“Even when it’s wrong, Spamalot is oh so right” – Hollywood Reporter
Immersive Storytelling Experience
San Diego Premiere:
EVERY BRILLIANT THING
By Duncan Macmillan with Jonny Donahoe
Directed by Rob Lutfy
Aug. 22 – Sep. 16, 2018, Opening Night Aug. 25
You’re six years old. Mom’s in the hospital. Dad says she’s “done something stupid.” She finds it hard to be happy. So you start to make a list of everything that’s brilliant about the world. Everything worth living for: 1. Ice cream. 2. Kung Fu movies. 3. Staying up past your bedtime and being allowed to watch TV. 4. The color yellow. You leave it on her pillow. You know she read it because she’s corrected your spelling. Soon, the list will take on a life of it’s own. A play about depression and the lengths we will go to for those we love. What’s on your list?
Featuring: Ro Boddie
“Every Brilliant Thing may be the funniest show about depression you’ve ever seen…” -New York Post
Dark Comedy
Southern California Premiere:
HIR
By Taylor Mac
Directed by Sean Murray
Oct. 3 – Oct. 28, 2018, Opening Night Oct. 6
Somewhere in the suburbs, Isaac, a veteran, has returned from Afghanistan to help take care of his ailing father, only to discover a household in revolt. The insurgent: his mom. Liberated from an oppressive marriage, with Isaac’s newly out transgender sibling as her ally, she’s on a crusade to dismantle the patriarchy. But in Taylor Mac’s sly, subversive comedy, annihilating the past doesn’t always free you from it.
Featuring: Deanna Driscoll
“A remarkable, audacious, uproarious black comedy with a daring combination of realism and madcap absurdity.” –New York Times
Favorite Holiday Musical
A CHRISTMAS CAROL
Adaptation & Lyrics by Sean Murray
Original Score by Billy Thompson
Directed by Sean Murray
Musical Direction by Patrick Marion
Nov.28 – Dec. 30, 2018, Opening Night Dec. 1
Cygnet’s holiday smash hit is back for its fifth season! Bring the family back to enjoy the holiday classic adapted from Charles Dickens’ timeless tale of hope and redemption. This re-imagined, fully staged production features original new music, creative stagecraft and puppetry, and live sound effects. Step into a Victorian Christmas card for a unique storytelling experience that is sure to delight the entire family!
“It’s not Christmas without ‘A Christmas Carol’ and this is the best one around.’ –SDGLN.com
Play with Music
West Coast Premiere:
MARIE AND ROSETTA
By George Brant
Directed by Rob Lutfy
Jan 16. – Feb. 17, 2019, Opening Night Jan. 19
Get your front-row seat to music history in the making! Bringing fierce guitar playing and swing to gospel music, Sister Rosetta Tharpe was a legend in her time and a huge influence on Elvis Presley, Johnny Cash, Jimi Hendrix, and Ray Charles. Marie and Rosetta chronicles her first rehearsal with a young protégée, Marie Knight, as they prepare to embark on a tour that would establish them as one of the great duos in musical history. This story of letting loose, finding your voice, and freeing your soul is a soaring music-theatre experience chock full of roof-raising performances.
“Wonderful, touching, and empowering!” -The Daily Beast
Rotating Rep
ANGELS IN AMERICA: A GAY FANTASIA ON NATIONAL THEMES
PART ONE: MILLENNIUM APPROACHES, PART TWO: PERESTROIKA
By Tony Kushner
Directed by Sean Murray
Mar. 6 – Apr. 20, 2019,
Opening Night Mar. 9 (Millennium Approaches) and Mar. 24 (Perestroika)
America in the mid-1980s. In the midst of the AIDS crisis and a conservative Reagan administration, New Yorkers grapple with life and death, love and sex, heaven and hell. Alternately hilarious and heartbreaking, it was awarded two Tony Awards for Best Play and the Pulitzer Prize for Drama.
“Daring and dazzling! The most ambitious American play of our time.” -Newsweek
Playful New Adaptation
Southern California Premiere:
PRIDE AND PREJUDICE
By Kate Hamill
Directed by Rob Lutfy
May 15 – Jun. 16, 2019, Opening Night May 18, 2019
The outspoken Elizabeth Bennet faces mounting pressure from her status-conscious mother to secure a suitable marriage. But is marriage suitable for a woman of Elizabeth’s intelligence and independence? Especially when the irritating, aloof, self-involved… tall, vaguely handsome, mildly amusing, and impossibly aristocratic Mr. Darcy keeps popping up at every turn. Literature’s greatest tale of latent love has never felt so theatrical, or so full of life than it does in this effervescent new adaptation.
“a Pride and Prejudice that is funny and whimsical, but still captures the essence of Austin’s captivating novel.” – Huffington Post
New subscription sales will be available beginning March 12th. For more information regarding subscriptions packages please contact the box office at 619-337-1525 or visit www.cygnettheatre.com.
A Holiday Q&A with the cast of A Christmas Carol
This holiday season, Cygnet Theatre welcomes the return of the holiday classic adapted from Charles Dickens’ timeless tale of hope and redemption. The cast of A Christmas Carol will inspire the audiences with this unique storytelling experience. Check out their holiday Q&A.
Melissa Fernandes
What is your favorite holiday movie?
My favorite Holiday movie is Emmett Otter’s Jug-Band Christmas. Does that count?… I love It’s a Wonderful Life and Love Actually. But I adore Scrooged, which is the modern take on A Christmas Carol.
Eggnog – gross or delicious?
Totally delicious! But also, should never be served or sold before Thanksgiving. It marks the start of the holiday season for me.
What is on your wish list this year?
Peace on earth, good will to all. I also would totally appreciate a bike. I don’t know how to ride, so it is time to learn!
What is the most important part of the holiday season for you?
Being with my family. We are always so busy throughout the year so the holidays mean sharing at least some time together.
David McBean
What is your favorite holiday movie?
My favorite holiday movie is While You Were Sleeping.
Eggnog – gross or delicious?
Eggnog is gross!
What is on your wish list this year?
I don’t have anything on my wish list except a desire for good health.
What is the most important part of the holiday season for you?
The most important part of the holiday season for me is remembering to be grateful.
Katie Sapper
What is your favorite holiday movie?
My favorite is The Muppet Christmas Carol.
Eggnog – gross or delicious?
No, thank you.
What is on your wish list this year?
A Polaroid camera.
What is the most important part of the holiday season for you?
Spending time with family and loved ones.
Tom Stephenson
What is your favorite holiday movie?
It’s a Wonderful Life.
Eggnog – gross or delicious?
Eggnog is kind of gross.
What is on your wish list this year?
To accomplish something unimaginable.
What is the most important part of the holiday season for you?
Companionship.
Melinda Gilb
What is your favorite holiday movie?
My favorite holiday movies are A Christmas Story, A Charlie Brown Christmas, Rudolph the Red-nosed Reindeer, White Christmas, Santa Claus is Coming to Town, Home Alone, and A Christmas Carol.
Eggnog – gross or delicious?
I used to love it, now not so much.
What is on your wish list this year?
Peace, solitude, and new furniture.
What is the most important part of the holiday season for you?
Lights.
Charles Evans Jr.
What is your favorite holiday movie?
It’s a toss up. My favorite classic holiday film is White Christmas. Also, my favorite movie set at Christmas time is Die Hard.
Eggnog – gross or delicious?
Oh, definitely gross.
What is on your wish list this year?
My list is pretty short this year. I have been very very fortunate. Does Santa help cover wedding expenses?
What is the most important part of the holiday season for you?
We talk about it in the show, but the holiday season does feel like the only time when people “seem by one consent to open up their shut-up hearts freely.” The holiday season serves as a reminder to slow down a little, and show compassion to the people around us.
Patrick McBride
Eggnog – gross or delicious?
Gross.
What is on your wish list this year?
Peace and harmony.
What is the most important part of the holiday season for you?
Spending time with family.
Catch this favorite holiday musical through December 24th!
The Drag Glossary
In case you didn’t know, Drag culture has it is own vocabulary. Here is the beginner’s guide to drag-speak. We’ve selected 20 words to get you started. What are you waiting for? Get to werk!
1. Bar Queen
n. a drag queen who only performs in small bars. Typically used as an insult.
2. Beating Face
v. to apply the perfect amount of makeup on the face, resulting in a flawless look. The term references the motion of constantly dabbing a makeup sponge or brush against one’s face.
3. Boobie Bib
n. a false breast piece worn by drag queens to give the impression of female breasts. They are often made of flesh-tone silicon of rubber.
4. Busted
adj. a dilapidated drag queen who can’t make up or style properly, looking unkempt, unrefined, unpolished, generally poor presentation.
5. Boy Name
n. a drag queen’s given name as opposed to her stage name.
6. Butch Queen
n. a masculine-looking drag queen.
7. Cakes
n. a slang term used to describe butt cheeks.
8. Camp Queen
n. a type of traditional, over-the-top drag act, with little effort at female impersonation.
9. Chicken Cutlets
n. a slang term used to describe padding worn by drag queens to give the illusion of having female hips and thighs.
10. Corset
n. an undergarment worn, that tightly fits around the abdomen of the queens to help create a proportioned, hour-glass figure.
11. Diva
n. a slang term for any woman or drag queen who is self-important, demanding, temperamental, or hard to please.
12. Drag King
n. a woman who dresses as or impersonates a man for entertainment/show purposes.
13. Drag Mother
n. an experienced drag queen who acts as a mentor and guide to a younger, up and coming, less experienced, or apprentice drag queen.
14. Fierce
adj. a term used by drag queens meaning to possess a good, intense, satisfying, powerful, or beautiful quality.
15. Polished
adj. a term used to refer to a drag queen whose look is considered to be flawless, well executed, seasoned, and perfected.
16. Sashay
v. to strut with an elaborate roll of the shoulders and hips, from the ballet term chassé.
17. Shade, or Throwing Shade
n. the casting of aspersions, bluntly pointing out a person’s flaws in an insulting manner.
18. Showboat
v. to impress in a self-aggrandizing manner, as a big well-lit, noisy theatrical riverboat.
19. Tuck
v. to place the penis back between the legs.
20. Werk, or Work
v. a slang term to put in the effort necessary to impress or stun
Catch The Legend of Georgia McBride through November 12th!
The Artistic Fellows at Cygnet Theatre
“This summer I had the pleasure of having Kate Pittard and Magali Trench as the Artistic Fellows at Cygnet Theatre. They read hundreds of new and already published plays for our season and for the Bill & Judy Garrett Finish Line Commission. They observed what goes on day-to-day at a professional theatre, acted as scene partners and readers for auditions, assisted in marketing and board events, organized countless head-shots and resumes, represented Cygnet in the community, and discussed theatre and art for hours on end with me.
They are now in the middle of another year at school (The University of North Carolina School of the Arts and Mason Gross School of the Arts at Rutgers University) but before they left I asked them to write letters to themselves exactly one year ago. What they wrote I find useful for future Artistic Fellows and insightful advice for any young theatre practitioner looking for the next step in their career.”
-Rob Lutfy, Associate Artistic Director
Kate Pittard:
Dear me (one year ago),
Three summers ago my acting teacher told me, “From the minute you were born, you were tapped.” He told me that as an artist I am a fundamental part of something special and crucial. Three summers later, I am sitting across from him in his office on the opposite coast. In 21 days I embark on my second year of training at UNCSA School of Drama. When I close my eyes and imagine this impending adventure, I am standing at the beach looking out to the water, and I see the same vision I saw one year ago: a very tall and dark blue wave. And it’s coming towards me. I stand with feet in the ocean. One year ago, I cautiously waited for the water to splash. This year, I’m diving in.
For four and a half weeks, my best friend Magali Trench and I have worked as Artistic Fellows at Cygnet Theatre Company in San Diego across the country from our homes in Virginia and Florida. Our mentor and the aforementioned acting teacher Rob Lutfy– who is the Associate Artistic Director at Cygnet– leads a commission in the winter that provides playwrights with the means to finish their “dream plays” in need of a home. Our main job this summer was to choose those plays.
We were utterly steeped in scripts, absorbing the words like sponges. We read plays about identity, love, sex, heartbreak, death, birth, family, school, power, abuse, a cardboard lover, a Nigerian family, a rising drag queen, a villainous protagonist, a family-owned Italian restaurant, a retiring flight attendant, a school shooting, Barack Obama, Michael Jackson, Donald Trump; we read plays that made us laugh, plays that made us sob, and plays that made us question everything. I started to really recognize the stories that I love. I noticed how my heart pitter-patters in plays about families, how I gravitate towards plots led by strong women.
Rob Lutfy told us to write down our mission statements as artists, our “due norths.” Then every single decision in our careers can be guided by what we hold most important. My passions spilled out onto the paper as I tried to distill my north star into words. I want to empower women. I want to remind people they’re not alone. I want to create empathetic role models.
One year ago I stood on the shore, and I wouldn’t dare to jump into the wave. In this “business” it’s easy to scrutinize my reflection in the mirror, to compare the way my body moves to other bodies in the dance studio, to long for someone else’s voice. But every artist is special. And that axiom includes me.
One year ago the wave was thrilling, but it was terrifying, and the frightened part of me couldn’t bring herself to fully dive in. I wrote inspirational quotes all over my journals but I don’t know that I fully trusted them: I am enough. My body, my senses, my brain, my heart, my voice, my instincts are enough to face the wave.
One year ago I slid into a wave and now it is circling back around, as it always does. This time my heart is pressing me forward. I remember I was born to do this. I remember I will continue to try, learn, and grow my whole life. I remember why I am the right one for the job. I look up and see my north star, and I remember what is most important. And I dive.
Dear me (one year ago), dive!
Magali Trench:
Dear me (one year ago),
Right now, as you read this, you think you know who you are, what you want, even who you are as an artist, and although I laugh looking back on that now, I am so glad that you do because by the end of this year’s adventures, you will be a different person. So no, this letter is not where I will tell you what happens or what to do to prepare for what is to come. Because trust me you’d hate me if I did. You’ll want to live through the blood, sweat, and tears first hand. You will crave the breakdowns and breakthroughs, unfiltered, raw and with no warning because they just taste sweeter that way. I have no spoilers for you, just some advice or rather reminders:
Expect nothing but be open to everything. Experience each new thing deeply and fully before assigning a point of view towards it. Listen. Trust that sometimes the question you need answered most can only be done so by yourself and that your gut instinct is almost always correct. Love your hunger for this art. Feed it everyday and let it fuel your every decision. Live for your passion and surrender to each next adventure it takes you on.
This year you get to dive into the artistic side of the world, a concept you have only dreamed about until now. Understand that it will test everything you know or thought you did. You will come to realize that there is no fixed self and that every part of you is constantly shifting and growing. So when a surprising, serendipitous opportunity or adventure or conversation falls in front of you, take it. Grab it by the horns because I promise there is a lesson to be learned. I say this to you with confidence because right now I am sitting in San Diego, California, across from one of my greatest mentors, Rob Lutfy, and besides my best friend, Kate Pittard, who has been my partner in crime for this Fellowship at Cygnet Theatre. Say yes my friend, seek it out and see it through because this last month, for example, has been an entire education of its own.
You will leave here with a journal overflowing with invaluable knowledge, an understanding of how a successful theatre is run day-to-day and truly experience what would’ve taken years to understand otherwise. Cherish every conversation, every brainstorming, stream of consciousness moment with Rob Lutfy, Sean Murray, Tim West, Kate Pittard and really everyone you meet because they each have experience to be shared and insight to learn from. Get ready to question and start solidifying your understanding of what work you want to be a part of and what actually speaks to your core from the new material and scripts you will be reading. Truly soak in every word Rob says; that man is pure magic and is a living reminder of what theatre has the ability to be. Invite every opportunity to push what you thought was possible and be grateful. Grateful and humble to everything you have yet to learn and for the fight you get to be a part of everyday.
This past month is one that will open up your scope to what you can do with this art. Yes, there is a lot of work that has yet to be done, not only for theatre, but for the world, but allow this understanding to fuel your passion, make you hungrier and get you ready for battle. Follow Rob’s advice and let Sean’s words resonate with you for the rest of your life. Start building your due North and follow it. Follow it with everything you have. You are an artist, a creator and now it is time to just get to work. So this is it. Get ready. Get stoked and most importantly enjoy every god damn second of it.
Kick some ass my friend, a slightly older you.
Kate and Magali are going places; this is just the beginning for them. We are glad Cygnet was a step in their journey.
Q&A with the cast of The Effect of Gamma Rays on Man-in-the-moon Marigolds
This Pulitzer Prize-winning lyrical drama tells the story of a wounded family unraveling at the age of innocence and at the age of no return. Life in the 1960s with Beatrice, an embittered single mother, resembles a hell more than a home for her two daughters. But Tillie, the youngest, finds her own way to connect the world with resilience and hope. Tillie – keeper of rabbits, dreamer of atoms, true believer in life, hope, and the effect of gamma rays on Man-in-the-Moon Marigolds.
To get to know this talented cast better, we asked them a few questions about the show and their experience.
Abby DePuy (Tillie)
Why do you feel this play is relevant today?
I think Gamma Rays is relevant today because it reveals the heartbreak which results from broken families and loss. These are things that many people, unfortunately, can relate to. Tillie offers hope to the victim of loss and brokenness that a person can rise above her circumstances.
This is often described as a play with “roles for actors”. What are you most looking forward to about either your role, or working on the play as a whole?
I am super excited to work with such an incredibly talented cast who put so much heart and effort into their art. Our director Robby is brilliant, and I know he is going to propel me as an actress and create an unforgettable, unique show. Tillie is an inspiration to me because she does not allow her circumstances to define who she is or what she will become.
I am looking forward to the challenge of playing Tillie because of her complexity. She is hopeful and optimistic while looking for ways to bring her family into some kind of harmony. But she also hides or tries to be invisible to avoid conflict.
Do you have history working with any of the other actors or creative team? Have you worked on any other American Classics in the past?
I have spent the majority of my years in the musical theater world. Gamma Rays will be my first professional play and first time performing an American Classic. I am looking forward to working with the cast and creative team, who are all new friends since meeting at callbacks.
DeAnna Driscoll (Beatrice)
Why do you feel this play is relevant today?
Anytime a play is as well written as this one, you can always find connections to our time. The characters are so rich and their dilemmas are so present and deep that I think audiences will allow themselves to have empathy for these females. There are so many issues right now that make us fearful of what is coming next. This is the exact world that these characters live in – the fear of what is coming next. It’s relatable for everyone.
This is often described as a play with “roles for actors”. What are you most looking forward to about either your role, or working on the play as a whole?
It is true that these types of roles don’t come along very often. When they do, I like to stay open and learn as I go. I have ideas, questions and feel confidant that we are going to go on a journey together as we work through this play. I believe that often times roles come to actors when they are supposed to and I am not certain yet why an alcoholic, abusive, insecure, frightened mother role just came to me. I am not going to judge it but rather run with it!
Just like all of us, the flaws in my character are deep and painful. She is a stunted woman trying desperately to raise her daughters the best she knows how. That’s a great character to have the honor to play. I feel very fortunate to share the stage with these ladies and work on this phenomenal play with Robby.
Do you have history working with any of the other actors or creative team? Have you worked on any other American Classics in the past?
No. That is actually one of the most exciting elements for me! I love the idea of working with a director and fellow artists that I have never worked with before. Every show I do, I learn something from each and every person involved and so I can’t wait to see what my new lessons are during this process.
I played Maggie in “Cat on a Hot Tin Roof’ years ago in NYC, and I played Grace in “Bus Stop” at The Old Globe. I love the experience of doing “steeped in realism” American Classics. This opportunity is giving me another chance to experience that, which is one of the many things I am excited about.
Rachel Esther Tate (Ruth)
Why do you feel this play is relevant today?
Fear and love are universal. They lead us to almost every decision we make. This play zooms in on a family of women who are struggling to find the ways to cope, to escape fear and live thoughtfully in their love. It shines a light on the little inner struggles that consume us as we try to move along through life as siblings, parents, and humans in general. Throughout the story, Tillie discovers what it means to be special and realizes her role as a tiny, but important part of the universe. It is beautiful and captivating, structurally simple and poetic, raw and real.
This is often described as a play with “roles for actors”. What are you most looking forward to about either your role, or working on the play as a whole?
I have to say, I’m pretty psyched to be onstage with only women. This play is a goldmine for actresses as individual artists, but especially as an ensemble. It is a story of four strong and beautifully complex women that explores the strength and trials of sister/motherhood. I have never been in a cast of all female actors and I can’t wait to see what each of these talented women bring to their roles.
Do you have history working with any of the other actors or creative team? Have you worked on any other American Classics in the past?
This is my first time with this group of actors and also my first full production of an American Classic. However, this is my second time working with Robby at Cygnet. He is not only one of my favorite directors to collaborate with, but he also happens to be my life partner. I am so excited to be diving into the beauty of Paul Zindel’s words with such fantastic artists.
Carm Greco (Nanny)
Why do you feel this play is relevant today?
Gamma Rays beautifully explores issues that are relevant today; poverty, alcoholism, child abuse, bullying, forgotten or throw-away seniors, educators who recognize the courage, curiosity of a child…the list goes on. Yet it really is about hope and the indomitable spirit of a young girl who rises above her miserable circumstances.
This is often described as a play with “roles for actors”. What are you most looking forward to about either your role, or working on the play as a whole?
Nanny is an enigmatic character. What does she know? What does she really see and hear?
Do you have history working with any of the other actors or creative team? Have you worked on any other American Classics in the past?
No, which is why it is so personally exciting and rewarding.
Michelle Trester (Janice Vickery)
This is often described as a play with “roles for actors”. What are you most looking forward to about either your role, or working on the play as a whole?
I love making people laugh and am so looking forward to providing some comic relief in the show. Janice Vickery has a special place in my heart because of her quirky humor and offbeat personality. With any script, I love diving in and investigating the text to find clues the playwright has left to help build the backstory of my character. Paul Zindel left such yummy little details about Janice throughout Gamma Rays. I am really looking forward to exploring her in the rehearsal room with Robby. I can’t wait to breath life into her!
Do you have history working with any of the other actors or creative team? Have you worked on any other American Classics in the past?
I am very excited to be making my Cygnet debut with this production! I have not had the chance to work with Rob Lutfy or other members of the cast or the creative team before so I am just over the moon. Since moving to San Diego, I have admired Robby’s directorial vision with each of his productions and Cygnet’s stellar reputation for creating powerful art. I am thrilled to be joining them on this adventure. Much of my time in NYC was spent creating and working on new work. I am thrilled to be revisiting the American Classics once again. Many years ago, I had the chance to play Laura Wingfield in one of my favorite American Classics, The Glass Menagerie by Tennessee Williams. I am honored to tap into a very different character with Janice and can’t wait to share this production with San Diego!
Catch these talented actors through September 24th!
Talk to Cloudy for informations.
Q&A with the Cast of Animal Crackers
Amy Perkins
What first attracted you to Animal Crackers? Working at my favorite theater for the summer and working with Sean Murray!
Were you familiar with the Marx Brothers before this? And if not, what are you excited to learn about them through the rehearsal process and show? I had no idea who they were- in fact I confused them with the 3 Stooges. Now I have seen all the movies and am comforted by seeing Harpo, Groucho, and Chico on the screen.
What do you find most challenging or exciting about working on this production? Is there anything you can tell us about the creative process? Playing multiple characters is always a challenge because you want to make sure the audience can tell who you are each time you are onstage.
Josh Odsess-Rubin
What first attracted you to Animal Crackers? I enjoy their taste. I found myself in the snacks aisle at my local grocery establishment, but the Chips Ahoy appeared rather caloric, I’m allergic to Oreos, and the Keebler Grasshoppers gave me a dirty look, so I went with Animal Crackers.
Were you familiar with the Marx Brothers before this? And if not, what are you excited to learn about them through the rehearsal process and show? I’ve read some works by my favorite Marx Brother, Karl, and I’ve enjoyed his extremely dry wit.
What do you find most challenging or exciting about working on this production? Is there anything you can tell us about the creative process? They cast me alongside a newly-immigrated Italian and a mute; it’s been rough. The snacks have been excellent.
Samantha Wynn Greenstone
What first attracted you to Animal Crackers? The zany world! It pushes the limits both in content and style. The ambiguity of the mechanics of some of the scenes was a challenge I was excited to embark upon!
Were you familiar with the Marx Brothers before this? And if not, what are you excited to learn about them through the rehearsal process and show? I was. Most of my knowledge was pulled from my research. I love that Harpo adopted multiple children. I’m adopted myself and it is the greatest blessing in my life. To have that in common with him is pretty cool because it is another testament to the importance of family within the Marx unit. Family is equally as important to me. I have two brothers. In this show, I have 3. They all treat me like I’m their sister (even though I insist that I’m their BROTHER). There’s a certain level of comfort and freedom to play that comes from that bond and I’m having so much fun having that safety net of support from my cast mates.
What do you find most challenging or exciting about working on this production? Is there anything you can tell us about the creative process? It’s challenging trying to find the balance of how much to pull from the movie/how much Marx humor to bring to it and how much Samantha I can bring to it. Naturally, you want to do justice to the iconic nature of the piece, but it’s important to me to show that I can make a vintage art form my own. If we can communicate that an earlier art form is still relevant and can be improved upon in a modern world, I think we are being responsible as actors.
Russell Garrett
What first attracted you to Animal Crackers? The chance to work with Sean Murray (who I have known since SDSU days in college) and Cygnet Theatre after seeing and enjoying many shows at Cygnet over the years.
Were you familiar with the Marx Brothers before this? And if not, what are you excited to learn about them through the rehearsal process and show? Somewhat exposed to the Marx Brothers when I was younger. I mainly have fond memories of seeing A Night At The Opera. But more of my memories of the brothers were based on other things, like Groucho on You Bet Your Life and other TV appearances, and Harpo doing his mirror routine with Lucille Ball on I Love Lucy.
What do you find most challenging or exciting about working on this production? Is there anything you can tell us about the creative process? It will be challenging to not laugh at the silliness of the other actors and what they are doing. It will also be challenging to play the “straight man” as the Brothers wreak havoc. I’ve played several silly characters in recent years and in this I have to be more the straight man to them.
Bryan Banville
What first attracted you to Animal Crackers? The taste! The iconic personalities of the characters, and the old school physical and punny comedy!
Were you familiar with the Marx Brothers before this? And if not, what are you excited to learn about them through the rehearsal process and show? I knew of Groucho (the iconic glasses we all have worn) and had seen some clips. I was introduced to Groucho when I was doing Forever Plaid and had to do a Groucho “cross” in one the numbers. I am most excited to explore the various bits they do and work on adding even MORE puns to my vocabulary.
What do you find most challenging or exciting about working on this production? Is there anything you can tell us about the creative process? I think anytime you are in a show playing two or more characters that have extensive stage time, it is finding a way to differentiate them. With Jamison and John Parker, I have the added challenge of having two similar archetypes to portray that still have their own idiosyncrasies. This leaves me both excited and scared (musical theater ode for you) for the creative process. There is nothing more rewarding than finding a character for the first time, especially when you first feel it click! Sometimes it can be equally gratifying killing a character at the end of the run of a show. I remember after doing Spamalot at Moonlight, I ceremoniously killed off all 6 of my characters at the end of their last scenes. This helps me in the creative process to not bring in the same character over and over and over again, which can also pose a challenge for character acting!
Spencer Rowe
What first attracted you to Animal Crackers? I’ve always been a fan of the Marx Brothers comedies and have wanted to play Chico for years!
Were you familiar with the Marx Brothers before this? And if not, what are you excited to learn about them through the rehearsal process and show? Yes!
What do you find most challenging or exciting about working on this production? Is there anything you can tell us about the creative process? The physical side of the comedy. The timing has to be perfect!
Chaz Feuerstine
What first attracted you to Animal Crackers? The comedy, the Marx Brothers, and a chance to work at Cygnet.
Were you familiar with the Marx Brothers before this? And if not, what are you excited to learn about them through the rehearsal process and show? I always knew about Groucho, because of the famous mask, and his appearance in random Saturday morning cartoons. But I actually had never watched a Marx brother movie until I was hired on for this show.
What do you find most challenging or exciting about working on this production? Is there anything you can tell us about the creative process? I find the challenge in the characters I play to be the straight society member for the Marx brothers to riff off of. I love that Sean set us up for this success right in the beginning… to always play the action of the scene, not the comedy.
Melinda Gilb
What first attracted you to Animal Crackers? Sean asked me to do it. Seemed like it would be fun and I liked that I would be playing a straight character (meaning, not the funny one).
Were you familiar with the Marx Brothers before this? And if not, what are you excited to learn about them through the rehearsal process and show? I was familiar with the Marx Brothers. They used to show reruns of You Bet Your Life with Groucho and I thought he was brilliant. Harpo kind of scared me!
What do you find most challenging or exciting about working on this production? Is there anything you can tell us about the creative process? Learning the lines has been slow going!
Catch Animal Crackers through August 13th!