(**Note from Gina: Tonight marks the opening of our annual Fringe Show.  This year it’s La Ronde by Arthur Schnitzler, directed by Kirsten Brandt.  The Fringe Show is my favorite production of the season because it gives our acting interns a chance to shine in leading roles.  If you’ve never been, don’t miss it.  Performances are tonight and next Tuesday — all tickets $14!)

I was excited when I received my casting as The Young Wife in La Ronde, but I also felt a moment of fear.   Aside from the stupid actor fears of hoping my scene partners don’t think I’m horribly ugly, or worrying what people will think of me in my undergarments, I also harbored some deeper fears that related to our play’s wonderful theme: Sex.

But why should I be scared of sex? It’s all around us, right? Pop stars in skimpy costumes, hunky models in an Abercrombie and Fitch catalogue… Sex finds its way into conversation casually— think about the now widespread joke from The Office, “That’s what SHE said,” turning everything into a double entendre. Furthermore our reputations are often determined by who we are sleeping with, or who we have or have not been with.  There is certainly a very public side to sex.

But there’s a side of sex that is personal and experiential—what it means and what it has revealed about us is something truly only known to the people involved in the act.  So imagine taking these most intimate and revealing moments and presenting them to two audiences of strangers in an outdoor space.  That’s what La Ronde does.   So maybe you can see why I was a little scared.

Luckily, as interns, we have been learning from the professionals surrounding us.  I remember being especially struck by a note given by Scott Wentworth, my director for Love’s Labor’s Lost, for the acting company as we moved into the Glen from our rehearsal space.  He noted that just because we as actors share our feelings with the audience, it doesn’t mean that we lose feeling them within us.  Watching the acting company take this direction and thrive, I realized that this truly is the core of acting—not being fearless, but doing what you must do with fear as your companion.

A noble venture.  Very hard to do.  Throughout the rehearsal process for this play, I have tried to prepare myself for sharing my intimate feelings with an audience.  At times this feels voyeuristic, but at other times it feels supportive and freeing.  I have felt inspired by the hard work of my fellow interns, by the fun and sensitive direction of Kirsten and our assistant director Kathleen, and pushed to be a better actor by the supportive company surrounding me.

I can only hope the hard work pays off and that I have a lot of fun tonight.

See you there!
–Brenan Dwyer, Acting Intern

(**Note from Jessi: If you haven’t ever been to one of our Fringe shows, featuring our amazing acting interns, this is something not to be missed.  Only two performances, though, August 17 & 24 — all tickets $14!)

I’m Kirsten Brandt, the director of this year’s Fringe Show, La Ronde.  I first read the play my freshman year in college (no, I’m not telling when exactly that was), and have wanted to direct it ever since.  As a producer, La Ronde has been on my short list every single time I selected a season, but something always came up that kept me from being able to present it.  This is a classic that is sexy and surprisingly fun and poignant. Although the play is over 100 years old, it retains relevance to long standing social conventions about relationships, love and sex. It magnifies the intimate in a way that is familiar and yet completely taboo.

I adore the intern company.  They are phenomenal.  I have spent most of my career working with and creating ensembles who support and encourage each other, but are willing to set ego aside for the betterment of the production.  This is a fantastic group of passionate young artists that have thrown themselves into the ensemble mentality.  They are in it together – committed and enthusiastic. Although each actor has a moment to shine individually in this play, they know that it is about the team.

Oh, and they are cliff divers.  They are game for just about anything and willing to push themselves to try it.  They are constantly looking for ways to improve.  There is nothing I adore more than seeing an actor standing in a corner working on their part, walking thru their blocking, and scribbling actions into their scripts.   It’s beautiful to watch them encouraging each other.

La Ronde was written to be performed indoors.  Schnitzler notates that a sexual act has taken place with “* * *.”  Usually, this is done with a  blackout or an interpretive dance.  Well, since the first half hour of our production is performed when the sun is up – the first option is not available to us.  When I told the cast that I didn’t want to do a traditional dance either – I was met with cries of joy.  So, we have created abstract ways of depicting the “coupling” of each duo.  The actors helped select the sound and physical style in which the moment is performed.  It’s been an exciting part of our process.

As I write this we are four days from opening.   We are reveling in the creative energies that come from the final push of putting on a show: fine tuning intentions, tweaking staging and combining all the technical elements.   We even got to enjoy a light summer rain (and winter temperatures) in the Festival Glen as we teched the show.   We are all eager to get this show in front of an audience.

Hope to see you there!
–Kirsten Brandt, Director

(Note from Gina: Jean Shimoguchi is one of SSC’s very dedicated and hard-working volunteer board members.  As we are now at the half-way point of the Festival, Jean shares her thoughts on our first two productions.)

Director Richard E.T. White said that The Lion In Winter is the 12th-century version of Who’s Afraid of Virginia Woolf? and he’s right. Lion is the dramatization of Henry II, King of England, as he decides which one of his three sons will inherit the kingdom.  His imprisoned wife, Eleanor of Aquitane, has been released from prison to celebrate the Christmas holidays.  The play is a chess game between Henry, Eleanor and their sons.  Add to the mixture Henry’s young consort, Alais Capet, and you’ve got the 12th-century version of a dysfunctional, reality show!

Marco Barricelli, SSC’s Artistic Director, is magnificent as Henry II.  His strong baritone voice commands the theater and his stage presence is mesmerizing.  We’ve waited three years for Marco to take the stage at SSC and it was well worth the wait.  Kandis Chappell is flawless as Eleanor.  She and Marco spar verbally like two fine-tuned tennis players who know the strengths of weakness of their opponents.   They can throw insults that pierce the heart and toss lobs that bring laughter to the audience.

Is this what happens to love when over time it has been strained?  Must people, who were once madly in love, turn ugly just to get what they want?  These are questions posed by playwright James Goldman but it is up to the audience to come to their own conclusions.

On the other hand, SSC’s production of Shakespeare’s Love’s Labor’s Lost is about the beginnings of love.  In the play, Ferdinand, King of Navarre, and his three attending lords vow to focus strictly on their studies at the university and disregard women.  That’s until the lovely Princess of France and her three attending ladies arrive.  Once the men and women meet, all vows are thrown out the window and the merriment begins.

Director Scott Wentworth has staged this engaging production focusing on the smart and tightly written dialog, but he also adds his own modern touches such as skateboards, raps, and hilarious costumes.   About 75% of the play is full of fun and laughter, but Shakespeare ends it with a poignant and thought-provoking closing scene.

The cast is large and each actor creates his or her own unique character.  V Craig Heidenreich and Marion Adler are well matched as the King and the French Princess.  Unlike Henry II and Eleanor of Acquitaine, King Ferdinand and the Princess are civil to each other and only tease in jest.  Their love is new.  Will they eventually turn into Henry II and Eleanor?

The supporting cast is highlighted by the hilarious performances of J. Todd Adams as Costard, a clown, and Victor Talmadge as Don Adriano de Armado, a Spanish braggart.  Both men bring laughter to the audiences just by walking on stage.

Seeing these two plays in tandem is a great study in the evolution of love.  Does a new love that begins as bright and supportive always turn into an ugly conflict?  Or will the couples in Love’s remain in love for years and years?  The plays pose the questions.  What do you think?

For those of you visiting The Green Room for the first time, I am Jessica Bond, the Administrative Coordinator for Shakespeare Santa Cruz (as well as your blog co-host).  The staff here at SSC takes care of a lot of the behind-the-scenes stuff (ie. the unglamorous part of showbiz).  I spend most of my days sitting at a desk and creating purchase orders, tracking payroll, or solving last minute problems.  Sometimes it’s easy to forget why I am really here and I wonder what it is all for.  But then. . .  (lucky me). . . I can just walk down stairs and step into a rehearsal or performance.  And then you go. . . “oh, riiight. . .”   We are here to make great theatre happen!  Watching the audience is always my favorite part.  Being there when The Lion in Winter & Love’s Labor’s Lost previewed and opened was so exciting; listening to patrons comments and watching as each show gets a standing ovation is priceless.

Othello is no exception.  Watching the show over the last few days has been really rewarding; as the show comes together, people seem to be really connecting with it!

I am excited for Othello to open in so many ways; it is one of my favorite plays of all time.  I think we can all relate to the characters and how they are feeling.  We have all been in love, experienced jealousy, and have had friends that betrayed us.  I have heard people say “Oh how can Othello be so stupid?!”  – but have you ever trusted someone that you shouldn’t have?  Sure.  (Hopefully, you didn’t kill anyone though.)  That is what is great about Shakespeare; everything is to the max.  Ultimate love, great tragedy, and epic loss.

Othello opening also means that our three main productions are OPEN!!!  No more late night notes, no more rehearsals.  But it also means that the season has really begun.  All the blood, sweat and tears will pay off as patrons come and enjoy this excellent season.

If you don’t have your tickets yet, there are plenty left (though reserved seating is scarce at many performances).  Don’t forget to bring some wine, but also be sure to bring some extra blankets, as it is a colder than normal summer.  You do not want to miss this season!

–Jessi Bond, Co-Hostess With the Mostess

Hello, my name is Sherill Turner and  I’m a member of this year’s Acting Company.  Today is Monday, which is our day off – this generally means that the laundry rooms are occupied and the supermarkets of Santa Cruz do very good business, as members of the company catch up on ‘life stuff!’

It’s incredible to think that six weeks ago today, we were all wearing our name badges, while enjoying the lovely picnic provided by the Friends of Shakespeare Santa Cruz.  We’ve been on an amazing journey since the first day and we still have four weeks to go!  I am very lucky to be acting in Love’s Labor’s Lost and Othello in the Glen this summer.  It’s such an inspiring space, it’s like another character has joined the plays!

Sherill as Maria in "Love's Labor's Lost."

We started rehearsals with a table read and discussion.  The next four weeks were spent going between the two rooms, where we explored the text and got the stories on their feet.   It’s wonderful to be in a company, where people not only arrive every day willing to work hard, but also to contribute to the fun and joy of a creative ensemble.  It’s been just as common to hear laughter in the Othello room, as it has to be moved by a touching moment in the LLL room, and this atmosphere has lead to two productions that I’m proud to be a part of .

The schedule of the last two weeks has highlighted the delights and challenges of working in a repertory system.  We left Othello for over a week to tech, preview and open Love’s, and then left the court of Navarre to return to Venice, Cyprus and Iago’s heinous schemes!  It’s wonderful seeing how moments are remembered, rediscovered and refined on Michael Ganio’s set, which looks and feels like it’s sprung from the ground in the Glen.

I’ve never seen a stage production of Love’s Labor’s Lost, as it is done so rarely, so it’s been really exciting to explore.  My friend who came to see it on opening night said she knew exactly what was going on, and she’d never seen it before either!  It’s thrilling to be involved in a production of Othello where the brutality of love, jealousy and betrayal really are visceral in every moment.  I don’t feel that’s too much of a spoiler for the audience, but do recommend a blanket for the cold, and a tissue for the tears!

Yesterday consisted of a sunny afternoon matinée of Love’s Labor’s Lost and a dress run of Othello in the evening.  This is my first year with Shakespeare Santa Cruz and my first Summer in California; as I sat backstage, listening to the final scenes of Othello as the mist filled the Glen, I thought, yep, just another day in the office!