Usher Nonsense News

A Life In The Theatre - Press Conference

Thu, 26 Aug 2010 15:15:14 -0400

At a recent press conference for the upcoming production of A Life in the Theatre, A few press people were joined by Neil Pepe (Director and Artistic Director of the Atlantic Theatre Company) and the cast – Sir Patrick Stewart and T. R. Knight.

Neli Pepe reflected on his warm association with David Mamet that began back in the 1970’s

PEPE: I have always been a fan of Mamet’s work. He is one of the smartest writers I know. He is a writer who loves actors and what they bring to the table. He has been in rehearsal with us for the past three days making little changes and adjustments based on our cast. He is a writer who loves actors. He has always been so committed to the wonders and absurdities and the uniqueness of the theatre, and this play is a love letter to the theatre.

ELLIOTT FORREST (WQXR): Do you have a particular take on this production?

I always try to derive my take from a deep understanding of what I think the story is and what the writer’s intentions are. The fact that this is being done on Broadway on a larger stage than it was done before (The play was previously produced at the Lortel on Christopher Street in 1977) is certainly informing what Santo Loquasto and I are trying to do with the design. Beyond that, it is basically about utilizing who you have, Sir Patrick Stewart and T.R. Knight, taking what they are bringing it the table and looking at the best, the richest way possible to stage it. This is a play that has onstage scenes that are sort of Mamet’s version of a drawing room comedy, or perhaps Chekov, or a Kinsley play from the 1930’s. You try to figure out how to have the most fun and get to the essence of the truth of the material as well as the actors. It’s not about “laying on” but about discovering and supporting what’s there in the writing, unifying that with the truth of what the actors bring, and then just getting out of the way.

ELLIOTT FORREST (WQXR): This play is about the traditions in the theatre. How have the traditions changed? Have the young actors lost them?

Certainly it’s changed. What with the onset of technology, the Internet and TV and other media etc. There was a time when, if people wanted entertainment, they went to the theatre. But I have been finding, ironically, that people are still coming to the theatre. Everyone thought that with the economic crash they would stop. And what does this play do? It celebrates the wonders of live theatre. In some ways it’s timeless, and you think it could be taking place in the 1930’s or 1940’s. It can be difficult to pull an audience in, of course, but the wonder of puling people together for a live theatre event – the experience of actors speaking live in the theatre without anything else – I think that’s always going to be around. I don’t think we’ll lose that. I’m happy that this play celebrates that.

ELLIOTT FORREST (WQXR): How is the health of the Atlantic theatre Company.

I’m thrilled to report that the Atlantic Theatre Company is doing quite well. Of course donations from foundations and corporations are down, but people are still coming to the theatre. I think it’s a great time to be in the theatre. If what you are doing is quality work, people will come.

TULIS McCALL NYTG: When is the play set?

Great question. David wrote it in 1976. It is a pre-technology age. There are no cell phones or computers! And it is kind of timeless. But I think the key for us was to make certain that there is a contemporary window into the play – so we have set it as close in time to cell phones and computers as we could get – early 1990’s. We all remember the long phone cords ! There is a pay phone in the play – where do you see those now?

T.R.Knight (joins the table); This is day 3 of rehearsal so whatever Neil says is fine.

ELLIOTT FORREST (WQXR): Tell us about your audition process. There must have been many actors who wanted this role.

KNIGHT: This was one of those rare experiences. I got a phone call. It was unexpected and incredible. This is one of those plays that I have had on my shelf – I guess I can say decades now! And to have it fall in my lap was…. I have known Neil since I first arrived in New York (1998).

PEPE: We had many mutual friends in common, and I was a huge fan of his stage work. Then he went out to LA and did Grey’s Anatomy, and like I was describing – here is a great actor who can bring the richness – a lot of people don’t know he was at the Guthrie and this is a play about repertory. So we figured we would be lucky to get him.

ELLIOTT FORREST (WQXR): So the actual call was “You go the part”?

KNIGHT: Yes. It’s crazy. It’s rare to have that experience. You hope they don’t realize later on that they made a mistake.!

TULIS McCALL NYTG: How do you see people who are used to video and computers will receive this play? They will come because they know you from Grey’s Anatomy but what about what they take away?

KNIGHT: I think it’s exciting, but it falls beyond my knowledge of what I can do. It is our job to entertain. And if people come and are snapped up and fascinated by it then you appreciate it. That’s what happened to me when I first went to the theatre. I was very young.

MARY PARK (DAILY NEWS): What is compelling about this for you?

KNIGHT: Working in a Mamet play with Neil and Patrick – it’s all amazing. And to be sitting at a table as I have been for three days with the three of them where David is changing the play a fair amount. To work with a play that has already been writing and to feel like I am part of this process! And the stories! Normally that is so boring for me. That first week where you sit around the table and read and talk. That’s when I start passing notes like a grade school kid. I love getting on my feet. But to sit HERE! The notes I am taking are real notes are because I am hearing stories and references to people, to legends.

PEPE: Because the material is what it is – about actors in the theatre – David and Patrick (Neil and I have our own little stories), THESE guys tell incredible stories! Incredible! They have been doing this forever! Between Mamet’s writing and the stories about Royal Shakespeare Company…and it is all feeding into what we’re working on - the story of the play

STEWART (who has just joined us): We must have spent half the time anecdoting and reminiscing, and even though I joked about how “fast” we were moving , I never felt for a moment like we were wasting time.

KNIGHT: I like wasting time like that. If that is wasting time, I want more

STEWART: You are a young. You have time to waste. Some of us are old!!!! Ahhh! It always felt as though we were rehearsing. Even when we were telling stories

PEPE: Absolutely because the stories would come out, and then we would read the scene. Again, the play is what happens offstage and on stage to two great actors who have committed to being part of a repertory theatre. And there are just so many incredible things they talk about. Patrick’s character talks about etiquette, the Patrick himself will stop and talk about etiquette in the theatre and Mamet and I do ----

KNIGHT: And I talk about what I had for lunch.

PEPE: One of the other hilarious elements of this play is that these guys get to do onstage scenes that are sort of references to a play that might seem like a Chekov play or a Journey’s End or a drawing room comedy, but there is something wonderful and funny about that tradition of props in a live theatre where set pieces go wrong. It is a window into that unique event.

MARY PARK (DAILY NEWS): A lot of Mamet’s stories ring uncomfortably true. Have you had experiences that were similar to this play.

STEWART: Everything that happens to Robert and John in this play with one exception has happened to me. A lot of my life has paralleled Robert’s life. I have been lucky to have a little more commercial success than Robert has as of yet.

JIM TAYLOR (WCBS): One word for this show?

STEWART: Laughs. A lot of great laughs but perhaps a little untypical?

PEPE: It is. It’s really very touching and funny – onstage and offstage scenes. A beautiful look at a life that a lot of people don’t know. I keep saying that I think it is Mamet’s love letter, his homage to the theatre. But I think it’s also an incredible piece for actors and directors.

STEWART: And what has come out as we have sat around this very table is that our author Mamet, of course he has a huge respect for the theatre, has (which doesns’t always exist) a real fondness for actors and people who work in the business of life theatre. I think when you look at the title, instead of A Life in the Theatre you should parenthetically change it to HIS Life in the Theatre.

MARY PARK (DAILY NEWS): What about profanity? You are about the only person I can think of who can pull that off elegantly.

STEWART: Sit back, because you are going to hear some of that. It is going to be warm language.

Patrick Lee

Thu, 10 Jun 2010 12:31:29 -0400

The theatre community has lost a dear friend. Patrick Lee, a writer for TheaterMania and creator of Just Shows to Go You died this week after suffering a heart attack. He was 51.

Patrick was co-writer and co-founder of the Show Showdown blog, and a regular contributor to TDF.com, a juror for the GLAAD Media Awards, Awards Director of the Independent Theater Bloggers Association, and a member of the Outer Critics Circle.

As you can see, Patrick lived in the theatre world. He was a big man, intense but quiet. When he spoke it was almost a whisper, and he made you feel like he was letting you in on a secret. The secret was that he was a good guy who was passionate about supporting theatre wherever he could find it - Broadway, Off Broadway, Off Off Broadway and waaaaaaaaaay Off Broadway.

He saw more theatre than I did, which impressed the heck out of me. His was a walking compendium of theatre history and shared his knowledge liberally. He had the ability to agree or disagree with you and make the discussion safe as well as engaging. A remarkable man, gone way too soon.

I encourage you to look at his website and honor what we will all miss.

Wherever you are Patrick, Break A Leg.

Love

tulis

Feinstein and Everage Together in ALL ABOUT ME

Tue, 16 Feb 2010 14:19:15 -0500

Prior to the first previews of All About Me Dame Edna Everage and Michael Feinstein made a special appearance last night at the Red Eye Grill for a press conference and informal Q and A for Internet Theatre Writers and Bloggers.

The two entered hand-in-hand, Edna remarking that she was uncertain of the quality of the room and calling out Hulloo’s to her “Possums”. Once seated, Edna, ravishing in red sequins, diamonds, and a bouffant with a purple rinse, remarked that she wasn’t quite certain what a blogger was. “Sounds a little suggestive to me.” She noted the paucity of women in the room (what a surprise) and hoped that nothing untoward would happen to her person. Then she thanked us all for being there.

“Broadway has been kind to me,” said Everage, “throwing Tony’s at me.”
“Not at me,” said Feinstein.
“Yes dear but you got that other award, oh what was it, the one that is less than a Tony…? Oh! An Emmy. You got one of those didn’t you?”

Michael Feinstein has his work cut out for him just keeping pace with Dame Edna – and he presented himself admirably. There was a brief trip down memory lane where they spoke of the dinners they used to attend at Roddy McDowell’s house with Lauren (we call her Betty) Bacall, who hated the food and loved the company, Vincent Price, Betty Davis, etc. When they noticed that some of these names were not eliciting an enthusiastic response Dame Edna leaned in to Feinstein and said, “We are not dealing with the intelligencia here are we?”

Dame Edna revealed that she might be the child of George Gershwin, who washed up on a beach in 1936 and landed on top of her mother. When Feinstein pointed out the date discrepancy, Everage replied – “Oh my mother saved e-v-e-r-y-t-h-i-n-g. She had a freezer you know.”

The two were asked where they liked to lunch: Feinstein is a vegetarian. Edna? Red meat, what else?

The two claimed not to have a rehearsal process or much of a plan, because the idea is of their show predicated on both of them wanting the same show title All About Me. They allowed as how it was the Shuberts who brought them together and convinced them that two would be better than one on stage. And they did promise that they will be s-h-a-r-i-n-g, as good chums do. Feinstein will get time alone on stage as will Dame Edna. Edna will get the star dressing room, however, because she has all the frocks. The stage they are sharing is the Henry Miller “The pornographer, he wrote all those naughty books, and they named a theatre after him,” Said Edna.)

I spent a bit of time with the other members of the creative team, including Lizzie Spender and Terrence Flannery. This is a mutual admiration society with nothing but gratitude and respect for everyone involved. Although Casey Nicholaw was not present, he was mentioned more than once as a director who knows what he is doing and is a gifted collaborator as well. Rare bird, that.

In closing our too brief time together, Dame Edna was asked to sum up the show.

“I’d say it was a love/hate relationship between a tall, attractive Australian and,” she looked Feinstein over slowly, “…an…American. “And, we hope it will be the Best Show In Town.”

Amen to that.

ALL ABOUT ME will play at Henry Miller’s Theatre (124 West 43rd St.),
beginning performances on Monday, February 22, 2010 and officially opening on Thursday, March 18, 2010. Ticket Price: $49.50 - $126.50 Tickets http://www.telecharge.com 212-239-6200, 800-432-7250 http://broadwaysbestshows.com/show/All-About-Me

Sizwe Banzi is Dead

Sun, 6 Apr 2008 15:10:08 -0400

Sizwe Banzi is Dead is a play by Athol Fugard, John Kani, and Winston Ntshona. AT BAM April 8th - 19th.

Ntshona and Kani together won the Tony for Best Actor in 1974. I saw this play that year at the Edison Theatre and am going to BAM to see it again this week. Click here for information.

It is the story of Sizwe Banzi, a black man in South Africa who, because of a clerical error on his government required papers, will be forced to work in a township where there are no jobs. He will have no money to send home to his family.

He and his friend come upon a corpse with valid papers. The switch is made. Robert still lives, but must write home to his wife that “Sizwe Banzi is dead.”

It is a brilliant, chilling piece of theatre. Not unrelated to our lives today. Go see it if you can.

New stuff

Sun, 16 Mar 2008 14:37:33 -0400

I thought of something juicy o write here just the other day - but it fell out of my head. Perhaps you will find it tumbling aong the sidewalk. Lete me know.....