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Rehearsal, Performance, and Management Practices by the Oregon Shakespeare Festival

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Rehearsal, Performance, and Management Practices by the Oregon Shakespeare Festival Six Companies in Search of Shakespeare: Rehearsal, Performance, and Management Practices by The Oregon Shakespeare Festival, The Stratford Shakespeare Festival, The Royal Shakespeare Company, Shakespeare & Company, Shakespeare‘s Globe and The American Shakespeare Center DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Andrew Michael Blasenak, M.F.A. Graduate Program in Theatre The Ohio State University 2012 Dissertation Committee: Professor Stratos Constantinidis, Advisor Professor Nena Couch Professor Beth Kattelman i Copyright by Andrew Michael Blasenak 2012 ii Abstract This dissertation examines the artistic and managerial visions of six "non-profit" theatre companies which have been dedicated to the revitalization of Shakespeare‘s plays in performance from 1935 to 2012. These six companies were The Oregon Shakespeare Festival, the Stratford Shakespeare Festival, The Royal Shakespeare Company, Shakespeare & Company, Shakespeare‘s Globe and The American Shakespeare Center. The following questions are considered in the eight chapters of this study:1) Did the re- staging of Shakespeare's plays in six "non-profit" theatre companies introduce new stagecraft and managerial strategies to these companies? 2) To what degree did the directors who re-staged Shakespeare's plays in these six "non-profit" theatre companies successfully integrate the audience in the performance? 3) How important was the coaching of actors in these six "non-profit" theatre companies for stimulating rewarding rehearsals, quality performances, and actor loyalty to the company? 4) Was "ensemble acting" in these six "non-profit" theatre companies detrimental to the professional and emotional well-being of the actors? 5) To what degree were rehearsal patterns in these six "non-profit" theatre companies influenced by the relationship established between actor and audiences during performance? Extensive on-site research that included interviews with actors, directors, coaches, and managers, as well as published and unpublished accounts of the rehearsal and management practices of the companies, ii yielded a wealth of data that indicate the following: the dedication to re-staging Shakespeare‘s plays encouraged innovation in stagecraft, casting, and new play development. These six companies produced Shakespeare‘s plays not to recover the theatrical past, but to invent techniques for the future of theatrical performance. Elizabethan-inspired thrust stages encouraged actors and directors to integrate the audience in the performance, but it was the individual directors and actors who chose to integrate or to ignore the audience. Voice, text, and movement coaches marginally increased the quality of the productions. However, they contributed to the satisfaction and loyalty of the actors who used coaches. Ensemble acting benefited the emotional and professional well-being of those actors who disliked the practices of the commercial theatre, but those actors who expected that their employment would make the same demands of the commercial theatre disliked ensemble acting. The level of collaboration between actors and directors in rehearsal reflected the level of integration of the audience in performance. iii Dedication To Chelsea, who understands. iv Acknowledgements I am grateful to my advisor, Stratos Constantinidis, and readers Beth Kattelman and Nena Couch for guiding and encouraging this dissertation. Part of this project was made possible through the support of The Ohio State University Alumni Grant for Graduate Research and Scholarship, the Center for Medieval and Renaissance Studies Howe Grant, and the Department of Theatre for providing travel assistance to London, Stratford-upon-Avon, Stratford, Ontario, and Lenox, Massachusetts. I thank all those who opened their homes and hearts for this project: Jaq Bessell and Jan Knightley, Jon and Amy Higham, Brett and Holly Santry and Robert Signom III. This dissertation would not have been possible without the support and generosity of the following: Bill Rauch, Lue Douthit, David and Rebecca Clark Carey, Scott Kaiser, Tom Knapp, Joy Dickson, Sarah Langan, and Susan Whitmore at the Oregon Shakespeare Festival; Antoni Cimolino, Des McAnuff, Robert Blacker, Nora Polley, Janine Pearson, Nancy Benjamin, Martha Henry, David Latham, Lezlie Wade, Eric Benson, Michael Roth, Francesca Marini, Jacob Gallagher-Ross, Elizabeth Knazook, and to no small extent Ron Nichol, Elke Bidner, and Benjamin Nelson at the Stratford Shakespeare Festival; Michael Boyd, Jacqui O‘Hanlon, Tim Crouch, Lyn Darnley, Alison Bomber, and Struan Leslie, at The Royal Shakespeare Company; Tina Packer, v Tony Simotes, Dennis Krausnick, Kevin Coleman, Lizzie and Malcolm Ingram, Daniella Varon, Katharine Goodland, Elizabeth Aspenlieder, and Kristin Wold. Steve Ball, Catherine Wheeler, Nicholas Bussett, Nick Puma, and Hope Kelly at Shakespeare & Company; Dominic Dromgoole, Farah Karim-Cooper, Patrick Spottiswoode, Sian Williams, Giles Block, Christine Schmidle, Casey Caldwell and the research staff at Shakespeare‘s Globe; and Ralph Alan Cohen, Jim Warren, Jay McClure, Colleen Kelly, Cass Morris, and Sarah Enloe at The American Shakespeare Center. Finally, thanks, and ever thanks, to the multitude of actors for sharing their time, inspirations and frustrations. vi Vita 1998……………………Vandalia-Butler High 2002……………………B.A. Theatre, Marymount Manhattan College 2007……………………M.Litt. Shakespeare in Performance, Mary Baldwin College 2008……………………M.F.A. Shakespeare in Performance, Mary Baldwin College 2008 to present…………Distinguished University Fellow, Department of Theatre, The Ohio State University Field of Study Major Field: Theatre vii Table of Contents Abstract…………………………………………………………………………….……...ii Dedication………………………………………………………………………………...iv Acknowledgments…………………………………………………………………………v Vita……………………………………………………………………………………....vii List of Tables ..................................................................................................................... ix List of Figures ..................................................................................................................... x Chapter 1: Introduction ....................................................................................................... 1 Chapter 2: The Oregon Shakespeare Festival ................................................................... 37 Chapter 3: The Stratford Shakespeare Company .............................................................. 81 Chapter 4: The Royal Shakespeare Company ................................................................ 131 Chapter 5: Shakespeare & Company ............................................................................. 180 Chapter 6: Shakespeare‘s Globe .................................................................................... 224 Chapter 7: The American Shakespeare Center .............................................................. 244 Chapter 8: Epilogue ....................................................................................................... 275 Bibliography……………………………………………………………………………307 Appendix A: Interview Questions……………………………………………………...318 Appendix B: Founding Mission Statements/Articles of Incorporation………...………321 viii List of Tables Table 1. Timeline of Shakespeare Companies ................................................................. 30 ix List of Figures Figure 1: Oregon Shakespeare Festival campus, 2010, photo courtesy of Oregon Shakespeare Festival, photo by David Cooper. ................................................................ 49 Figure 2: The Elizabethan Stage, 1947, courtesy of Oregon Shakespeare Festival. ........ 50 Figure 3: The Elizabethan Stage, Love's Labour's Lost, 2011, courtesy of Oregon Shakespeare Festival. ........................................................................................................ 52 Figure 4: The Angus Bowmer Theatre, 2009, courtesy of Oregon Shakespeare Festival, photo by Jenny Graham. ................................................................................................... 55 Figure 5. The New Theatre, 2010, courtesy of Oregon Shakespeare Festival, photo by David Cooper. ................................................................................................................... 56 Figure 6: Angus Bowmer Stage, Measure for Measure, 2011, courtesy of Oregon Shakespeare Festival, photo by David Cooper, René Millán, Brooke Parks; Musicians: Vaneza M. Calderón, Mary M. Alfaro, Susie Garcia. ...................................................... 60 Figure 7: Angus Bowmer Stage, Measure for Measure, 2011, courtesy of Oregon Shakespeare Festival, photo by David Cooper, featuring Anthony Heald, Brooke Parks, Stephanie Beatriz. ............................................................................................................. 60 Figure 8: New Theatre, Julius Caesar, 2011, courtesy of Oregon Shakespeare Festival, photo by Jenny Graham. ................................................................................................... 62 Figure 9. The Festival Theatre 2010, courtesy of the Stratford Shakespeare Festival Archives. ........................................................................................................................... 91 x Figure 10. The Festival Stage, 1953, courtesy of the Stratford Shakespeare Festival Archives ...........................................................................................................................
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