Fall Newsletter
December 1, 2009
- Holiday Traditions @ New Rep
- Challenge Grant Extended - What Inspires New Rep's Matching Donors
- Indulgences - A Fractured Fairy Tale filled with Stars
- New Rep On Tour Turns 10
This holiday season, New Rep has spiced things up by introducing some new faces to our holiday shows. Edward M. Barker (Dessa Rose) will be appearing for the first time in our holiday classic Charles Dickens’ A Christmas Carol as Bob Crathcit. And we are thrilled to be introducing Gary Littman to New Rep’s family as the wickedly funny elf Crumpet in The Santaland Diaries. Read our interviews with the actors to learn what these holiday shows mean to them and how they feel about playing iconic characters.
New Rep (NR): You have been in previous productions of A Christmas Carol, but this is the first time you are playing Bob Cratchit. What were some of your previous roles and how do you think they have prepared you for your role as Bob Cratchit?
Edward Barker (EB): I have been in nine productions of A Christmas Carol and have played the roles of Scrooge, Marley, Fred, Topper, Dick Wilkins, Charity Man, Peter, Old Joe, Christmas Future, as well as playing all of the characters with a cassette-tape in my living room as a child. I have also seen most of the onscreen versions of A Christmas Carol, including those starring Alistair Sims, Reginald Owen, Albert Finney, and George C. Scott. This show was also the very first stage production I saw at the Guthrie Theatre in Minneapolis, and it was extraordinary!
Knowing the stories as well as I do allows me to really dig deep into Bob Crachit’s character. Bob Cratchit is like many of us. He is struggling to make the best out of what he has, even if it is horrible work conditions and living circumstances. He has faith in the pure love of family and human kindness to endure it all. He is able to enjoy and appreciate the simplest of gifts.
NR: How is Charles Dickens’ A Christmas Carol a memorable holiday tradition to you?
EB: I think it is a powerful and necessary story for us all to remember. We get so caught up in the monetary aspects of ‘the holidays’ and often miss the real human element of it. There are also so many universal themes in A Christmas Carol. Who is unable to connect with the idea of a lost love due to ones selfishness, or feeling pity for the poor and sick that are discarded and have no refuge? It is amazing to see how it is possible for a person to start out good and through the wrong influences and environment turn into something so ugly that it is unfathomable: That's one key reason for my love of the Alistair Sim’s version. It illustrates how Marley took Ebenezer under his wing and ultimately put their beloved employer, Fezziwig, out of work, took over his business, and completely transformed Fezziwig’s business into the complete opposite of what it was.
NR: What do you hope the audience gains seeing Charles Dickens’ A Christmas Carol?
EB: I would like folks to come away from the play gaining a renewed appreciation for this great work of Dickens, and for them to truly see what causes Scrooge to change from a miserly man to a jolly and generous human. I also hope that they find out something new about themselves—from their past, present, or for their future—and realize that there are triggers that can change their behavior. In other words, keep the faith, live simply, and love fully.
NR: What made you want to do The Santaland Diaries?
Gary Littman (GL): Having been a longtime fan of David Sedaris and recalling laughing out loud on the subway to the original story version of The Santaland Diaries, I nearly jumped out of my skin when I found out that Joe Mantello had adapted the piece for the stage. "Of course," I thought, it translates so well to a performance situation. I have been waiting patiently, ever since, to have a chance to do it myself.
NR: The Santaland Diaries is a one-man show. Do you find it challenging being alone on the stage?
GL: It is incredibly challenging to do a one-man show! Let's start with memorizing the lines for an 80 plus minute show. Then, there is the rehearsal process which just includes me, the director, and the stage manager. Who do you talk to on break?!? In a two-hander you have someone to play off of during the performance. If a mistake is made, such as a line drop, the other person is there to cover for you, and usually the audience is unaware of it. But in a one-man show, it is just you and the audience. On the other hand, being in a one-man show is very freeing. And this piece is rather unique: it is almost a stand-up routine—the quality, easily flowing from one section to the next, and hopefully with laughter as the connective tissue. Downstage @ New Rep’s The Santaland Diaries will be my first one-man show...may it not be my last!
NR: Do you find it hard relating to the part of Crumpet?
GL: The reason why I laughed out loud when I first read the story and why I very much wanted to do the stage version is because I completely relate to Crumpet. On some level, I think, everyone can. At any given point, humanity just has a tendency to be annoying. Don't you think?
Challenge Grant Extended -
What Inspires New Rep's Matching Donors
New Rep’s Board of Directors is digging deep this season and will match every contribution received before January 31, 2010! The Board was inspired by the tremendous outpouring of support from our donors early this fall when New Rep raised over $75,000 to match both a $50,000 gift from donors Michael McCay and Dan Salera and a $25,000 grant from The Boston Foundation.
Michael and Dan used part of their gift to become Legacy Producing Partners for Speed-the-Plow, significantly underwriting the cost of creating the great work on our stage. We reached out to Michael and Dan to give them a chance to share their New Rep experience.
NR: What inspired your first gift to New Rep, and what made you decide to become Legacy Producing Partners?
We’ve been coming to New Rep since 2000 and have always been amazed by the artistry on its stages and the intimacy of the experience. We began giving when we learned that New Rep’s dedication to excellence onstage was also directed to its remarkable education and outreach work in the community. Being able to support both the artistic and educational mission of New Rep with one gift made a lot of sense to us.
Over the years, we have become more involved in the New Rep family through leadership positions on New Rep’s Board (Michael) and Advisory Council (Dan). In these capacities, we’ve been fortunate to see the incredible amount of work that goes on behind-the-scenes. Becoming the Legacy Producing Partners of Speed-the-Plow was a new and exciting way to give back to the theatre and support the individual members of the New Rep team. We had a whole new sense of being a part of the production, and unlike the characters in Mamet’s story, we can be very proud of “our” production.
NR: Why is theatre important to you? What sets New Rep apart from other theatres?
For us, live theatre is such a special art form. We feel it can take you so many places—emotionally, politically, socially. It’s a way of being entertained and stimulated, inviting us to see the world from new perspectives. One of the most amazing experiences we had was being in the audience for Topdog/Underdog. We left the theatre feeling as if we had eavesdropped on conversations that we shouldn’t have been privy to; thoughts and sentiments rarely discussed in “public.” The evening was a perfect example of being transported through live theatre.
New Rep is committed to doing these kinds of plays—ones that make you think about the world around you and the times we live in today. At the same time, they offer a stellar artistic experience. The design, acting, and directing is always done so well. Besides that, New Rep really has a family atmosphere about it. It feels good to go to a theatre and feel genuinely welcomed by the staff.
NR: What can you say that will inspire others to donate today?
The response was so great to the 1:1 challenge match we provided that the Board of Directors was inspired to do the same thing. We’re excited that the Board will match every contribution made now through January 31! The ability for your gift to be doubled is a tremendous motivator; we know it is for us! Plus, it’s fun to spend other people’s money.
Seriously, though, we believe the arts help to define a successful and thriving community. New Rep does exactly this by producing and nurturing great theatre experiences; creating exceptional education programs; and making sure that everyone in the community has access to these experiences. So, it’s truly rewarding to know that, with your gift, you are helping New Rep with its mission while supporting the larger community.
We’re thrilled that the Board of Directors is extending the matching challenge through January 31, 2010, and we encourage you to double your gift today.
Indulgences - A Fractured Fairy Tale Filled with Stars
Mark your calendars for New Rep’s next Mainstage Show, Indulgences, which will be running from January 17th through February 6th, 2010 in the Charles Mosesian Theater. This New England premiere and farcical comedy by Chris Craddock will be directed by Kate Warner and features an all-star cast: Steven Barkhimer (The Misanthrope, Orson’s Shadow, The Pillowman, Charles Dickens’ A Christmas Carol, Romeo and Juliet, Quills, The Threepenny Opera, Scapin, Rosencrantz and Guildenstern are Dead, and Twelfth Night), Leigh Barrett (Dessa Rose, Side by Side, Ragtime, Into the Woods, The Threepenny Opera), Neil A. Casey (Picasso at the Lapin Agile), Ben Evett (Permanent Collection, Charles Dickens' A Christmas Carol, Quills, and A Girls War), Ed Hoopman (Mister Roberts), and introducing to New Rep’s family Tony Larkin who has previously worked with Kate at Dad’s Garage, including the Atlanta Premiere of Indulgences.
NR: What was your first response to the show?
Leigh Barrett (LB): My first response was wow! I get to work with Kate—I'm beyond thrilled. My next was—it’s a play. I'm known as the "musical theatre girl." Then it was panic—it’s a play! A play with all those amazingly talented guys, yikes! Not that I haven't done plays before. I have; just not as many as musicals. I'm very excited to be a part of this and flattered that Kate asked me to be a part of it.
Neil A. Casey (NAC): I think it is hysterical, witty, interesting, and very intelligent. The writing is amazing. I like the way the author uses Shakespearean plot points. On one level it is smart—how it philosophically argues free will. On another, it is extremely funny and is written for everyone to enjoy.
Ben Evett (BE): It's unique, no question about it. I don't think I've ever read anything like Indulgences. The first thing I read was the Salesman's monologue about sin, which is a terrific piece of comic writing. It's brutally honest, but with a great flare and sense of fun. I'm looking forward to chewing that one up every night.
NR: What do you think about the character you play?
LB: When I read the play and heard the description of the character, I was worried that my "fans" would disown me, ha-ha. The character I play in Indulgences, Advisor 1, is not like anything I've played before. I'm intrigued to find this character within me. I think she may be more like me than I even realize.
NAC: I play Man 2, the common man, who somehow has a better grasp on how to deal with some of the problems the king faces better than the king himself. I also find it intriguing that Man 2 and the king have the same souls. There is no distinction between them. In my opinion, it is opens the up the question of the tragedy of the common man.
BE: The character I play, the Salesman, is unexpected, like the play. At first, he comes across as a real operator, manipulating people's fear of the future for profit. But he gets sucked into this ethical dilemma, one that is really thorny, and is surprised to find himself trying, really against his better judgment, to do the right thing. At least that's what I'm getting now. The play is unusual enough that the cast and crew will have to be really careful not to make too many snap judgments about it. I feel I won’t really find out what it's about until I start playing the role. It's a great cast, and I'm really looking forward to working with them.
NR: What do you think about doing the show for a second time?
Tony Larkin (TL): I think it is such an incredibly fun play to do, regardless of what part you play. The first time I was in the show, I had a great time playing Man 2. This time I'll be approaching the play from a completely different place, as I will be playing Fleance. It will be great to see how that changes my experience with the play. The only two constants for both productions will be Kate (as director) and the play itself.
NR: What's it like working with Kate?
TL: Fun and open. I think that because we've worked together now several times—all very successfully—that we're really in sync on how the process of a play can work. She's easy to trust, and she's trusting. I'm really looking forward to doing the play again with her and to see what else we will do to make this production different and better.
l. to r. The cast of New Rep On Tour's Fall Show Animal Farm. Photo by Andrew Brilliant/ Brilliant Pictures.
To celebrate The Tour's 10th season, we asked New Rep On Tour favorites Marie Polizzano (The Crucible, Othello, and Of Mice and Men) and M. Bevin O’Gara (the director of The Crucible and Othello) to discuss their personal experiences working on The Tour.
NR: Having acted in three of New Rep On Tour’s productions, do you have a favorite character that you played, and why is this character your favorite?
Marie Polizzano (MP): My favorite experience was playing Mary Warren in The Crucible. The character did not speak that much; she was often onstage listening or observing, and I found this to be a lot of fun. I also enjoyed playing her because of the nature of the play. In The Crucible, the stakes start out very high, and they keep escalating. For me, playing Mary Warren, who was used as a pawn by both sides in the witch trial, felt like being in a pressure cooker—things kept on heating up. This experience was very exciting for an actor onstage. Each performance, I felt alive and in the moment.
NR: Were there any moments working on The Tour where the students inspired you in some way?
(MP): Everyday the students were a source of inspiration for me. The Tour is a lot of work, and sometimes waking up on a cold and snowy February morning at 4:30 a.m. can be challenging. But I can honestly say what kept me going on those cold New England mornings was knowing that I was going to perform to an audience of students—perhaps to a boy who had never seen a live theatre performance or perhaps to a girl who was an aspiring actress and eagerly waiting to see this production.
NR: In your opinion, why is New Rep On Tour important?
(MP): New Rep On Tour is so important because it opens up the world of theatre to students who may never have had the opportunity to see a professional production, and I feel it shatters any incorrect notions that theater is not an accessible form of entertainment for their generation. Through the performance and our post-show talkbacks, The Tour brings to life the stories students read in school, perhaps allowing them to understand the characters and the plot on a deeper level than by just having to read the book for homework. I also think New Rep On Tour is important because it provides a venue and community for aspiring set designers, directors, actors, and stage managers.
NR: Could you tell us about your directing process for New Rep On Tour?
M. Bevin O’Gara (MBO): My process as a director for New Rep On Tour is no different than for any other show I direct. You choose the story and engage in a process of focusing attention on the key characters and themes. From casting the production to choosing a design, from cutting the script to each moment of staging, you're looking for a way of telling the story that will capture the minds and hearts of the audience, in this case the students. But for all the thought and work, sometimes the transformative power of theatre just can't be measured.
NR: What was the most memorable and rewarding experience you had working on The Tour?
MBG: My most rewarding moment of being a part of New Rep On Tour happened during the run of Othello.
It was the morning after Obama had been elected (which happened to be our first show out on the road, talk about kismet!), and we were performing at a middle school with a very diverse student body. The energy of those kids rushing into the cafeteria that morning was indescribable. They were bouncing off the wall, not in an unruly way but with utter glee and excitement. I would like to think this was all about seeing a live theatrical performance in their school, but it was of course something more. They seemed to have been empowered by their newfound place in the world, in the new possibilities that lay before them.
As the show began the teachers silenced the students and got them all seated, but as the action of the play progressed, they could barely remain in their chairs. The laughing and yelling became a cacophony that seemed in harmony with the action. They climbed up on their chairs to get a better view. Their actions weren't disrespectful. These students were just completely engrossed in the drama that was unfolding before them. They were relating it to the real life drama they had just witnessed on their TV screens over the last few weeks.
The best thing you can ever hope for in theatre is for the connection between the performers and the audience to be palpable, to take both to a place they've never been before, and on that morning we got there.
New Rep On Tour is sponsored by Bank of America. Additional support comes from the National Endowment for the Arts, Massachusetts Cultural Council, Esther B. Kahn Foundation, The Fuller Foundation, Roy A. Hunt Foundation, Harvard O’Neill Community Enrichment Fund, and Crossroads Community Foundation.