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HEDDATRON Program.Indd HEDDATRONBy Elizabeth Meriwether Directed by Ron May 7:30 p.m. March 19-20 2 p.m. March 21 Virtual Performance via Broadway on Demand School of Music, Dance and Theatre Herberger Institute for Design and the Arts Arizona State University Director’s Note I’ve always been a lover of big, messy plays. Plays that seem impossible to stage. Plays that wrestle with huge ideas but manage to find intimate truths shining through those ideas. Plays that make their own rules. Plays like HEDDATRON. I slated and directed a production at my company - Stray Cat Theatre - back in 2012. Back then, the big hill to climb was the robots. Sourcing them, building them, controlling them, directing them, on and on. Of all of the shows I have ever done, I rarely have a desire to revisit any of them. but this one - simply because of the robot learning curve - I swore I would do again if given the chance. And that chance finally showed up courtesy of ASU. Little did I know my home court advantage would barely matter as the entire thing was soon turned upside-down and inside-out and forced into a virtual scenario because of the stupid zombie plague. This return to rehearsals with HEDDATRON has been like oxygen for me. It’s been weird as hell rehearsing a show where until very recently I had yet to actually meet anyone working on the project. As of this writing I still haven’t shared a room with many of them even though I want to hug the living hell out of ALL of them. and will. some day. Rehearsals shifted from finding how people best shared space to finding a visual language for the actors to appear to be sharing space when they’re never in the same room. Plus...dealing with a whole new cast of robots. What you see will be almost 100% live every performance. All of it live mixed/edited by our astounding tech crew. Every show. Only that one scene - the one with the robots - and yes, those are real robots - is full blown on a stage in a real theatre with a handful of our actors masked up on a huge set with a full light plot, robot operators - the whole 9 yards. If you need a high-brow answer about what the hell this thing is, HEDDATRON is a show that traffics in the idea that Ibsen is often misread. That his REAL central issue in most of his plays has actually been the female trajectory from object to subject. From an institution of male service to authentic self. From instrumentality to autonomy. Very similar to the theory of singularity. Where toasters gain agency and learn they’re toasters. From an institution of service to authentic self. From instrumentality...to autonomy.You take all that, marinate it, season it with an abundance of dick jokes, let it simmer...and serve it up piping hot for three performances. May it satisfy your hunger for the real thing half as much as it did ours. Thanks for watching! Ron May Dramaturg’s Note Heddatron, Elizabeth Meriwether’s gleefully anarchic deconstruction of Henrik Ibsen’s Hedda Gabler, is unlike any play even a regular theatregoer has likely encountered. There are robots. There are three simultaneous timelines. And there is Nugget. This precocious ten-year-old girl discusses abduction, suicide, and other matters that would be considered dark and disturbing, even for grownups. She narrates a play that is strenuously, aggressively weird in what seems like every possible way, a play that mocks both Ibsen’s original and Ibsen himself; as Nugget asserts, these sorts of works are “lame.” Thus Heddatron takes on the well-made play, with its adherence to realism and a linear plot and suggests that in the 21st century, when theatre needs more than ever to offer what television and film cannot, the well-made play is no longer welcome. Despite the obvious and enormous differences between Ibsen’s well-made play and Meriwether’s purposely not well-made play, both authors share two similar goals: to shock the audience, and to move the theatre art form forward. As he did with A Doll’s House and An Enemy of the People, Ibsen used Hedda Gabler to criticize society— specifically middle- and upper-class Norwegian social structures in the late 19th century—and to give voice to women trapped and impatient to achieve power and independence in a male-dominated society. Similarly, Meriwether critiques American society and its appetite for works of classic literature that we are told we must enjoy because they are “timeless” and “still relevant.” Heddatron’s central character, Jane Gordon, is like Hedda herself: pregnant, unhappy in her marriage, and desperate to escape the confines of her dull, domestic, male-centered life. Across differences of time and place, these two characters—and therefore, these two plays—illustrate how little progress has actually been made since Hedda Gabler’s premiere in 1891. As Heddatron subtly suggests, perhaps it is our regard for classic, well-made forms that prevents us from achieving social change. After the 2006 premiere of Heddatron, Meriwether went on to become a highly successful sitcom writer with New Girl, and has become a prolific feminist voice in Hollywood through her continued work as a writer and producer. With Heddatron, she wants us to laugh, and to reconsider the modern value of the white, patriarchal “classics” that have perhaps received too much attention. Critical reviews of past productions indicate that she has succeeded in both of these likely intentions with Heddatron, and the work continues to be strange little gem of a play that gets produced by theatre companies similar to Les Freres Corbusier, the avant-garde Off-Off-Broadway troupe that premiered it. The play is also ripe for academic institutions, where the analysis of such canonical works as Hedda Gabler is standard practice. Those who saw ASU’s virtual production of Hedda Gabler last year will likely especially enjoy this production of Heddatron, and surely many post-show conversations will be sparked about how theatre has changed in the last one-hundred and thirty years, and how it must continue to evolve. By Clay Sanderson HEDDATRON Artistic Team Director Ron May Dramaturg Clay Sanderson Stage Manager Lucy Primiano Calling Stage Manager Maximilliano Zamorano Assistant Stage Managers Lauryn Buchanan-Camacho, Solomon Milburn Scenic Designer Se Hyon Uh Costume Designer Constance Furr Lighting Designer Leah Zweig Sound Designer/Composer Troy Jansen Media Designer David Novoa ASL Consultant Michelle Chin Dialect/Vocal Coach Rachel Finley Acting Company Jane Gordon Bronwyn Doebbling Rick Gordon Cory Drozdowski Nugget Gordon Eleanor Field Cubby Gordon Axel Adams Engineer Rishabh Bansal Film Student Alex Parra Henrik Ibsen Hugo Crick-Furman Mrs. Ibsen Ausette Anderies Else Ann Ethington August Strindberg John Maynes Hans(Voice Actor)/ Else Body Double Nick Devor Biographies Axel Adams (Cubby)(head carpenter) is a freshman theatre major in the design and production concentration at ASU. This is his first show as a performer with the School of Music, Dance, and Theatre. This is also his first show working as a carpenter in the scene shop. In the past he has done multiple productions including “A Midsummer Night’s dream” as Theseus and “Peter and the Starcatcher’’ as Lord Aster with Buena Fine Arts Productions. Ausette Anderies (Mrs. Ibsen) is a senior studying theatre and political science here at ASU. Some of her previous stage credits include Desdemona in “Othello,” Irina in “Three Sisters,” Woman Head in “Trade Trade Love” and Aunt Juliane in “Hedda Gabler.” And she recently studied with the Prague Shakespeare Company and performed as Margaret in “Much Ado About Nothing” at the Estates Theatre. Rishabh Bansal (Engineer) is a student at ASU studying materials science. Previous stage credits include Spacesuit Man in “If it’s any constellation”, Charlie in “Human Nature” at ASU. Apart from this, he has also worked in several short films and has been a part of various stage and street plays in India. This is his 1st production with the School of Music, Dance and Theatre. Lauryn Buchanan-Camacho (assistant stage manager) is a junior theatre major with a concentration in stage management and lighting design. She has previously been an assistant stage manager on ASU’s production of “The Crucible” in Spring of 2020. This is her second ASU Music, Dance and Theatre production being a part of the stage management team. Camacho is ready to be a part of her first virtual production and is excited for the show to open. Chloe Cobb (props master) is a third-year student majoring in theatre design and production. She has previously worked as assistant props master on “Hedda Gabler” (ASU), co-props master on “An Unsettled Supper” (Binary), and has dipped her toe in filmmaking as production designer on Isabel Walker’s student film “LoveLie.” Chloe is excited to have the opportunity to continue making theatre during a pandemic, and is grateful for the learning experiences that it has provided. Hugo A. L. M. Crick-Furman (Henrik Ibsen) is a student at ASU, majoring in culinary geology with a minor in horse fashion. Their previous theatre work can be found squirreled away behind family bathroom sign in Denver International Airport. When not busy creating Iconic Theatre Moments™, they spend their time forcing ants to stare at the sun to test their theories about Ant Blindness. Giovanni Curtiss (coms manager) is a sophomore at ASU within the theatre design and production concentration. This is his second production as coms manager within the School of Music, Dance, and Theatre, and he’s excited to be exploring the new ways in which theatre can be brought to life in a post-pandemic world.
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