NOTES FROM JUSTINE- Just A Reading opens tomorrow night, April 28!

Notes from Justine

All about the Acting and Writing
Notes from the Just a Reading rehearsals Thursday 4/14 and 4/21.

Just A Reading is a play ABOUT acting and playwriting. More precisely, it’s about a writer writing about real people who are also actors who then play themselves. They must “act” like the real people they actually are. As such, rehearsal for Just a Reading is a rehearsal process about acting and writing. Together these two elements have to combine perfectly, to intertwine to make us believe, at least for a moment here or there, now and then, that what we’re watching is really happening.

Acting-wise, this is the ultimate job. These are roles any actor would salivate over. To begin with, the play has ultra-realistic, naturalistic behavior at its most extreme. You think Brando got away with mumbling? This show has potential for mumbling, shuffling, under-played acting at its best. But then the “actors” (played by the very talented ensemble of Jenn Boehm, Michael Sean Cirelli, Brandon Ferraro, Cas Marino, Alexandra Mingione and Stephen Reich) get to... wait for it...act! They show us their professional abilities to inhabit a character while pretending to do a cold reading. Tricky. Then, as the stakes get higher and higher tempers flare, emotions rise and the melodramatic passion lets fly! Whew. Fun, fun, fun if you’re crazy enough to love acting.

The writing, of course, has to support all this realism/transition/belief in two worlds with deftly smooth transitions and language that seems to say little while really telling us everything we need to know in order to care about, laugh at and worry for these flawed, needy actors.

What about directing? I’m afraid Chanda Calentine has a thankless job in this one. She is working incredibly hard juggling a million balls in the air, all for the sake of a disappearing act; her own. The direction of this piece (at least for much of the play) will be at its most brilliant when invisible: she makes the actors and writer look good. She makes them look real. They are lucky to have her and I am lucky to be privy to her process, but you the audience may never believe she exists. That is, if she does her job!

Just A Reading, written by Ryan Glass & Directed by Chanda Calentine, opens this Thursday, April 28th at 8pm at Looking Glass Theatre, 422 W.57th Street, NY NY 10019.

Justine Lambert
Founding Artistic Director

Notes from Justine- All About Readings... but not really

Notes From Justine:

All About Readings….but not really.

Just a Reading/Submerged

Last week was such a fun week at super-busy Looking Glass Theatre. We just closed the beautifully theatrical and much adored (by audiences small and large) Three By the Sea. Read audience quotes and view photos here; http://lookingglasstheatrenyc.com/ThreeBytheSea.html

On Thursday (4/7/11) I got my first peek into rehearsals of Just a Reading (Written by Ryan Glass, Directed by Chanda Calentine).

We theatre people love a good play-within -a -play and this is quite a special one. It’s a full production masquerading as “just a reading.” A handful of actors (played by the very talented ensemble of Jenn Boehm, Michael Sean Cirelli, Brandon Ferraro, Cas Marino, Alexandra Mingione and Stephen Reich) casually enter the theatre, greeting each other, adjusting the folding chairs and picking up their scripts. We are introduced to the players and then hear the beginning of a witty little play about a new hit band about to embark on their first tour. So far this could indeed be a simple reading but some weird behavior begins to interrupt the action of the “play.” Actors break character and the playwright isn’t willing to discuss any of the problems that begin to arise. What’s happening becomes clear to us, the audience. This play is about these actors’ real lives and it’s freaking them out. As you can probably tell from the photo, at some point things go terribly wrong…. But Alan the playwright (now a big shot in Hollywood) has some clout (and manic energy) on his side and is going to see this through to the bitter (or will it be sweet?) end! I can’t wait to see how the play continues to evolve at rehearsal this week!

Friday night pre-show I attended a mysterious and exciting meeting with two Looking Glass artists Jacqueline Honeybourne and Mark Gordon. Have I piqued your interest? Good. There’s an unusual project on the horizon here, more on that in the future. Then I attended the first incarnation of a new play reading series. The brainchild of Producer/Director Aliza Shane, the concept is to solicit new short (10-15 minute) work from our artists based on the set of each mainstage production. This evening was based on the watery world of Three By the Sea so our theme was water and our title was Submerged. Billed as “5 shorts for $5 bucks” there isn’t a better deal in town! Also billed as “Staged Readings”, these five plays were almost mini productions. Most actors were off book and fully blocked. Scripts were in hand and referred to however which served as a good reminder that this was indeed work in progress. The evening went off without a hitch and was truly a blast. Actors, playwrights and directors all seemed charged up about the work and the new series. It was so exciting to see artists involved from our past, some who haven’t been with us for years. Just a couple of the shows represented were Adventures of the Puppet Princess (’08), Anna's Perfect Party & The Amazing Magician's Marvelous Mistake (’09), Ask Someone Else, God (’09), Are You There, Zeus? It's Me, Electra (’09), and many many more! I now find myself wondering what the theme might be for Just a Reading’s set? After all, it is basically an empty, stripped theatre.

Our very own bare black box.

The creative possibilities, as always with a blank page, are truly endless.

Justine Lambert

Founding Artistic Director

Winter Forum 2010- Notes from Justine – Week 3

Notes from Justine

Forum Rehearsal 11/22/10

As I was leaving my Week Three observations last night, Assistant Director/Stage Managers Ashley Scoles and Elizabeth Swearingen and I all noted how this week is the most diverse group of plays this Forum. Two of the pieces are realistic tales with similar subject matter but one of the directors is not content with realism and has made embellishments of her own. The third play (that will be sandwiched in between them) is a light comedy based on the Adam and Eve story.

The first piece I saw was Clean by Nina Mansfield, directed by Laura Hirschberg, featuring Jake Miller, Taylor Miller & Erin Neufer*.

This slice of life in real time takes place in.....a church basement. So establishing location shouldn't be too difficult! Two people run into each other in the middle of the night; one has a desperate reason for being there, the other a casual one but they are connected through the addiction they share. This uneasy subject gives them a basis for a relationship. When the Pastor arrives it becomes clear that he may indeed share this painful secret with them as well. Our talented acting intern Erin Neufer and her co-stars are exploring different aspects of their characters while working together to form relationships in this uncomfortable, hopeful depiction of the struggle with alcoholism.

Juice by Nancy Gall-Clayton, directed by Yoleidy Rosario, featuring Tessa Reynolds, Delnaaz Irani and Joshua Mahaffey is a drama about…an alcoholic.

Thematically related to Clean, this play goes at the issue from a different place. This is about family and fear. Additionally Yoleidy has added a framing device that explores the inner psyche of the main character in the play. This exciting theatricality makes the piece’s tone completely different and yet they grapple with the same weakness in humanity. Theme nights are not our usual choice in the Forum but the illumination of both how multifaceted this issue is and how multifaceted our theatrical art form is in addressing it is an excellent argument in favor of choosing plays connected by subject matter.

Adam's Angels by Jacquelyn Priskorn, directed by Katherine Sommer, featuring Leigh Adel-Arnold, Scott Andrews, Jacob Lasser, Josh Martin, Caroline Ritchie & Elizabeth Wessa will be performed between the two plays described above giving us a touch of comic relief that may help us absorb the heavier content of the others.

Seeing Clean and Juice back to back made for a specific experience. Not a bad one at all. It had definite advantages but I’m guessing putting Adam’s Angels in the center, like a creamy filling, will be even better. This stylized comedy about Adam and Eve takes a modern approach, telling the bible story in a tongue in cheek manner. Gently poking fun at the concept of Woman as mere companion for Man the play has all of the Angels depicting aspects of humanity. If they are stereotypical they are nonetheless accurate in their comic representations of just a few of the possible types of companions Adam might have had. The team is clearly having a blast and will continue to explore the comic potential in this confection.

Assistant Director/Stage Managers Ashley Scoles and Elizabeth Swearingen were with me the whole way and are certainly enjoying a theatrical workout by participating in these three unique processes! I thank them for their work and insight all night long.

Week Three of the Winter 2010 Writer/Director Forum opens on December 16. I’m excited to re-experience this combination. It should be quite a ride!

Justine Lambert

Founding Artistic Director

Winter Forum 2010- Notes from Justine – Week 2

Notes from Justine
Forum Rehearsal 11/22/10

Week Two of the Writer/Director Forum is a satisfying evening of theatre consisting of two basically realistic tales and one non realistic play. Interestingly, the stories of the two that take place in the real world are less concrete and revolve around character and location as much as storytelling while the one set elsewhere (not fully in the world but I won’t give away where) has quite the developed little plot.

First I watched a run through of No Boundaries by Yvonne Delet, directed by Eva Gabrielle Schelbaum, featuring Adam Auslander, Kimberly Carvalho, Alexandra Hiotakis, Gary Warchola & Michael Young.

The loose story about an evening at an open mike night shows us the insanity of people’s need to perform, be seen and express themselves. Equally, we observe the disregard they often have for others needs in pursuit of their own. This creative team is clearly having a blast creating the extreme characters and wonderfully quirky world of this play. Lots of fun character work is apparent in the acting and the setting is rendered with both love and ridicule by the author. Two weeks from now this has the potential to be a real treat of the ridiculous.

Inside the Three-0-Nine by Ruth Tyndall Baker, directed by Gretchen Ferris, featuring Bobby Gámez, Andrea Lattanzio, Genevieve Tarricco, Harrison Unger & Jill Wurzburg is quite a lovely little script!

Clocking in at thirteen minutes it manages to tell a touching story and make us care about the characters. Its brevity rarely, if ever, sacrifices the truth of what is being expressed. Gretchen and her ADs have a clear grasp of the piece and are telling the story with a light touch. Within that lightness the depth is beginning to emerge and I truly look forward to seeing this piece once it does. By the way, I don’t want to give away the story here because if you don’t know what the title means, the surprise element is delightful.

Less Talk, More Efficiency by Diana Stahl, directed by McKenna Dabbs, featuring Clio Davies, Keilly McQuail, Allison Whittinghill & Sharon Zaslaw is a bit wacky, which certainly fits in beautifully with the tone of No Boundaries!

Creating extreme characters isn’t the focal point for everyone in this piece however. There are some subtle ideas about the people’s lives and personalities being exposed here. This play is about Jess and Beth and seeing their lives juxtaposed against a stressful environment. It’s a comic and telling element in the play that this very stressful environment is ironically supposed to invoke peace. These two main characters seem pushed by their environment beyond the limits of a normal working relationship. I can’t imagine they are being paid well enough for this…but who knows; in this economy we’ll put up with plenty, won’t we?
Thank you, thank you, thank you to the beautiful and wonderful Assistant Directors/Stage Managers: Ava Kelley and Sarah Simmons for their help with keeping things going, and for their invaluable creative input all night long! It was a real treat getting to know them.

Week Two of the Winter 2010 Writer/Director Forum opens on December 9. I’ll be there with bells on!

Justine Lambert
Founding Artistic Director

Winter Forum 2010- Notes from Justine

Notes from Justine
Forum Rehearsal 11/15/10

The three plays chosen for this week of shorts are a truly fascinating bunch. While only The Plane Ride is overtly non-realistic none of these plays is merely what it appears on the surface.

What a quirky, challenging piece Melinda Prom has chosen! Written by our own Artistic Associate Karin Diann Williams, The Cleaning Service featuring Suzanna Chmielarz, Maria Concha, Rick J. Koch & Kelsey Ruvolo is a play about communication and sometimes about the lack thereof. Two maids who don’t speak each others’ language do more communicating with gestures and charade-like behavior while working than the occupants of the house they are cleaning can manage at their leisure. Acting however does communicate to us everything we need to know about both pairs (the two maids and the couple in the house they must clean). I hope the subtleties in this thirteen minute play continue to emerge in the next couple of weeks of rehearsal. After my conversation with Melinda I feel sure that they will indeed and be added to with a few subtleties of her own.

The Plane Ride by Diana Stahl, directed by Alex Mallory, featuring Shannon Altner, Andi Bohs & Mark Vashro is about a family about to crash. What will they do? Well really, what can they do? Panic, and talk, and… How will they resolve unspoken frustrations, questions and needs? Yet we ask as an audience, is there really a plane or is it just their dysfunctional lives that are about to crash into the Pacific Ocean? Alex and her team have a lot of choices to make and questions to answer for themselves as they continue to delve deep into the myriad meanings behind the complex dialogue of this play. We as an audience just get to sit back and enjoy the ride.

Mayan Mask by Lynn Snyder, directed by Jen Browne, featuring Victor Albaum, Eliza Huberth, Ashley Rutherford & Michael Wetherbee seems on its surface a realistic piece about a couple and their friends at a crossroads in life. Will Mitch change jobs and throw all their life plans into flux? Will turning thirty really mean giving up Joan’s dreams? But the spotlight also shines on the friendship between the two couples. This “best” friendship is questionable. How can you lie for selfish needs to your closest friends and what about that affair back in college? But what I would like to know is, is there anything real or valuable in this world? Do the big questions matter and are these questions about being fulfilled at work and feeling comfortable where you live or are they about the meaning of friendship and love? Am I even asking the right questions about this play? My interest is totally piqued! Perhaps the Playwright, Actors, Directors and Assistant Directors will let me know on opening night.

Much thanks to Assistant Directors/Stage Managers Alisha Silver and Abigail Strange for all their work! Extra thanks to Abby for holding it together while things are in flux and listening patiently all night.

Week One of the Winter 2010 Writer/Director Forum opens on December 2. Can’t wait!

Justine Lambert
Founding Artistic Director
Looking Glass Theatre

Notes from Justine- Forum Rehearsal 5/19/10

es from Justine
Forum Rehearsal 5/19/10

Had a blast observing Week 1 Forum rehearsal last night. I have to say that the policy of observing two weeks before opening has been working out so well. These plays are in great shape and the next two weeks promise to be super productive!

First up was Behind the Scene by Lenore Blumenfeld, directed by McKenna Dabbs, featuring Joey Faranda, Lindsey Freeman, Ashley Kuske, Kate Mickere and Craig Peterson. This snappy 10-minute comedy was so sharp, so snappy that McKenna and I actually discussed slowing it down. I suggested that the comedy could be enhanced by deepening the emotional reality of some of the characters. A number of possibilities presented themselves. Which character has the most invested? I think McKenna’s choice may surprise you. It wasn’t set in stone yet so I may be surprised, too!

Next I watched Snapshot by Jennifer Barclay, directed by Alex Mallory, featuring Andrew Breving and Rachel Pfennigwerth. What a cool concept, and these actors really get a fun workout/challenge. The discussion with Alex afterwards about how to insure that the play was clear enough to be rewarding for the audience was rewarding in itself as I felt we understood each other and were on the same page about what’s needed in the next two weeks to make this little gem shine.

Third was Buried by Kate Marks, directed by Dana Dobreva, featuring Kiersten Armstrong, Frank Leone, Carolina Ravassa and Scott Raven T. This discussion, like the play itself was the most complex. Kate Marks always challenges and this play on the subject of subway buskers about to be violently ousted from their domain is no exception. Dana’s vision is clear and strong. I’m so excited to see it come to life.

Huge thanks to Laura Brienza the Assistant Director for the whole evening for sitting in with me and being a rock star for all three shows!

This was a very satisfying evening of theatre. As always, when I advise directors what I mostly want is more of their directorial voice. The play is best served when that voice comes through loud and clear. I can’t wait to see the finished product on June 3!

Justine Lambert
Founding Artistic Director, Looking Glass Theatre

ASK SOMEONE ELSE, GOD- Notes from the Director

NOTES FROM THE DIRECTOR
Shari Johnson

In Ask Someone Else, God, Ken Nowell has graciously given a director a lot of room to experiment. In order to make the production a sensory rich event, I decided to make all the sounds of the show live. For almost every scene, one actor or more is off to the side providing a soundscape. I tried to use everyday objects to make the sounds and also tried to find objects that relate to the scene. For example, the restaurant scene's sounds are made by a water glass and silverware. The argument scene in the city is accompanied by snick and click of spray cans. Finding and playing with these objects has been fun and exciting. It's surprising to discover the different sounds one object can make. When we find the right sound to balance the scene it's immediately obvious to all. I'll look over at my two AD/SM's (assistant director/stage manager) and we'll nod our heads and say "That's so cool!"

Ken wrote a scene towards the end of the play that is inspired by Thornton Wilder's Our Town. Like Wilder's Mrs. Gibbs and Mrs. Webb, two women sit and gossip while miming snapping beans. I wanted to find something that would make the sound of the snapping beans, something that was reproduce-able. One person suggested breaking pasta. That would be a perfect sound, snapping spaghetti, but it would leave us with a lot of broken pasta. Every night we'd have to have inches of spaghetti for dinner.

During some down time one afternoon at my workplace, I was looking around for inspiration. I tried clicking pens, snapping paper, shaking potato chip bags- nothing seemed to replicate the sound of a bean's stem being snapped off. I came across one of the plastic yellow woven strips used in binding large boxes. When I flicked it with my finger, it made a passable snapping sound. Happy with my discovery, I took the strips to rehearsal.

When I pulled them out for the scene and tried to demonstrate their usage, I was dismayed to discover that the noise didn't carry at all. What sounded great in the office was swallowed by the large theatre space! I handed the strips to my actors, challenging them to fix my "great idea". No problem; within half a minute, actor Adriana Disman had figured out a way to fold the strips over to double them and flick them against each other, doubling the sound. She quickly showed the other actor what she was doing and we got down to rehearsing the scene. We made a few adjustments, such as placing the sound makers where they can see the speaking actor's hands. We let everyone practice so that miming and the sound were timed perfectly together. Eventually, things started to click (or snap?). Maureen, one of my AD/SM's turned around to look at me. "That's so cool!"

-Shari Johnson
Director of Ask Someone Else, God

Notes from Justine Lambert on ASK SOMEONE ELSE, GOD

Notes From Justine
Ask Someone Else, God
Rehearsal Observation

On Tuesday, I witnessed heart wrenching scenes between Husband and Wife, punctuated by extreme comedy between Father and Son.

Man, I love abstract theatre, but it sure is hard. Many “experimental” scripts aren’t. What they are is confusing, unclear and at worst meaningless. Don’t get me wrong; complete abstraction can be brilliant (Richard Foreman), but that’s not what I’m talking about here. I’m talking about trying to use surrealism to say something. That’s what Ask Someone Else, God is for me.

From the start I thought this marriage of Playwright and Director might be magic. I dared not hope too hard that the timing and circumstances would come together to make this project come to fruition. The skills and clarity of Shari blended with the surrealism and depth of Ken could be such a beautiful thing I could only pray (nice choice here, don’t you think?) that it might work out. Miracle of Miracles, it did.

So what I’m beginning to see emerge in rehearsals is that thing I continually seek: important observation about human nature and emotion told truly using theatre, not merely people talking (not that that can’t be brilliant-Williams, Miller, O’Neill). The stage offers a different medium for exploring this human world of ours, and I glory in the tricks of the trade. Realism mixed with experimentation is pure theatrical joy. This mix of material and director seems to be toying with this combination in ways that tickle and touch me.

The Jonah story here is about a person disheartened, discouraged, and beaten down by life, work and society, not to mention the themes of fatherhood and responsibility that run through the piece. Jonah is dealing with all of this by having a nervous breakdown, but instead of a therapist he has GOD. Yes, it’s Her, the Supreme Being, and she’s chatting with Jonah. Is it in his head? Not sure. But it’s certainly in the theatre. It’s jumping around in time and using wonderful simple transitional techniques to create both story and place without being a slave to “how.” Things happen. HOW is skirted, toyed with, and sometimes ignored - but never casually. We (the theatre audience, people who love this stuff) know we are in strong hands with Shari and Ken. They know how to bring it home, sew it together and make it resonate, sometimes with solid clear answers and deep human meaning, sometimes with more questions ... but always with purpose.

Justine Lambert
Artistic Director
The Looking Glass Theatre
www.lookingglasstheatrenyc.com
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SPRING FORUM 2009- PRODUCTION BLOGS

FORUM BLOGS

SPRING 2009 WRITER/DIRECTOR FORUM
A semi-annual festival of new works featuring women playwrights and directors
JUNE 4 -28

Another set of blogs about our upcoming Forum:

NOTES FROM WEEK FOUR, June 25-28

Potato Girl by Christine Rusch , directed by Amanda Thompson
Featuring Amie Lytle, Jim Staudt & Danielle Trzcinski

The Things She Kept by Aoise Stratford, directed by Fran Acuna
Featuring Emily Fortunato, Ashley Lovell & Meghan Powe

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Being in week four, we have really been able to take our time and experiment with different ideas during the beginning of our rehearsal process. We’ve been playing with a very stylized version of acting, and using music to underscore the entire piece, making it more dynamic.

Today we had a research focused rehearsal. We looked at images that related to our play to give us inspiration and ideas for movement and body shapes. We also read material that pertained to the play to give us an idea of how people in more rural areas of the country live.

I really love the group of people that I have been working with. They’re all eager to contribute during rehearsal and willing to try new and slightly more experimental things. We have been able to work very collaboratively, and I’m excited to see what comes out of this rehearsal process.

-Amanda Thompson, Director of Potato Girl
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So far we’ve had three rehearsals and the show has really changed since the first read -thru. We’ve played with music and creating pictures and have really explored the language and region in the play. For me the script was a bit hard to understand at first, but the more we go through it the more I learn and I love making discoveries with my fellow cast mates. I think the hardest part so far is scheduling because we all have such crazy lives. The solution: 9AM rehearsals!! It’s worth it though… :)

-Danielle Trzcinski, Spring 2009 Acting Intern, and Dorothy in Potato Girl
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Potato Girl has been a thrilling rehearsal process so far! It is amazing how much the story comes alive with every new exercise we have attempted under Amanda's guidance. We are working to depict the bleakness of the characters’ lives using music and montage while still pursuing honest connections between the characters. Everyone has been fabulous to work with and I am so grateful for the open dialogue between the director and actors in this project!

- Amie Lytle, Narcilla in Potato Girl
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As the AD/SM for Week Four, I am blessed to be stress free for the moment. It is nice to be able to take the time to iron out scheduling, find the perfect font for prop lists, and experiment with extreme styles in rehearsal. The directors, Fran and Amanda, are happy to answer my questions about their techniques and their motives for exercises. My focus is to extract as much knowledge from these two ladies as possible!

I’m realizing that I have responsibilities to the forum as well as to my productions. Helping out at the mailing party, house managing, and making connections to the other AD/SM’s are small ways to help out the festival as a whole. I’m going to try to keep working this aspect of the job, since my first instinct is usually to stay in my comfort zone, and NOT to volunteer! Maybe working with lots of people will force me to be a little more selfless.

- Ariel Francoeur, Assistant Director/Stage Manager for Potato Girl and The Things She Kept
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Notes From Justine...

"ANNA” REHEARSAL OBSERVATION 2/27/09

Dreamers dream, and rhymers rhyme whisk the party back in time...

“I’m not quite sure how this time reversal thing goes,” says Alex, the actor who plays the Magician in Anna’s Perfect Party and The Amazing Magician’s Marvelous Mistake.

“Well who is?” I think from my seat, watching the character discussion unfold regarding this magician. Is he sure of his magic? Does he enter the world of this play knowing that everything he sets into motion will work out just fine or are there insecurities about how he can help these kids best? I wonder how it will all unfold in the coming rehearsals.

It's very early in the process, with two of 6 actors missing and the Playwright and the Artistic Director both observing for the first time. Some directors would quake in their boots. Not Nikki Rothenberg. She cheerfully puts her 4 out of 6 through their paces, quickly establishing that much work has already been done.

Already well on its way to full blocking, with real character work emerging through the generic kid-ness the play is just beginning to speak. When Anna is told strenuously “nobody’s perfect!” her plaintive “WHY NOT?” rings clearly. Children don’t seem to come into this world accepting this fact. Anna thinks it’s reasonable to expect perfection of herself and, come to think of it, so do I.

It’s not an easy lesson this play has at its heart: Mistakes are the mother of invention (excuse the misquote); love yourself, and embrace the uniqueness of fallibility. Quite a message for a play about a super fun, wacky birthday party with a magician who’s REALLY Magic, I think…can’t wait for next Tuesday.

Justine Lambert
Artistic Director
TheLooking Glass Theatre

www.lookingglasstheatrenyc.com