Another rehearsal update! In this installment: a look at one of our creative ensemble processes, creating compositions based on thematic aspects of the show, as well as an interview with our director, Nick Tash and his rationale behind composition week.Read More
The time: just before 7 p.m. The place: PFW Studio Theatre. The mood: excitement and a robust sense of positive anticipation. Why? We’ve jumped right into our rehearsals for Macbeth, with our production coming up at the end of November!
This week, before we get into table work with our scripts, we’ve been focusing on physicality and an introduction to the mask work that will be so very important later in the process. Because our actors come from backgrounds of varying familiarity with mask technique, we invited Todd Espeland, the new Executive Artistic Director of the Fort Wayne Youththeatre, to come and lead us in a series of workshops. An expert in the field, Todd has done post-graduate work in Mask, Clown, and Commedia Dell’Arte at Dell’Arte International in Blue Lake, California, among many other impressive theatrical credentials. We were incredibly grateful to have him with us for this (too short) bit of time.
So this week, I sat down with three of our actors from Macbeth to get their takes on the experimentation we’ve been doing in and around masks, under Todd’s direction and expertise, as well as hear why they decided to join our merry band of players in the first place.
We are ecstatic to welcome back Chance Parker, who is playing our Macbeth after playing our Dukes in 2017’s As You Like It. He decided to audition because he believes in what we do (thanks, Chance!) and notes that he’s excited about this show in particular. “Macbeth itself is a really fun play. It’s well known, but it’s a great one. Not only the political intrigue, which I’m really into, but you’ve also got all these supernatural elements that really add to the mood,” said Chance.
Izzy Chilian is joining us in hopes of “a learning experience.” Despite not having done any shows with Shakespearemachine before, she’s no stranger to either Shakespearean texts or the Fort Wayne stage. As our First Witch (among other roles), Izzy said, “I’m really looking forward to being a little creepy. A little spooky.” It’s all about the aesthetic, am I right?
And finally, I talked to Mike Adams, our understudy for Macduff, whom you might recognize from the IPFW stage along with Chance. Mike is also a first-time Shakespearemachine cast member but was intrigued by the idea of working with masks further than he has during rehearsals in the past.
So what do all three of these actors think about our mask work so far?
One of the areas of mask work we’ve been focusing on has been mask and countermask: the idea that within every mask, there is another side of the character’s personality. Todd likens it to the “mask” being the public self, who might be on reality T.V., versus the “countermask,” which would be what the person or character is really like in a private space once the cameras are off. Both sides of the character are valid, and they don’t necessarily have to be stark opposites - and certain external elements can cause a shift between the physicality of the mask and its countermask. “As I’ve been looking at the script, I think Macbeth himself has a very different mask and countermask,” said Chance. “So I’m interested in finding that, and where he switches, and how that switch looks.”
Mike, too, has found value in the way that masks can help physicalize internal character traits, especially based on the shapes found in the face and features of the mask. “[It’s cool to] get an idea of what the personalities are, based on the appearance,” he said. “And making an inner monologue for the character, so I get a chance to know it better. It’s exhausting, yeah, but it’s very worth it because it helps you get into the character much more.”
What’s really special about the mask work is that it opens doors into new ways of seeing the text and interacting with the world that’s built within it. “I think it’s kind of incredible. Like, it’s not just mask work. You can apply it to any part of theatre,” said Izzy. We thank Todd for his enthusiasm and energetic personality as he joined us this week and helped to open up those doors for us.
As we move into more movement, viewpoints, and devising next week, and then table work the next, I’ll keep you updated on what’s happening in rehearsals! Keep an eye out on our Facebook page and Instagram so you don’t miss our next update - and if you’re interested in coming to see how all this mask work will come together during the performance, tickets will go on sale soon!
Shakespearemachine will be performing Macbeth at the Parkview Physicians Group ArtsLab (300 E. Main St., Fort Wayne, IN), November 30 through December 16.
As anyone in theatre world probably knows, Macbeth isn’t supposed to be mentioned inside a theatre, which is why it’s often called “The Scottish Play” or other nicknames (here at Shakespearemachine we usually prefer “Mackers”). If you say the name in the theatre, you have to leave the building, spin around three times, spit over your left shoulder, and either cursing or say a line from a different Shakespeare play before knocking to get back in. Otherwise, bad luck will befall either the speaker and the theatre in general.
We tend to believe in the superstition; during our director’s pre-show speech before Faustus back in January, when he announced this fall’s performance of Macbeth, those of us in the cast collectively shuddered backstage every night. And we have indeed had our share of bad luck, which seems to indicate that we should take a “better-safe-than-sorry” standpoint and avoid the name just in case.
But, like, how cursed is it, really?
First of all, supposedly “cursed” past incidents include:
- The actor playing Duncan in a 17th-century performance in Amsterdam accidentally being killed with a real dagger instead of a prop
- Harold Norman, an actor playing Macbeth in 1947, getting killed onstage during a combat scene
- A falling stage weight nearly killing famed actor Laurence Olivier by inches when he took the lead role in 1937
- A show directed by John Gielgud in 1942 ending up with a real-life body count of three: Duncan and two of the witches
- The Astor Place Riots between two rival performances of Macbeth in New York in 1948, killing at least 22 people and injuring over 100 (listen to the genuinely interesting episode about this incident from the Folger's "Shakespeare Unlimited" podcast here)
So not a great track record, overall. The History Channel relays the rumor that the whole “curse” thing all started when the play was first performed in 1606 and the actor meant to play Lady Macbeth suddenly died, forcing Shakespeare to play the part himself.
Some people believe that because Shakespeare incorporated real spells into the Weird Sisters’ dialogue and real ingredients into their potions, he brought the curse upon the play himself, whether intentionally or unintentionally. Some people believe that witches “cursed the play for eternity” in revenge for portraying them so wickedly, according to the Telegraph. Belief in witchcraft WAS big back then, after all (to find out more, keep your eye out for our spooky Halloween post in a few months).
However, in Paul Menzer’s Anecdotal Shakespeare (a new performance history out from Arden Shakespeare), he explains that despite the misfortunes that might have occurred during performances of Macbeth, there is no historical evidence of anyone mentioning a “curse” or surrounding superstition for almost 300 years into its performance history. Any theatrical mishaps that occurred during Macbeth productions are instead just called “accidents.”
Plenty of reports of these incidents had the chance to bring up the “curse,” and yet none of them did. This points to the conclusion that Macbeth wasn’t a specifically unlucky play; it was just a play that was performed a lot because of its popularity, so it would naturally end up having more tragic incidents occur in conjunction with it. Paul Menzer goes into much greater detail about the supposed origins of the curse and all of its fun anecdotes, so check out his book here if you want to learn more.
No reality behind the superstition, then; just tradition. But who can blame people for concocting this mysterious curse? After all, Macbeth is a spooky play, full of witchcraft and ghosts and mystically-appearing daggers. The fact that this superstition (probably) isn’t real doesn’t ruin the fun.
Do you believe in the curse? Tweet us @shakesmachineFW let us know. Special shoutout to the Hurly Burly Shakespeare Show, a fabulous podcast hosted by Aubrey Whitlock and Jess Hamlet, for introducing us to Paul Menzer’s book and their fantastic discussion of the curse in general. Check out their episode on Macbeth here.
And look forward to September, when we start getting into Macbeth rehearsals! We can't wait to start posting interviews with the cast and behind-the-scenes fun. Thanks for reading!
In our last Shakes-in-context blog post, we wrote about the Great Chain of Being and how, in the play Macbeth, the Chain is disturbed by Macbeth murdering the rightful king and blaming the king’s son, leaving Macbeth to rule over Scotland. Historically speaking, this is actually only partly true. The real Macbeth, from 11th century Scotland, is not much like Shakespeare’s version. Shakespeare learned most of his information about Macbeth from Raphael Holinshed’s Chronicles of England, Scotland, and Ireland, which might have been the cause of some of the discrepancies (also, he had poetic license to change whatever he wanted, really). Read on to learn more about the REAL Macbeth.Read More
Who’s ready for some double-double-toil-and-trouble?? As we begin the trek towards our production of Macbeth in November, we’re going to highlight some fun contextual facts and historical ideas related thematically to the show. Each month will focus on a new idea related to our favorite Scottish murderer, and this month’s topic is one that relates to a number of Shakespeare’s plays: the Great Chain of Being.Read More
The idea of the “acting company” has evolved over the years since Shakespeare’s day, but the closest organizational method that exists today is the ensemble-based theatre company... While everyone and anyone is invited to audition for each of our shows, we have a core group of ensemble actors who serve as our “company members,” involving themselves with artistic direction and the administration of Shakespearemachine, which creates a culture of democratic decision-making within the company. You may remember a bit about acting companies from your high school English classes, but if you don’t, read on for a little more information about how traditional acting companies functioned back in Elizabethan England.Read More
In this edition of Behind the Scenes with Shakespearemachine, the directors Halee Shutt and Nick Tash interview Minelli Manoukian (Coriolanus) and Chase Francis (Aufidius) in a round table-style interview.
Who is your character in relation to the show?
Chase Francis: My character’s name is Tullus Aufidius, and he is the general of the Volscian army and the antagonist to Coriolanus on the battlefield.
Minelli Manoukian: And I am playing Coriolanus, the tragic hero of the show.
Are there any challenges in this show that you are have enjoyed tackling?
C: I guess I can start with saying that I’m the kind of person that really struggles with ensemble work, so this has been a really great challenge for me--frustrating, but fun. Trying to work with other people, and to feel their energy, and work with that has been quite trying.
M: With that I’m the exact opposite. I’m so used to being a part of the ensemble that being by myself I’m like “No, don’t look at meeeee”
Nick Tash: So it scares you a little bit, being front and center?
M: A teensy bit, yeah especially because Coriolanus is so opposite of me in everything from body movement to mannerisms and language--all of it is a challenge, but it’s so much fun.
C: I will say that is what makes it fun though. Finding parts of yourself that are still you but it is a part of you that you don’t inhabit.
M: Oh yeah, definitely. And I’ve found parts of me that certainly are Coriolanus-like, I can definitely justify his actions and justify everything I’m doing as him, as my character.
How are you alike, or not like your character?
C: I relate to him a lot in that I relate to the underdog feeling that Aufidius has. Definitely he’s undervalued in comparison to Coriolanus and so I definitely related to that right away. Where I didn’t feel quite so in common with him is in how quick he is to bro down with Coriolanus. I’m a very suspicious person, I’m not as trusting as he is, to just change how quickly I feel about someone.
How is doing your fight scene?
M: SO good.
M: I LOVE the fight scene.
C: What I loved is that you (Minelli) picked up the fighting right away. Because I had done a little bit of it before, but it seemed like after the first time we did it, we had it down. And that was a completely new experience for me. And it’s great because you’re aggressive so it makes me better. So you improve my performance, so I enjoyed that.
N: Well you’d never done anything like that before.
M: Nooo, I’d never done anything like it before.
Halee Shutt: Do you like it?
M: I LOVE it. It’s so much better than regular choreography.
N: Were you nervous beforehand?
M: I was a little bit nervous, but I was more nervous that I was going to somehow injure myself or Chase in the process, but I didn’t, so yay.
C: Well that’s a constant fear with stage combat I think. And it made me feel better when you said you were a dancer because when I was in Dekalb’s show choir I learned how to pick up choreography quickly, and when I moved to stage combat I learned it that translated right away.
N: It’s just steps
C: It’s pretty much the same thing.
M: I think it’s even a little bit easier than regular choreography. With regular choreography you have to make sure you’re matching up to the beats, you’re coordinating your hands and your feet, and in this one you have more control and fluidity in your movement.
H: You’re syncing with each other and you’re thinking with each other.
M: It’s like a tango. But yeah I was so excited about it, I couldn’t stop smiling throughout the whole time we were learning our fight choreo.
Were there any physical preparations you had to do to get ready for your role or working with masks?/ How do you like working with masks?--Do you enjoy it, is it fun, is it hard?
C: I enjoyed the masks quite a bit. It has been challenging for me, because I had a hard time letting go and just doing it. I’ve been finding, that as we’ve gotten more into running the show, that I’ve been able to channel the mask a bit more.
N: Do you think that’s because you have to partly relinquish the use of your face?
C: I don’t think it’s that.
N: For a lot of people it is, but for you it’s not?
C: No I think it’s made me more aware of the way I move. Because I’m the kind of actor that moves way too much with his arms and legs. So it’s brought more awareness of that to me, so I have more control over that now, which I enjoy.
M: I love working with masks, it’s like my favorite thing in the whole entire world, and it’s easier for me to be Coriolanus in a mask, than not in a mask. I think it allows me to separate myself from myself, so I’m not worried or in my own head about “how do I look doing this?”, or “how do I look not doing this?”, or “do I look like a complete idiot?”. Instead it’s me, playing the mask--that mask is its own entity.
C: It gives you a sense of separation from what’s going on.
M: Yeah, it does--which helps me connect everything that I’ve been trying to put together.
N: That’s interesting; you say it separates you a little bit. It gives you a little bit of a distance between you and what you’re doing?
C: It removes--because I’ve always been one of those actors that has the voice in my head constantly judging me while I’m acting and it removes that.
H: I think it’s interesting that simultaneously mask work allows you to distance yourself from that judgmental ego that we all have, but also allows you to more fully inhabit the character.
What have been the best moments of rehearsal so far?
C: I’m just going to dive in and be a little selfish; my favorite part was working with you two [Nick and Halee], one-on-one with Aufidius’s monologues and scenes. Because it gave me a chance to do what was in my head, and allow you guys to do what you as directors do, see what’s going on, and direct it towards what you want. So I felt that synergy between myself and you two, and that was something I enjoyed very much.
M: I guess I’m going to have to go with doing the combat and fight stuff. Because I always enjoy doing things that I’ve never done before. Because last time [when I was in Comedy of Errors], I would have said that, in the process of rehearsals, mask work was my ultimate, most favorite thing in the whole entire world. But yeah, I think that it’s something I’ve never done before, it’s something that I NEVER thought I would do--because you don’t really have the opportunity, and most women don’t, to play a male character. And there’s not a lot of women with fight scenes.
N: I just wanna dig in a little bit deeper --can you single out one moment or a revelation, or a personal discovery you had during the process?
M: It’s not part of our show, but reading the full script [of Coriolanus] and delving into it before we got our rehearsal text, the moment that I love most, my revelation was thinking about what makes Coriolanus actually go through to run for consul. And in the full production of the show, and this isn’t in ours, at the very end of the war with the Volscians Coriolanus talks about how he wants to save one person out of all the Volscians, this one beggar person that sheltered him, and I think that person--that act of kindness from someone that was so beneath him, for me, that was the moment that I was like, “I think that’s why I’ll run for consul, maybe these people beneath me aren’t as terrible as I thought they were.”
N: So you’re using a piece of the text that was originally part of the text, but now using it as subtext.
M: Yes, exactly that. Even though in the end, he can’t change who he is as a person.
In this edition of Behind the Scenes with Shakespearemachine, our intrepid interviewer Minelli Manoukian sits down with cast members Brock Ireland (Menenius Agrippa, a member of the elite Patricians) and Darby LeClear (Volumnia, Coriolanus' mother).
So both of you are new to Shakespearemachine so how did you hear about the company?
Darby LeClear: Through Nick and Halee—we went to school together. I am really excited about it because it’s new, fresh work in town and so I wanted to get involved if I could.
Brock Ireland: Halee called me... and said that [they] wanted to work with me so I was like okay let’s see what this is about.
D: Who wants to work with you?
B: I couldn’t tell ya, but Nick wanted to. I don’t know if he receeds that statement yet. But yeah, it’s exciting, I think its something different that Fort Wayne hasn’t offered yet.
How has working with the masks been?
D: I had done something like it before in college (IPFW) with Jeff [Cassaza], so it’s exciting to revisit it and figure out how it relates to Shakespeare. It’s very different, it’s not your traditional “Here is how you act”, it’s forcing you to step outside yourself and take on the qualities of the mask which is very interesting. You don't realize how much you rely on your face until—
B: You don’t have your face?
D: Yeah. Like how do I physically embody it—like down to my toes— how do I become this character?
B: It’s always fun doing mask work too because you don’t realize how much of your body you don’t use when you rely on face acting.
D: We had some really good nights of the mask work, it was interesting when we broke up into group, seeing people’s interpretation of the masks—even two people had completely different interpretations of the same mask. It’s just so creatively invigorating.
How are you like your character, or even not like your character? Are there any similarities between you?
B: I’m like my character in that he can be sassy if he needs to be but he’s also very like sit back and observe. I’m not like him in the fact that he’s very fatherly and I’m not like that at all. I’m normally the one being parented by others. I like that he’s got some good one-liners, some zingers, in there. He’s fun.
D: I guess I would say…Volumnia is a lot…she’s not cold. She cares about her, and she cares about her son and that’s kinda her thing. And I feel like, I hope that I’m much more empathetic as a person, but I can relate to her drive and her ambition. And her being a woman in a society that she’s in she can’t do the things that I think she wanted to do herself so she’s sort of “stage mom”-ing Coriolanus. And that’s a little overbearing but I think she has good intentions. I think she wants him to have the life that she couldn’t and to be someone worth talking about, and someone worthy of honor. I would say her ambition is what I’m trying to tap into, and what I relate to, because I’ve got a lot of things I want to do and I have no idea how to do it myself, so I try to mom my friends and be like “You’re gonna be great!” while I’m panicking on the inside.
How’s it been learning lines?
D: Oh lord.… It’s not even that it’s Shakespeare, I can’t use that excuse because we just did Midsummer, together, as opposites. But it feels different, probably because it’s a tragedy, and Midsummer was a comedy. So the language is a little less frivolous and a bit more functional and utilitarian. It’s very like “war!” and “angry!” and Midsummer is very poetic and flouncy. Even Midsummer in form is a lot more poetic in structure and this is a lot funkier even in the form.
B: I think that doing Shakespeare before you get used to scanning everything and it falls into that rhythm, and this whole script, none of it falls into that rhythm so it makes memorizing that much harder because it doesn’t feel right in my voice so it’s not clicking in my mind
D: I mean nobody talks like this these days, but as far as scansion goes, it’s something more realistic—it’s language. It’s not strict poetic language. So we’re wondering how do we work with this Shakespeare that doesn’t sound like Shakespeare? It gives a good mood to the show, because the show itself is so riotous and chaotic and the language not being so pretty and neat gives it a type of mood.
What do you think of the directors' approach to running the show?
B: I think it’s always fun working with different directorial styles. Because coming from a college setting, you’re always working with the same group of directors and coming to this, and working with someone that you’ve never worked with before, is refreshing. It’s fun to try new things and you’re always finding out new things about yourself and working with some familiar people in that process you end up discovering parts of yourself that you’ve never had the chance to discover before and I think that’s very rewarding. You’re like ‘oh wow, this is fun, who knew I had this in me?’.
D: It’s also exciting because I’ve worked with Nick and Halee in the past on the collegiate level, so it’s fun to see them directing and to see my friends doing such exciting things. It’s great so see someone my age, or a group of someone’s my age, doing new, exciting theatre and taking risks and being bold in their choices.
B: It’s exciting to see something new that really has you going ‘wow, who are these crazy kids’. You appreciate what Fort Wayne has created and grown up with, but now it’s starting to branch into this weird, mask-y thing. Because you go to those big cities and there’s always some kind of experimental theatre happening. I think it’s awesome that this type of theatre is available to us now.
What’s been your favorite moment of rehearsals, or throughout the whole process so far?
B: I enjoyed the whole mask prep. I always love watching people discover things and come out of their shells. Like there’s those quiet people where you’re like ‘oh I don't know what they’re gonna do’ and then they go out there and they’re a completely different person. That’s always rewarding to see, people coming out of themselves and becoming comfortable with their setting so that they can make super fun and awesome choices.
D: I think one of my favorite couple of nights was when we were doing mask work, but not with the neautral masks—we were using the actual expression masks. And we were doing them in small groups so we got to perform in groups of three or four, and then got to watch the other group perform—cause everyone would look at themselves in the mask and become the character and interact with the space—but once people got to interact with each other it got insane. And there were some that were sad, but there’s this one that I’m specifically remembering—I think it was Nol and Jordan—and they were so over the top into those characters and it was so beautiful to watch. They were so committed and you could tell—it didn’t look like Jordan and Nol.
B: It’s like I was saying about people coming out of their shell.
D: It’s amazing to see how colorful people can be, and what parts of themselves they can draw out to become those characters. I really enjoyed doing that kind of work. It’s exciting to do such creative work with a group that you trust and know are going to be there with you. Because Nick and Halee respect us and give us creative reign - it feeds the ensemble mentality, and I love that they work as an ensemble. They’re down in it with us from the start to the finish.
In this installment of Behind the Scenes with Shakespearemachine, Minelli Manoukian sits down with Jensen Davis and Tara Olivero, who play the Tribunes to the People Sicinius and Brutus, respectively. They talk about how fun it is to incite a riot. Enjoy!
So what are your characters and who are they in relation to the show?
Jensen Davis: Well I’m Sicinius, I’m a tribune, which is kind of like a senator elected by the people to represent them. So I was one of the common man, that the people chose to speak for them and the public.
Tara Olivero: I’m playing Junius Brutus, also one of the tribunes—We’re the non-rich representatives in the government representing the majority of the people.
What were the first impressions you had of your character?
J: Um, total opposite of me, in that I’m not a politician at all. So it was exciting to play someone who is not like me at all and someone who is more quick-witted and better with words. I think it was also exciting to play the antithesis of the lead, I mean, they’re not the villain, cause they do want what’s best for Rome, they just are really headstrong in that they think that their way is the right way, unlike Coriolanus’s views. So it’s fun, I was really excited to get the part.
Are there any characters in the show that you connect to personally?
T: I really like, on a personal level, Menenius, cause he’s just trying to calm people down. And he has such a way with words and he knows how to work the crowd in such a different way than we (Sicinius and Brutus) do. Cause we’re very much like ‘Violence!’ immediately where he’s more like ‘I can use humor to persuade the people or other rhetorical techniques so that they won’t realize I’m using on them’.
Since both of you were in the last show that the company did, “The Comedy of Errors”, have there been any major differences or changes that you’ve noted from that last show into this one that have excited you?
T: The audience being on just two difference sides this time instead of all four is different—I have to think about things differently when we’re blocking. And the fact that it’s a tragedy so it’s not supposed to be funny is interesting, cause everybody in the show is so funny.
J: That’s true, and I mean there was a fair amount of people who were in comedy in “comedy”, and there are a couple people that I know have been in comedic Shakespeare plays like “Midsummer” in it now. So it’s very interesting watching all these people who I find to be very comedic, very funny, and very well timed play tragic characters. I also just feel more confident and comfortable coming into it cause I’ve already done a Shakespeare show but I’ve already worked with masks so that’s not a foreign element that’s intimidating to me in any sort of way. The mask just becomes an extension of who you are and it’s not something that I feel like I have to worry about changing me or my performance, its just an added element and it just changes your body and your physicality.
What was your first encounter for doing Shakespeare for theatre, and has that influenced you at all for what you’re doing for this show at all?
T: The first time I did Shakespeare theatre was at a program over in London and we did an abridged version of “The Taming of the Shrew”. Because we were only there for three weeks they just got assigned parts on the first day, and we didn’t have to audition or anything. So I got Petruchio completely at random and I thought, “this is good” because I was with a bunch of theatre majors and that was terrifying. Now I feel a lot more confident about it because the first time I was playing Shakespeare I was playing a male character, and that’s why I think I’m more confident at that because I’ve done it before.
What do you think of rehearsals so far?
J: It’s been good work. There’s been no fear going into it, which is exciting y’know? It is a very heavy, intense show with very violent people doing violent things. There’s just been no fear from our directors in staging, they’ve had total confidence in us which I think has definitely influenced it. They’ve been fearless and everyone jumping into it has been diving in headfirst.
T: I’m excited to get back into masks because we’ve taken such a long break from that—‘cause we did all the mask stuff with all the new people and we’ve done blocking for such a long time now—and I just can’t wait to see what they look like, and how our characters are going to move once we have them on.
What’s been your favorite moment of rehearsals, or throughout the whole process so far?
J: I mean the fight call stuff has been a lot of fun, even the little bit that I’ve done so far. And seeing Minelli and Chase fight has been exciting because it’s so different from Comedy in that I was getting beat up in that show for comedic sake so it was very over the top and the damn chicken and everything. That was very comedic and that was it’s purpose. This is very violent in a different purpose—it’s to start a riot, to make a point, it’s a political point, or a message. I just find physical work really exciting so to do that and to see that is my favorite stuff to work on.
T: Just spending quality time with everyone makes me so happy—And all of the riot scenes. I think just the bits with the chorus when we get to do either motions together or extreme choreography are nice just because we get to be connected with everyone else. It heightens the intensity of everything.
In our first installment of Behind the Scenes with Shakespearemachine, Halee Shutt and Nick Tash, co-directors, sit down with Minelli Manoukian (Coriolanus) to discuss the show.
Is there anything about the show that made you super excited? Like set design, or the cast?
Nick Tash: The set probably. The idea of what we're going to do with the it and the staging and the timeliness of it all, out of all the shows we could have done. We do like to do shows in audience configurations that don’t get done a lot here. I think it’s interesting, and I think it ends up creating challenges that are more creatively satisfying.
You talk in your mission statement about audience immersion—do you think the staging helps with that?
NT: Yeah, we’re getting there slowly I think. A lot of that has to do with how developed we are, so the further along we get the more versatile we can be. But I think, cause I think people see Shakespeare around here in a proscenium, that the more the audience can surround the action the more engaged they are in it. In the actual Globe Theatre it was set up like a modern thrust stage where the audience got to surround it about 3/4 of the way around and I think we get closer to that when we play with our audience arrangements. This one seemed appropriate for an alleyway because you have two opposing sides so we have two opposing entrances. I think that the opposition has a nice tension for the audience. And another important part of [our decision to stage the show this way] was that the audience will also be able to see other audience members—like the audience themselves serve as a background to the action—cause it’s a play that’s about the public and this way they’ll feel like they’re involved in the action too.
What’s been your favorite rehearsal or moment so far in this process?
NT: Well the read through was nice, finally having everyone together. It’s hard to pick just one moment; I’ll have to think on it.
Halee Shutt: Gosh, I don’t know, probably one of two things. I always love when we introduce mask work to people who haven’t worked with masks before. I personally find that to be one of the most thrilling things that we do as a company, watching people just let go of their inhibitions and play. I think that watching it free people up from the outside looking in is wonderful. So the rehearsal process as a whole so far that’s my favorite thing.
NT: Actually I think I can answer now. I feel that tonight was my favorite night because we actually had everybody there and it felt there was a crowd energy that was getting there and you could feel the rumblings of it. It made me very excited.
HS: I was going to say that too. I think our opening is gonna be pretty cool.
NT: Yeah I agree with you overall. Blocking wise tonight was my favorite and then the mask stuff, I wasn’t even thinking of any of that before. But the masks are a fun part.
You’ve spoken before about the themes of the show and how relevant they are, but for the people aren’t familiar with Coriolanus, what are some of those themes that people can look forward to finding inklings of throughout the performance?
HS: I think there’s definitely a sense of general unrest and political unrest that weaves through this entire thing. This is a time of war for the Romans, it’s a time of tension overall both in the political sphere and for the common people because they are up against basically a war on hunger. There’s poverty for, I would wager in the way we’ve set it up, a good portion of the Roman citizens. Most of them are living in poverty when we begin the show.
NT: It’s a class war. It’s Plebeians versus Patricians and I think that’s still the case today in a way. A lot of people see the play either as an argument for Democracy or against it. I think that we come down on the side “for”. But it’s more complicated than that because of some of the characters and their actions.
HS: Yes, so that for one. And then, I suppose another is the title character of Coriolanus and his journey from being a good soldier, and just a patriotic soldier and citizen, into the political sphere and how that kind of causes turmoil for him, his family and the people of Rome. I think that it’s an interesting journey to watch.
So if you could play a character in the show, who would you want to be?
HS: I don’t know. I actually think a lot of people that are familiar with the show find Coriolanus to be revolting, but I admittedly find him interesting. I don’t know if it’s because I find mean characters interesting? [laughs] Him and Menenius are almost polar opposites but they’re probably my two favorite characters in the show.
Are there any other challenges that you’re looking forward to challenging from now until the end of the show?
HS: I think something about our approach, which I find intriguing but will be challenging once we put it all together, is the constant presence of the common people. We have taken a stance as far as our approach to this show where truly there is always some kind of commoner onlooker, and I’m interested to see how keeping that thread woven through the show pans out when we’re putting it all together as a whole. The other thing is, because we’re doing some of the combat literally and some not at all, I think that our interpretation of it on stage has already proved challenging. But I truly think that [in the direction] we’re heading, it’s going to be pretty cool. So that all is most definitely a challenge but I think will also make an interesting statement.
We sat down with the good people at Fort Wayne magazine to talk a little bit about the origins of the company and a little bit about future projects.
Check it out at the link below:
Welcome to our brand new website! So glad you could join us.
On this page, we will be posting news about the company and updating you on rehearsal progress.
Watch this space!