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Magazine for Friends and Partners Spring 2019

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Magazine for Friends and Partners Spring 2019 MAGAZINE FOR FRIENDS AND PARTNERS SPRING 2019 2019 | shawfest.com 3 Contents 2 Director's Dialogue 4 A Journey to Narnia 8 A Feast for All of Your Senses 12 Allow Me to Introduce You ... 15 Reading Series 16 News 17 Mystery Encounters 18 Calendar of Events 20 A Series of Inspired Follies ONLINE To read this issue online, go to shawfest.com/shawmag/spring2019 Shaw Magazine is a publication for the Friends and Partners of the Shaw Festival. Editorial Committee: Tim Carroll, Kate Hennig, Tim Jennings, Marion Rawson Artistic Director: Tim Carroll Executive Director: Tim Jennings Editor: Marion Rawson Design: Key Gordon Communications Production and Ensemble photography: David Cooper Photography Backstage and Niagara photography: Cosmo Condina Photography Special Thanks: Jim Bratton, Mark Callan, Scott McKowen Your comments are welcome. Please call the Membership Office at 1-800-657-1106 ext 2556 Shaw Festival For our American Friends 10 Queen’s Parade Shaw Festival Foundation Box 774 P.O. Box 628 Niagara-on-the-Lake, ON L0S 1J0 Lewiston, NY 14092-0628 1-800-511-SHAW SHAWFEST.COM Cover: Matt Nethersole in Right: Cast, crew and creative The Horse and His Boy team members of The Ladykillers. Photos by Mark Callan The Horse and His Boy Production Sponsor: The Ladykillers Production Sponsors: William & Nona Macdonald Heaslip Foundation Playing all the angles. The set for The Ladykillers is a tricky one. Normally, the outlines of a set are taped on the rehearsal hall floor in order to give the cast the sense of the different playing areas. But The Ladykillers is so tricky that the cast, stage management team and some running crew, along with director Tim Carroll and designer Judith Bowden, paid a visit to the Scenic Construction shop early in rehearsals in order to explore the as-yet-unfinished set. B: How did you become a director? And how did a director from Hungary end up at the Director’s Shaw Festival?! L: It’s a long journey! I like to say, as a human being I am elderly, Dialogue but as a theatre maker I am middle-aged. After finishing university, I was a high school teacher, teaching German language. Nothing to Brendan McMurtry-Howlett sat down do with theatre. After many years, I then moved to Budapest, the capital of Hungary, and that was the time I got interested in theatre with László Bérczes in the first week of and became a theatre critic. In the 90’s I switched from working for rehearsals for The Glass Menagerie. It was the “enemy” as a critic and began making theatre myself. We started a chance for the two directors, both new the Bárka Theatre in Budapest. It existed for nearly 20 years with a beautiful building, four performance spaces, and a permanent acting to The Shaw, to get to know one another company. It was there that I met Tim Carroll; we invited him four and to talk theatre, choices, happiness times to come direct at our theatre. That was the beginning of my and, of course, The Glass Menagerie. career, AND my friendship with TC. I have been directing ever since and that is why I say I am a middle-aged director, even though I am a pensioner. With everyone it takes time to find yourself, just like Tom, the main character in The Glass Menagerie. B: Why did you want to direct The Glass Menagerie? L: I think I understand Tom—he is an artist; a poet who is looking for himself. When you say “I would like to make art” you still need to make a long, difficult journey to find yourself as an artist, and sometimes that means being faced with many difficult, even impossible decisions. And decisions mean gains and losses. There is no gain without loss. For example, my grandson is asleep in Hungary right now. Tomorrow when I wake up here, I am here in Canada because I decided to accept this honourable and frightening invitation, but that means I am not playing with him, that means I’m not a good grandfather—at the moment. This is a gain and a loss. This is Tom’s story: he must choose between his family or finding himself. What is the right decision? B: Do you think Tom makes the right decisions in the play? L: There is no “right” decision, that is the paradox of life. Everyone in this play is full of good intentions but there are still tragedies coming from those good intentions. Even when we try to be good to each other we still end up hurting someone. It is the same with me, with anyone, so how can I give them advice? Life is wonderful, but it is very difficult and nobody knows the prescription for life. I don’t do this kind of “teaching” in theatre. Maybe it’s because I used to teach German grammar… you can’t have an opinion about grammar—those are the rules. But the rules of life? I don’t know how this family in The Glass Menagerie should behave, how anyone should behave. But maybe that is enough—to say “I don’t know”. I think that is the heart of this production—not knowing, but also love. You don’t know anything, but you can love. B: Is this your first time directing in another language? L: Yes. Maybe it’s an obstacle? We shall see. But in life, I like misunderstandings because it gives so much salt into our lives. For everyone, our days are a series of understandings and misunderstandings: assumptions, suggestions, and feelings that you never understand. Even if I say “table”, it doesn’t mean the same for you as for me. This is a simple example. But when I say “love” it is a bit more complicated. Even if we speak the same language there are so many misunderstandings. Maybe it helps By Brendan McMurtry-Howlett or maybe it doesn’t … 2 2019 | 1.800.511.7429 B: Do you think there is a difference in making theatre in Hungary vs. in Canada? L: Just before we began rehearsals, I got a message from a friend who knew how excited and nervous I was to start, and she said, “Theatre is theatre, everywhere in the world.” I walked into the rehearsal room on the first day and I saw smiling faces and hugs and I thought yes, I am at home here in the theatre. There are almost only similarities. B: What is your approach to directing? L: My strength is empathy, that is what I do. Directing means dialogue for me. In an open dialogue, when you want to connect with someone, you yourself have to be absolutely open. I have to put my heart here if I expect the other person to put their heart here too. In rehearsals I want to see all the hearts and souls on the table, the souls of the team—the actors. It doesn’t mean they have to tell me all of their secrets, but they will tell them through acting, by BEING there on stage as their character. For example, Julia Course, who is playing Laura, doesn’t have to say a word about herself in rehearsals, but if she’s there as Laura, Julia and Laura will be the same. Who is crying when an actor is crying on the stage—the character or the actor? Of course what happens in the rehearsal room is our secret and what we give to the audience is what comes from our secrets. B: How do you say “break a leg” in Hungarian? L: Ha! In Hungarian it is different. It is something like—find your fun, or your happiness in the show. Because if you find that, I don’t mind the mistakes. Of course I will still take notes and ask you why you didn’t do something! But the mistakes are not important—life is important. If life is not on the stage, you can be as accurate as you want but it means nothing. So we say, “Find your happiness: Talád meg az örömödet a mai esetében!” László Bérczes is a Hungarian artist of many talents. His career has spanned the role of director, artistic director, festival organizer, dramaturge, author, and theatre critic. Production Sponsor In 1996 he was a founding member of the Bárka Színház James F. Brown (Ark Theatre) in Budapest, where he put his many talents to use until the theatre closed in 2011. This is László’s first Jackie Maxwell Studio Theatre Sponsor season at the Shaw Festival and he’ll be directing The Glass Menagerie by Tennessee Williams. 2019 | shawfest.com 3 A Journey to Narnia: Setting a magical scene for The Horse and His Boy By Julianna Cole Designer Jennifer Goodman and Head of Scenic Art Gwyneth Stark explain how design and process came together to inspire the scenery for our return to Narnia in The Horse and His Boy. 4 2019 | 1.800.511.7429 Jennifer: There are quite a lot of dilemmas in translating this particular book to the stage, because there are so many locations: you are never in the same place twice! The play is a journey. The director, Christine Brubaker, and I needed to figure out how we could do this within the fixed frame of the Festival stage. Christine and I had worked together on Wilde Tales (2017) and we are both drawn to the use of abstract gestures rather than literalism. It’s more interesting when the audience has to do some of the work.
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