Anne G. Morgan, Dramaturg: What initially drew you The Overwhelming?
Shawn LaCount: The Overwhelming was one of the most captivating scripts I had read in a long time. Due to the play's structure, its historical themes and the fact that it is mystery and a thriller- I found myself deeply engaged and unable to put the script down. I knew immediately that Company One had to produce it.
AM: What attracts you to the characters and relationships within this story? How do you hope an audience will identify with them?
SL: I find the characters and relationships in The Overwhelming to be real, complex, and quite familiar. J.T. Rogers has created a play that is clearly based on real people and issues. Over the course of the play I sympathize with characters at some points and get frustrated with them at others, much like I do with the people in my own life. This is a testament to the strong writing. I think audience members will identify with different characters and hopefully this will cause some interesting discussions after the show!
AM: Why do you think this is an important story to tell? How do you think this is relevant to today's audiences, 15 years after the genocide?
SL: Although The Overwhelming is set in 1994 immediately before the Rwandan genocide, I really don't see it as a play about the genocide. The play is about nationality, trust, loyalty, conviction, and family. In many ways, the relationship between Jack and Linda resembles the internal struggles of 1994 Rwanda itself. The concept of genocide or holocaust to most Americans is mind-boggling. How could things anywhere ever get so bad that one group of people decides to annihilate another? It is a difficult question, but as Joseph explains to Geoffrey, "It is not hatred that drives" such horrific events, "but fear." I always think the concept of "fear" makes for good drama. People act in the most fascinating and often irrational ways when they are faced with their biggest fears.
AM: This play is set against a very specific historical background. How does influence your approach?
SL: When directing any play, it is of the utmost importance to search for truth through integrity. If you are representing a historically accurate place with real people, it becomes even more important to do your homework and not make assumptions. However, the idea of truth is subjective. The beauty of a play like this one is that 1994 Rwanda sounds like a very different place depending on who is speaking about it. The play tries to look at the situation with the Tutsi and Hutu on a level playing field, but, at the end of the day, I don’t believe that it is possible to have a neutral standpoint on issues of life and death.
AM: What did you anticipate being challenging about telling this story and how have you approached that in the rehearsal process?
SL: This is a very complicated play with lots of information in several languages and many, many characters. As a director, I was worried about telling a clear story that would keep an audience engaged right through the end. Luckily, we have a great team working very hard on the production; from actors to designers to our dramaturge – we have many wonderful collaborators!
AM: What ideas and concepts have influenced your collaborations with the designers? What were your goals for the creation of the physical world of the play?
SL: The entire design team for The Overwhelming has made a concerted effort to keep the staging and the world of the play simple. Our aim has been to clear the way for the most fluid and exciting story possible with very few effects or theatricality. The play wants to feel like a mystery and a roller coaster ride at that same time. Audiences will likely find themselves on the edge of their seats by the time the lights go down.
Showing posts with label dramaturgy. Show all posts
Showing posts with label dramaturgy. Show all posts
Saturday, October 24, 2009
Friday, October 2, 2009
Max Mondi, Artistic Associate
Greetings!
Max here - I'm assisting the director, the fantastic Mr. Shawn LaCount, on "The Overwhelming". I'm going to give you the inside dish on what I'm up to, as we're now in the thick of the rehearsal process.
Already, this has proven be a new and exciting experience for me. This show is not only my first time working with Company One, but it's also my first foray into the entire Boston theatre scene. With this comes the chance to meet and work with a whole host of new (at least for me) artists and dramatists. Also, the show is a unique endeavor unto itself. I have not worked on many shows that not only have such large casts, but also demand the actors to speak such various and numerous dialects and languages, and demand the director and design team to tackle over forty scenes that take place in a vast catalogue of locations and times. From the first time I read the script, I was thrilled by the prospect of collaborating with a group eager to tackle these challenges head-on.
As I said, my role in this production will be assisting the director throughout the rehearsals. This also is a new hat for me to be wearing. In addition to getting to know the cast and production team, another main focus has been figuring out exactly how I should function in my role and how I can best support the production. What has been very rewarding is how I get to act as a second set of eyes for the director. Each rehearsal, after watching the actors work through the text, I get together with the director and dramaturg to talk about the scenes, discussing what's working, what isn't, and what needs to be done next.
So far, we've been able to take a first look into every scene in the play. It's been fascinating to see what everyone's initial impressions of the play are, and it's exciting to see what's going to happen to those impressions as we go. We've just begun working through the play for a second time, so we'll have to wait and see . . .
That's about all for now, but I'll be keeping you updated on all the happenings!
Over and Out,
Max
Max here - I'm assisting the director, the fantastic Mr. Shawn LaCount, on "The Overwhelming". I'm going to give you the inside dish on what I'm up to, as we're now in the thick of the rehearsal process.
Already, this has proven be a new and exciting experience for me. This show is not only my first time working with Company One, but it's also my first foray into the entire Boston theatre scene. With this comes the chance to meet and work with a whole host of new (at least for me) artists and dramatists. Also, the show is a unique endeavor unto itself. I have not worked on many shows that not only have such large casts, but also demand the actors to speak such various and numerous dialects and languages, and demand the director and design team to tackle over forty scenes that take place in a vast catalogue of locations and times. From the first time I read the script, I was thrilled by the prospect of collaborating with a group eager to tackle these challenges head-on.
As I said, my role in this production will be assisting the director throughout the rehearsals. This also is a new hat for me to be wearing. In addition to getting to know the cast and production team, another main focus has been figuring out exactly how I should function in my role and how I can best support the production. What has been very rewarding is how I get to act as a second set of eyes for the director. Each rehearsal, after watching the actors work through the text, I get together with the director and dramaturg to talk about the scenes, discussing what's working, what isn't, and what needs to be done next.
So far, we've been able to take a first look into every scene in the play. It's been fascinating to see what everyone's initial impressions of the play are, and it's exciting to see what's going to happen to those impressions as we go. We've just begun working through the play for a second time, so we'll have to wait and see . . .
That's about all for now, but I'll be keeping you updated on all the happenings!
Over and Out,
Max
Sunday, July 19, 2009
Grace Geller: Opening Night Here We Come
“What you see with your eyes is not necessarily real.”
This line epitomizes “After the Quake.” Watching the many technical and dress rehearsals this week, I keep being reminded that this play is a world of fantasy and storytelling. In my past blogs I’ve talked about the many transformations and transitions in the play. Now though, with everything together – lights, set, and sound – I’ve come to see that the transitions between worlds are not as important as the merger of those worlds. “After the Quake” is about a man, Junpei, creating a superhero story for Sala, a little girl tormented by nightmares. As the play progresses, the line between Junpei’s reality and story blurs. His characters are as real as himself. When Frog, Junpei’s superhero, reaches down to grab Junpei’s hand and lift him out of the shock and depression of the earthquake, the audience is shown how Junpei’s story is not just for Sala. By the end of the play, Junpei is changed from his story. He learns his own moral: that everyone is important and no one should be controlled by fear.
I can’t stress how beautiful the play is. The set and lights were designed beautifully. There are so many breathtaking moments created by great poses and use of color. I’ve also recently been struck by the humor in the play. When I first read the play, I thought that it was a fun story; however, probably because I did so much research on earthquakes, the element of fear had really come to the forefront in my mind. Fortunately, for the last two weeks, the humor in the play has reemerged. Although the story is about fear, there is in no way a dark element to the play. The fear happens before the play starts, and the humor is, in a way, how Junpei deals with it. There are so many lines and movements where the audience can’t help but crack up. Watch for Frog’s disappointment when he learns Katagiri has never read “Anna Karenina!” This week, even though I know the actions (and most of the lines), I found myself laughing throughout our dress rehearsals.
As for what I’m doing now, I’ve been helping out during the day – painting and sweeping and taking notes on the rehearsals at night. One of my favorite jobs has been acting as a stand in for the actors. I’ve pretended to play all the different roles in the cast to help the director and designers light the show. I get to jump on the platforms as Frog, hide in the boxes, and lie in the beds. I run around, say the lines, and then am told to move a step to my left.
This will be my last post as Assistant to the Director and Dramaturg. I have loved working with Shawn and Liana and am very sad that this part of my experience is over. Opening night I begin my next post – Assistant House Manager. I’ll be the one helping you in the lobby if you have any questions. I can’t wait to see you all at the show! I’m so excited for the run to start!
See you soon!
Grace
This line epitomizes “After the Quake.” Watching the many technical and dress rehearsals this week, I keep being reminded that this play is a world of fantasy and storytelling. In my past blogs I’ve talked about the many transformations and transitions in the play. Now though, with everything together – lights, set, and sound – I’ve come to see that the transitions between worlds are not as important as the merger of those worlds. “After the Quake” is about a man, Junpei, creating a superhero story for Sala, a little girl tormented by nightmares. As the play progresses, the line between Junpei’s reality and story blurs. His characters are as real as himself. When Frog, Junpei’s superhero, reaches down to grab Junpei’s hand and lift him out of the shock and depression of the earthquake, the audience is shown how Junpei’s story is not just for Sala. By the end of the play, Junpei is changed from his story. He learns his own moral: that everyone is important and no one should be controlled by fear.
I can’t stress how beautiful the play is. The set and lights were designed beautifully. There are so many breathtaking moments created by great poses and use of color. I’ve also recently been struck by the humor in the play. When I first read the play, I thought that it was a fun story; however, probably because I did so much research on earthquakes, the element of fear had really come to the forefront in my mind. Fortunately, for the last two weeks, the humor in the play has reemerged. Although the story is about fear, there is in no way a dark element to the play. The fear happens before the play starts, and the humor is, in a way, how Junpei deals with it. There are so many lines and movements where the audience can’t help but crack up. Watch for Frog’s disappointment when he learns Katagiri has never read “Anna Karenina!” This week, even though I know the actions (and most of the lines), I found myself laughing throughout our dress rehearsals.
As for what I’m doing now, I’ve been helping out during the day – painting and sweeping and taking notes on the rehearsals at night. One of my favorite jobs has been acting as a stand in for the actors. I’ve pretended to play all the different roles in the cast to help the director and designers light the show. I get to jump on the platforms as Frog, hide in the boxes, and lie in the beds. I run around, say the lines, and then am told to move a step to my left.
This will be my last post as Assistant to the Director and Dramaturg. I have loved working with Shawn and Liana and am very sad that this part of my experience is over. Opening night I begin my next post – Assistant House Manager. I’ll be the one helping you in the lobby if you have any questions. I can’t wait to see you all at the show! I’m so excited for the run to start!
See you soon!
Grace
Tuesday, June 23, 2009
Grace Geller: Take Two
What’s scary about boiling Brussels sprouts? I have no idea, but there’s something creepy when Frog compares inflicting ‘physiological terror’ on Big Bear Trading to boiling Brussels sprouts. This is one of my many favorite moments in “After the Quake.” Murakami is a beautiful author. His words paint an elegant story that has been masterfully translated into a play by Frank Galati.
Despite the shudders Brussels sprouts now give me, “After the Quake” is not about terror. As we’ve been working through the production process there have been many discussions about the element of ‘fear’ in the play. The play hinges on nightmares surrounding the 1995 Kobe earthquake. But, as the title states, it is a play about what happens ‘after the quake.’ It is a play about how people deal with fear – from widespread death and destruction to personal insecurities. The play depicts universal problems and showcases the best of people. There is hope for every character, from the lonely honey bear Masakichi to the central character Junpei. There is hope that everyone can face their fears.
We have a little under a month left and we’ve already started doing runs of the show. Last week we incorporated the musicians into some scenes. Music is a HUGE element to “After the Quake.” The musicians will constantly be on stage and act almost like another character, helping to drive the show. Music is also vital to help the audience understand the progression of the play, as it switches between time, place, and character rapidly. Although I knew all this from reading the play (and seeing all the music cues), it was a shock to hear the musicians actually there working with us in rehearsals. I had grown accustomed to all those awkward moments. But now, music really brings the show together; it fills in pauses and creates charming moments.
Working on the show so far has been a truly rewarding experience. I am able to talk with Shawn (the director) and Liana (the dramaturg) during each rehearsal and then watch my comments effect the scene. I’ve also been working individually with some of the actors before each rehearsal, helping them with character work and their objectives for long monologues. I feel like I’m really a part of the rehearsal process.
I’m off now to start “Norwegian Wood,” one of Murakami’s novels. You should watch the video trailer and get your tickets for this amazing play.
I’ll write again soon!
* Grace
Despite the shudders Brussels sprouts now give me, “After the Quake” is not about terror. As we’ve been working through the production process there have been many discussions about the element of ‘fear’ in the play. The play hinges on nightmares surrounding the 1995 Kobe earthquake. But, as the title states, it is a play about what happens ‘after the quake.’ It is a play about how people deal with fear – from widespread death and destruction to personal insecurities. The play depicts universal problems and showcases the best of people. There is hope for every character, from the lonely honey bear Masakichi to the central character Junpei. There is hope that everyone can face their fears.
We have a little under a month left and we’ve already started doing runs of the show. Last week we incorporated the musicians into some scenes. Music is a HUGE element to “After the Quake.” The musicians will constantly be on stage and act almost like another character, helping to drive the show. Music is also vital to help the audience understand the progression of the play, as it switches between time, place, and character rapidly. Although I knew all this from reading the play (and seeing all the music cues), it was a shock to hear the musicians actually there working with us in rehearsals. I had grown accustomed to all those awkward moments. But now, music really brings the show together; it fills in pauses and creates charming moments.
Working on the show so far has been a truly rewarding experience. I am able to talk with Shawn (the director) and Liana (the dramaturg) during each rehearsal and then watch my comments effect the scene. I’ve also been working individually with some of the actors before each rehearsal, helping them with character work and their objectives for long monologues. I feel like I’m really a part of the rehearsal process.
I’m off now to start “Norwegian Wood,” one of Murakami’s novels. You should watch the video trailer and get your tickets for this amazing play.
I’ll write again soon!
* Grace
Wednesday, June 10, 2009
After The Quake: Grace Geller
Did you know that at 5:46 A.M. on January 17, 1995, the Great Hanshin Earthquake hit near the city of Kobe, destroying the city and killing over 5,000 people? I didn’t, until I started working this summer as Assistant to the Director and Dramaturg for “After the Quake.” In the past month I have learned about this earthquake and many other facts about Japan.
A little about me – my name is Grace and I’m a rising senior at Wheaton College, a Classical Civilizations major and Theater minor. I am excited to be working with Company One this summer. I started work one month ago and I’ve met so many amazing people!
So what do I do as Assistant to the Director and Assistant to the Dramaturg (yes, I do both these jobs, there was some confusion about that as the assistant stage manager thought the Assistant to the Dramaturg was just never around for the first week)? For much of May, I was working with the Dramaturg to create the Dramaturgy Packet for the actors. For any who don’t know, a Dramaturgy Packet is researched information given to the actors to help explain different aspects of that show. For “After the Quake,” the packet consisted of information on Japan, earthquakes, and Murakami, as well as shorter definitions of people or places referenced in the play.
Now that rehearsals have started, I’m working as the Assistant to both the Director and Dramaturg. I’m getting the opportunity to watch and be a part of every rehearsal. As part of my job, the Director or Dramaturg will also ask me to look up something before the next rehearsal. For example, today I’m learning how to bow properly in Japan so I can teach one of the actors.
I love working for Company One. I also LOVE “After the Quake,” Murakami has such beautiful imagery that translates perfectly into the play. Anyone reading this really ought to go buy tickets for the show. I’ll write again in a few weeks! I’m excited to see how the play develops!
-Grace
A little about me – my name is Grace and I’m a rising senior at Wheaton College, a Classical Civilizations major and Theater minor. I am excited to be working with Company One this summer. I started work one month ago and I’ve met so many amazing people!
So what do I do as Assistant to the Director and Assistant to the Dramaturg (yes, I do both these jobs, there was some confusion about that as the assistant stage manager thought the Assistant to the Dramaturg was just never around for the first week)? For much of May, I was working with the Dramaturg to create the Dramaturgy Packet for the actors. For any who don’t know, a Dramaturgy Packet is researched information given to the actors to help explain different aspects of that show. For “After the Quake,” the packet consisted of information on Japan, earthquakes, and Murakami, as well as shorter definitions of people or places referenced in the play.
Now that rehearsals have started, I’m working as the Assistant to both the Director and Dramaturg. I’m getting the opportunity to watch and be a part of every rehearsal. As part of my job, the Director or Dramaturg will also ask me to look up something before the next rehearsal. For example, today I’m learning how to bow properly in Japan so I can teach one of the actors.
I love working for Company One. I also LOVE “After the Quake,” Murakami has such beautiful imagery that translates perfectly into the play. Anyone reading this really ought to go buy tickets for the show. I’ll write again in a few weeks! I’m excited to see how the play develops!
-Grace
Subscribe to:
Posts (Atom)
Posts
