8 hours of Beverley

Just had a great rehearsal! Very fun had a wonderful dinner with the gang. Working with Margaret, Frances and Israel is amazing.

Totally exhausted and excited for tomorrows rehearsal of Leveling Up!


First Stage New Works Festival Begins!

I am very excited because today is the first day rehearsals start for the festival! At 2pm I will be going to rehearsal for Beverley by Israel Horovitz. Right now I am just getting my binder with my script and other paperwork together and then I am taking a long lunch break.

This is my first festival with Florida Stage and I am very happy to be a part of it. We have a great line up of 7 (yes, seven) play readings this year. For those of you don't know, a reading of a play for our festival is when actors, directors, dramaturgs, and playwrights rehearse for a short period of time (in our case 12 hours, but it can vary). During this time the actors familiarize themselves with their character's words, but do not memorize lines; the director, playwright, and dramaturg worked with them to make sure they understand everything they are saying and understand how the play unfolds. The director also will give some direction on speaking, as well as when the actor(s) stand or sit. The playwright may also change some sections of the script based on questions that may come up or just from hearing the play out loud and recognizing things that need to change. Once rehearsal is over and it is performance time, the actors and their stage manager will go on a stage set up with chairs and music stands. The actors will read their characters lines and the stage manager will read the stage directions, so that the audience understands what is happening even though we aren't seeing the action on stage. One example this would be the stage manager might say "and George and Melanie kiss", but the two actors don't actually kiss on stage.

These readings are incredibly important to the writing process for playwrights, because many times this is the first time they have ever heard their play aloud. Play are meant to be heard not read, so this can have a profound effect on the playwright's re-writes.

I hope you all are going to come out to see at least one or two readings. It is a really great experience! This is where plays take their first breath. As Peter Shaffer said: "Rehearsing a play is making the word flesh."

Keep your eye for a lot more blog posts from me and from the artists in the festival!

For now…

~Alison Maloof, Artistic Apprentice

 


Playwright John Guare Returns to Florida Stage

Celebrated American playwright John Guare will be returning to Florida Stage as a guest speaker at Lee Wolf’s Backstage at Theatre Club. Now in its 11th year, Backstage at Theatre Club was created to provide literary and arts enthusiasts with an opportunity to engage in stimulating discussions about current works.  Mr. Guare last visited Florida Stage in 2007 to present the Keynote Address for the company’s inaugural 1st Stage New Works Festival. His appearance for Backstage at Theatre Club will be on February 18, 2011 from 12-3pm at the Phillips Point Club on Flagler Road in West Palm Beach. Lunch is included.  Tickets can be purchased for $150 (for non-members of Theatre Club) by calling the Development department at (561) 515-6350.

John Guare is a highly-celebrated American playwright. He is best known as the author of The House of Blue Leaves (winner of four Tony Awards), Six Degrees of Separation (which earned a nomination for the Pulitzer Prize for Drama), and Landscape of the Body. His style, which mixes comic invention with an acute sense of the failure of human relations and aspirations, is at once cruel and deeply compassionate. His latest work, A Free Man of Color, was recently presented at the Lincoln Center Theatre, and was called “a thrillingly inventive tour of the racial, sexual, and geopolitical landscape of 1801 New Orleans” (Vogue, 2010.)


Through the Eyes of an Intern: Office Day

I'm sitting in the Florida Stage offices as I write this, where for the past two days I have been helping prepare for the 1st Stage New Works Festival. For me, this has meant learning how to talk coherently on the phone, making lots of phone calls, and asking for food donations from our local restaurants and markets.

Guess what–you can help too! As a non-profit organization, Florida Stage is a great tax deduction for your business and a fantastic way to support the arts (by keeping us well fed and able to produce exciting new plays for your enjoyment)! We'll eat practically anything and give you two free passes to a reading of your choice, plus advertising in the 1st Stage playbill. Depending on how large of a donation you make, we may be able to advertise your business in our next playbill for Ghost-Writer, which opens in early March. Give us a call! Shoot us an email! Send a carrier pigeon!

— Posted by Emma Gustason, Sound Intern


Shop Talk = Sharing Stagecraft

Did you hear the one about the crying baby? Stephanie Kelly shares a little bit of theater magic. Note that we release Shop Talk videos for every production (though sometimes we have to wait until the production is over so we don't give away too much too soon). Go to our YouTube channel (www.youtube.com/FloridaStage) to see them all.

 


Frances Sternhagen Is Coming to 1st Stage

Celebrated actress and two-time Tony Award-winner Frances Sternhagen will be joining the confluence of artists and audiences for Florida Stage’s 5th Annual 1st Stage New Works Festival. Ms. Sternhagen will be featured in a staged reading of legendary playwright Israel Horovitz’ new play Beverley on Saturday, February 5, 2011.  On Friday, February 4, in place of the Festival’s usual Keynote speech, Ms. Sternhagen will take part in what is being called “A Conversation with Frances Sternhagen.”  Florida Stage Producing Director Louis Tyrrell will conduct a public interview with Sternhagen on stage in the Persson Hall at the Kravis Center for the Performing Arts. The Florida Stage 1st Stage New Works Festival takes place February 3-6, 2011. Tickets and packages for all Festival events are available online at www.floridastage.org or by calling the box office at (561) 585-3433.  Interviews with Ms. Sternhagen, Mr. Horovitz and all Festival participants are available. Contact Michael Gepner, mgepner@floridastage.org, (561) 515-6372.

Sternhagen has won two Tony Awards, one for “Best Supporting Actress (Dramatic)” in 1974 for the original Broadway production of Neil Simon's The Good Doctor based on Chekhov stories (which also won her a Drama Desk Award for “Outstanding Featured Actress in a Play”); and the second in 1995 for the revival of The Heiress, based on the Henry James novella. She has been nominated for Tony Awards five additional times, including for her roles in the original Broadway casts of Equus (1975) and On Golden Pond (1979), as well as for Lorraine Hansberry's The Sign in Sidney Brustein's Window (1972), the musical Angel (1978) which was based on Thomas Wolfe's Look Homeward, Angel, and the 2002 revival of Paul Osborne's Morning’s at Seven.

Sternhagen made her film debut in 1967's New York City high school drama Up the Down Staircase, which starred Sandy Dennis. She has worked periodically in Hollywood since then. She had character roles in the 1971 Paddy Chayefsky's classic The Hospital, Two People (1973), and Billy Wilder's Fedora (1978). She appeared in Starting Over (1979) which starred Burt Reynolds; with Sean Connery in Outland (1981); and with Michael J. Fox in Bright Lights, Big City (1988). She played Farrah Fawcett's mother in See You in the Morning (1989), Richard Farnsworth's wife in Misery (1990), and John Lithgow's psychiatrist in Raising Cain (1992). Sternhagen starred in Frank Darabont's suspense thriller The Mist in 2007.

She may be best known to TV audiences as Esther Clavin, mother of John Ratzenberger's Boston postman character Cliff Clavin, on the long-running series Cheers, for which she received two Emmy Award nominations. She also played Bunny MacDougal, mother of Trey, Charlotte's first husband on Sex and the City (another Emmy Award nomination).

In 2006, she guest-starred on TV's The Closer, playing Willie Ray Johnson, the supportive mother of lead character Brenda (played by Kyra Sedgwick. Sternhagen has appeared on twelve episodes of The Closer to date.


2011 1st Stage New Works Festival Trailer

1st-Stage-Banner

  

Download a 2011 Festival schedule


YPF 2011 has begun…

“For just when ideas fail, a word comes in to save the situation.”
Johann Wolfgang von Goethe 

Every January, I know I can rely upon two things: my birthday (thanks, Mom & Dad!) and reading plays from some of Palm Beach County’s most imaginative students.

This season, the Young Playwrights Festival has brought the promise of exciting adventures in the form of plays from over 300 local, student authors! For the next few weeks, my team and I get to read about everything from ballooning to bullying, robots to races, and every kind of family dynamic you can name.

Each day, as I barricade myself in my tiny office, I enter worlds that express every emotion conceivable – in ways that only a young person’s point-of-view can offer. Honest, authentic, and sometimes heartbreaking stories of life are what make theatre tick, and as I read these student plays I am reminded of just how candid we are when we are young.

It’s nice to be bounced back into that reality, sometimes.

And as I finish each play, I smile knowing that maybe – just maybe – one of these new playwrights will find themselves as in love with this crazy business as I am. And, I smile.

So…maybe that’s three things each January brings me.

Sweet, indeed.

 

Heidi Harris, Director of Education


5th Annual 1st Stage New Works Festival

Now in its 5th year, the 1st Stage New Works Festival showcases great new works in their earliest incarnations. The plays selected can be considered works-in-progress, and are in various stages of development.

The plays are cast with professional actors, who are led through 12 hours of rehearsal by noted local directors and dramaturges. Often the plays are changed and revised dramatically. The culmination of all the work is then presented as staged readings and is followed by talkbacks with the audience.

The festival gives the playwright the opportunity to hear his or her words aloud, gain insight from the rehearsal process, and gauge audience response before working on another draft.

In addition to the play readings, the festival events include a keynote address from a leader in the field, workshops, panel discussions, and receptions with the artists.

Florida Stage’s 1st Stage New Works Festival has produced several new plays that are now being produced around the country: END DAYS by Deborah Zoe Laufer had its World Premiere production at Florida Stage last season and went on to win the prestigious Harold and Mimi Steinberg American Theatre Critics Association New Play Award. The hugely successful THE COUNT by Roger Hedden had its World Premiere here at Florida Stage in 2008. William Mastrosimone’s acclaimed hit play DIRTY BUSINESS, which opened Florida Stage’s 22nd season, is preparing a New York and a London production, Deborah Zoe Laufer’s SIRENS from the 2008 festival was presented at last year’s Humana festival and Christopher Demos Brown’s WHEN THE SUN SHONE BRIGHTER was the final play produced by Florida Stage before its move to the Kravis Center for the Performing Arts.  This season’s CANE, THE CHA-CHA OF A CAMEL SPIDER and GOLDIE, MAX & MILK all were part of last year’s festival and all are finding enthusiasm for other productions around the country.

1st Stage New Work Festival 2011 Line-up

BEVERLEY by Israel Horovitz

A love triangle among three 70+-year-olds… Beverley, who came to America from England as a war-bride; Zelly, her fisherman-husband and Archie, the Brit she jilted 53 years earlier. A romantic comedy set in Gloucester, Massachusetts.

 LEVELING UP by Deborah Zoe Laufer

How do you straddle the fuzzy line between reality and virtual reality when you’re playing video games 20 hours a day?  Ian, Zan, and Chuck  are two years out of college when the government comes looking for expert gamers to launch remote missiles. 

 POET by Kew Henry

Two muses, assigned to Edgar Allan Poe at his birth, compete for his talent and imagination.  Throughout his life, these artistic demons, one the poet muse, the other the prose, haunt him to write through the power of their conflicting inspirations.

 

THE AMERICANS ACROSS THE STREET by Carter W. Lewis

Derek has a Pulitzer Prize, but he's tired of the world and all that inhabit it. His only source of pleasure is lurking alone on his porch, sipping scotch and accosting his neighbors with articulte rants. Then his distant sister arrives with her perplexing daughter in tow–a year later, there's cupcakes, a cannon or two, a dead fat lady, and an all encompassing moon.

BRILLIANT CORNERS by Andrew Rosendorf

Marshall is divorced, poor, and alone, except for his jazz music. He's paying alimony to an unsympathetic ex-wife, Carol. His son, Eli, returns home asking for tuition for college and his unstable daughter, Sarah, is demanding money she believes she is owed.

CAPTIVA by Christopher Demos Brown

When a woman invites her family to their traditional island getaway to meet her fiancé, she hopes to renew old ties and find the imagined comfort of her youth. Instead, when everyone is trapped by a late season hurricane, their pent-up secrets and frustrations get loose in this dark comedy.

TIEMPO DE AMOR by John Herrera

Set in Havana and Tampa in the 1920s. A young woman is torn between her mad passion for an older man newly arrived from Spain and her loyalty to her controlling mother.


A Moment Before

The Year Two Thousand Eleven has arrived and with it has come much work for the rest of the season. It may seem early for many of you, but I am beginning my work for Ghost-Writer which opens on March 4th. I'm working on materials for the playbill as well as a dramaturg's note and a dramaturgy packet.

There is always this brief moment of panic that comes over me right before I begin to dramaturgically attack a play. For some reason I am overwhelmed for just a second, but that second is filled with questions of self doubt. I am constantly striving for perfect organization in my thoughts and my work. I think those moments of distress come out of that need for organization, because my ideas and thoughts are unrivaled raw chaos when I begin. That same chaos pops up in spots along the way and I fight against it. Just as that second is coming to end, I find my hand opening to the first page of a new play, and I read. As I read, all those emotions, questions, and thoughts disappear. I scribble notes that honestly no one could possible understand due to both my messy handwriting and the sometimes mysterious content.

At this moment I feel organized. My thoughts seem as if they are in the right place and that I know what I will be writing over the next few weeks. But of course it will morph and adapt as new material emerges and new ideas burst across my mind. Adapt. Breath. Silence. Act.

~Alison Maloof, Artistic Apprentice