Tag: 220120

Performers, playwrights and directors discuss preparing for shows in winter 2022

From familiar classics like The Lion King Jr. to new original works by local playwrights, New Hampshire theaters and theater companies are offering a little of everything this winter. Directors, musical directors, playwrights and actors talked about what it’s like working in theater right now and provided a look at some of the productions coming to local stages this weekend through early March. Contact the theaters or visit their websites for the latest updates on the shows and Covid safety requirements for audience members.

Phoebe Roberts

co-playwright

Gentlemen Never Tell, presented by Breaking Light Productions, in partnership with the Manchester Community Theatre Players, at the MCTP Theatre at the North End Montessori School (698 Beech St., Manchester) on Friday, Jan. 21, and Saturday, Jan. 22, at 7:30 p.m., and Sunday, Jan. 23, at 2 p.m. Tickets cost $20 for adults and $10 for children. A livestream will be available for each performance for $20 per streaming device. Visit manchestercommunitytheatre.com or call 327-6777.

What inspired you to write this play?

Our theater company [Breaking Light Productions] usually does a more dramatic take on the gaslamp Victorian adventure — more Sherlock Holmes-style adventure type stuff, but we thought everybody could use something a little lighter and more fun, so we decided to switch genres a little bit and do a spinoff. We took a character who had made one appearance as a comic relief sort of figure [in another Breaking Light Productions play], and we decided to send him off on his own little side story.

What was your experience writing it? What is your process like?

We initially wrote this play to be performed over Zoom … which meant that words were the primary [element] we could play around with, so we wanted to make the dialogue as snappy and funny and engaging as possible. It’s very word-based, with a lot of [focus on] wit, speed and timing. The challenge now is to keep the snap and the pop of it while adding in some more physical comedy now that we’re able to manifest that with actors who are physically present.

What do you hope the audience will take away from your play?

First, I hope they find it funny. I hope they get a genuinely good laugh and can enjoy poking fun at the Victorian period mores. But I also hope it’s a little thought-provoking … and that [the audience] notices that we brought a little more weight and humanity into it … and that the characters have actual growth and significance.

What are you looking forward to most about seeing your show on stage?

This will be the first time that it’s been performed on stage. We have the recording [of the Zoom performance], but this will be very different. I mean, there’s no good way to make people kiss over Zoom. Now, the romantic aspect of the show can be a bit more fully realized. So that’s what I’m most excited about — actually getting to incorporate the physicality of the story.

Carl Rajotte

director

The Full Monty, presented by the Palace Theatre (80 Hanover St., Manchester) from Jan. 28 through Feb. 20, with showtimes on Friday at 7:30 p.m., Saturday at 2 and 7:30 p.m., and Sunday at noon. Tickets cost $25 to $46. Visit palacetheatre.org or call 668-5588.

What attracted you to this show?

When we were planning for our next season, we looked back at some of our more successful shows, and The Full Monty jumped out to us because of the heart that it has, the laughter and the good time that it provides.

How are you interpreting the show as a director?

We were fortunate enough to purchase a new video wall [that’s installed] on the back of our stage, so our scenic elements are totally different. … That’s going to be a lot of fun to work with, and it’s going to help with transitions and make things feel a little more real. … The actors just arrived today, and, as a director, it’s the actors you bring in that determine what type of feel the show is going to have. … It’s my job, then, to mold everything together with [the actors’] interpretations to make it cohesive.

What will rehearsals be like?

The performers have had their scripts for over a month. … When they get here, we jump right in; we have a very short [rehearsal] process here at the Palace — just about eight days — so we don’t have time to do a read-through or anything like that.

How does Covid affect rehearsals and the performance itself?

All performers have to be vaccinated and boosted in order to be part of the production. We have Covid tests and test the performers a bunch of times throughout the process. … We will all be in masks for the whole rehearsal [period]. … We’ve asked that everyone try to stay away from each other while off stage, just to reduce the risk as much as possible. … On stage, it’ll be pretty much the same as you would normally see the show, but the backstage crew is masked the whole time. …The performers won’t be taking off masks until they hit the stage, we have hand sanitizing stations off stage, so the performers will be sanitizing everytime they leave [the stage].

What is the biggest challenge of directing this show?

The show is such a fun show, and I’m so comfortable with the material; nothing about the show is stressful at all. The hardest thing is just making sure that everyone is healthy. … There’s anxiety [that comes with] producing theater during these times we’re in — waiting for an actor’s test results to come back, making sure we have a plan if someone is sick. … Understudies have always been a very important role in casting, but now even more so. … We have to make sure they’re ready to go so that the show can go on.

What are you looking forward to most about bringing this show on stage?

Working with these actors. For some of them, this will be the first time they’ve performed since the shutdowns. No one takes for granted the time that we can be on stage in front of an audience. It’s exciting for me, knowing that they’re so eager to get back on stage and perform for an audience.

Why do you think this is a show audiences will enjoy right now?

This show does a great job with capturing many different types of people and personalities, and I think that everyone in the audience likes to see a bit of themselves up on that stage — [a character] they can identify with. … It’s also hysterically funny and, for me, has one of the most-anticipated finales of any musical in history, and you can feel that [anticipation] within the audience.

Emily Karelitz

actor

Mary & Me, presented by Glass Dove Productions at the Hatbox Theater(Steeplegate Mall, 270 Loudon Road, Concord) from Jan. 28 through Feb. 13, with showtimes on Friday and Saturday at 7:30 p.m., and Sunday at 2 p.m. Tickets cost $22 for adults, $19 for students, seniors and members and $16 for senior members. Visit hatboxnh.com or call 715-2315.

What attracted you to this show?

I’ve met the playwright, Irene Kellehe … and we’ve remained friends. In 2018, I went to visit her in Ireland, and she told me about Mary & Me … and said she would love to have me act the play … and she wanted to grant me exclusive rights to perform it in the U.S. … It’s inspired by true events, a tragedy that occured with a 15-year-old girl in rural Ireland in 1984 who died of blood loss and exposure after giving birth alone in a grotto. … The town wouldn’t speak much about the circumstances, and it’s been shrouded in secrecy ever since. … Irene wanted to answer some of those questions, so she created this fictional character [based on the girl] and filled in the gaps of what we don’t know about what really happened. That was very compelling to me.

Describe the character you’re playing.

I play Hannah, a 15-year-old girl who lives in a rural Irish village in the 1980s. … As you watch the play, you really watch Hannah growing up. At the beginning she’s very lighthearted and bouncy and effervescent. … By the end of the play you see how she has changed both physically, because she is pregnant, and emotionally, and how those two [types of changes] are connected; she’s been pulled down to earth in every sense of the word.

What have you been doing to prepare? What have rehearsals been like?

It’s a one-woman show — just me. We have several rehearsals a week. … I’ve also been doing a lot of dialect work — a County Cork [Irish] dialect — with a dialect coach. It’s literally just memorizing all of the lines and [how to] speak them in that dialect. It’s been a really interesting process for me.

How does Covid affect your experience preparing for and performing in the show?

We have to remember to talk to people not only about the production but also about what we’re doing and what the theater is doing [in terms of] Covid safety and where people can find all the Covid safety information. It’s like an extra layer to the show that we never had to consider until 2020. We also have a professionally recorded video version of the show, just in case [of cancellation].

What are you looking forward to most about bringing this show on stage?

Mary & Me is a very personal story, and, as a performer, it’s a very deeply personal experience to perform this play. I’m excited to share Hannah’s story with the audience and have them get to know Hannah and, hopefully, get to love Hannah. I’m also looking forward to reconnecting with audiences again … and having conversations with audience members after the show.

Why do you think this is a show audiences will enjoy right now?

Despite the dark subject matter, it’s not 75 minutes of misery. The first half of the play is actually very light and funny; there’s fun and playfulness and laughter as you get a look into this lighthearted teenage existence. … I also think it’s important to bring people’s attention back to social issues and things that aren’t Covid-19. We tend to get consumed with [Covid], and we have to remember that the world keeps turning; there’s a lot more going on out there than just Covid that is also important to think about and talk about.

Kimberly Vars Whitehead

musical director

The Lion King Jr.,presented by Riverbend Youth Company at the Amato Center for the Performing Arts (56 Mont Vernon St., Milford) on Friday, Feb. 4, at 7:30 p.m., Saturday, Feb. 5, at 2:30 and 7:30 p.m., and Sunday, Feb. 6, at 2:30 p.m. Tickets cost $12 for adults and $8 for children and seniors. Visit amatocenter.org or call 672-1002.

Describe the music. What does it add to the show?

Like any good musical, Lion King Jr. has a great depth of different musical styles that add much to the experience of the show. Whether it’s a ballad like ‘Can You Feel the Love Tonight’ or the fun of ‘Hakuna Matata’ … each song sets important dialogue to music so the audience hears the story in a different way.

What appeals to you about the music in this show?

I enjoy the mixture of songs that have been enjoyed worldwide since the original movie came out, like ‘Hakuna Matata,’ ‘Can You Feel the Love Tonight’ and ‘I Just Can’t Wait to be King,’ mixed with lesser-known but powerful songs like ‘They Live in You’ and ‘Shadowland.’

What have rehearsals been like?

Rehearsals are broken down into songs for full cast, smaller ensembles and leads. [For performers] at this age, there is more of an emphasis on repetition as many in the cast are not music readers yet. With this particular show we have worked especially hard on learning the correct way to pronounce the African text.

What is the most challenging thing about the music in this show?

Teaching and learning music with masks makes the whole process more challenging, but for this show in particular, the challenge is singing in a second language, [the] African [language.]

What are you looking forward to most about bringing this show on stage?

I’m particularly pleased about the new, young talent we have in this show. Also, for adults in particular, there are some very poignant lessons in life represented in this story. In fact, it’s a fun way of being reminded of living into who you truly are, despite the doubts and fears we sometimes try to run away from.

Mike McKnight

director

The Lion King Jr., presented by Riverbend Youth Company at the Amato Center for the Performing Arts (56 Mont Vernon St., Milford) on Friday, Feb. 4, at 7:30 p.m., Saturday, Feb. 5, at 2:30 and 7:30 p.m., and Sunday, Feb. 6, at 2:30 p.m. Tickets cost $12 for adults and $8 for children and seniors. Visit amatocenter.org or call 672-1002.

What attracted you to this show?

It’s a great show. It has the excitement of the story, the love interest and the struggles of Simba and Nala … and the music — all the warmth of a Disney classic.

How are you interpreting the show as a director?

It’s a traditional approach. We’re sticking to the Disney Jr. script, pretty much. It’s packaged in a kids’ production-friendly way, and it works well for this age group.

What have rehearsals been like?

We’ve been rehearsing two or three times a week since November. The process has been pretty traditional as well, breaking up [rehearsals] into music, dance and blocking segments, then we come together as the whole cast and try to mesh all those areas into one collective performance. As kids learn their lines, choreography and musical numbers, it then comes down to repetition and tweaking areas that need work. … A team of experienced high school and middle school [students] will run the [tech for the] show. [The show] is a great training ground for lighting and sound.

How does Covid affect rehearsals and the performance itself?

Masks need to be worn at all times, and social distancing is a priority when not on stage. … That’s a hard thing for many adults to do, let alone 50 kids in fourth through eighth grade. However, I have to commend our cast on their compliance with protocols and their overall positive attitude. They get it. … They’ve learned how to project, even [while wearing] a mask.

What is the biggest challenge of directing this show?

Putting on a show with 50 kids is always challenging. … Our kids range in age from 9 to 14; that’s a big age span. Their attention levels aren’t the same, their interests are diverse, and after a long school day, having them work through a two-hour rehearsal is a lot to ask, but they’ve done an exceptional job.

What are you looking forward to most about bringing this show on stage?

We have a lot of kids who have never been in a show before; watching them grow throughout the process has been rewarding. I can’t wait for them to experience what applause feels like … and to see them … [as well as] the kids who have been on stage before … get to embrace their parents and families after the show.

Why do you think this is a show audiences will enjoy right now?

Our cast has put in a great deal of time and effort under difficult circumstances, and they’ve risen to the occasion. I think the audience will like the … production because it’s kids doing what they truly enjoy … and because they’ll know the story, relate to the struggles that the characters endeavor through and enjoy the great music and warmth of The Lion King Jr.

Nicole Jones

actor

I Love You Because, presented by Jonesing for Theatre in collaboration with Dive in Productions at the Players’ Ring Theatre (105 Marcy St., Portsmouth) from Feb. 4 through Feb. 20, with showtimes on Friday at 7:30 p.m., Saturday at 2:30 and 7:30 p.m., and Sunday at 2:30 p.m. Tickets cost $28 for adults and $25 for seniors age 65 and up and students. Visit playersring.org or call 436-8123.

What attracted you to this show?

I’ve always loved this show because, as a hopeless romantic, I love the idea of someone wanting you because of faults and idiosyncrasies rather than simply tolerating them. That, plus the Jane Austen fan in me loves telling a modern gender-reversed version of Pride and Prejudice, which also gives the women the power positions in the couplings, which is always refreshing to see. The story is uplifting and hopeful, which is something that’s important to share, right now especially, so I was excited to do something that could bring joy to an audience when it’s needed most.

Describe the character you’re playing.

Marcy is a free-spirited artist who’s also ready to find her person after she gets over a recent breakup. As an actor, I like to focus on similarities between myself and the characters I play, so I like to think she’s a little quirky and sarcastic, but caring above all else. Focusing on those qualities makes it easier for me to pull from my own experiences.

What have you been doing to prepare? What have rehearsals been like?

There’s been a lot of working at home. This show has a lot of complex harmony and rhythms to it. Our music director is a rock star and made us all tracks to rehearse with so we can focus more on staging and character work when we come together.

How does Covid affect your experience preparing for and performing in the show?

We’ve been masking for rehearsals since before the holidays and will continue to do so until shortly before the show opens. We’ve also been encouraging boosters and doing virtual rehearsals for any cast or crew that have potentially been exposed and requiring negative tests to return to rehearsals.

What are you looking forward to most about bringing this show on stage?

I’m excited to be in front of an audience. Those opportunities are less frequent with Covid, and the energy is something that’s truly exciting.

Why do you think this is a show audiences will enjoy right now?

Because it’s hopefully happy, romantic and so funny — all things that everyone could use more of right now. Theater is a means of escape, and this is a great opportunity to escape into a world where things just aren’t as heavy as they are for everyone right now.

Jonathan Kaplan

actor

The 39 Steps, presented by the Windham Actors Guild at Searles School and Chapel (3 Chapel Road, Windham) on Friday, Feb. 18, and Saturday, Feb. 19, at 7:30 p.m., and Sunday, Feb. 20, at 2 p.m. Tickets cost $16 for adults and $12 for seniors, students and military. Call 247-8634 or visit windhamactorsguild.com.

What attracted you to this show?

The show is a unique reimagination of a Hitchcock film that uses a small group of performers to play a vast number of roles. It’s outrageously funny.

Describe the character you’re playing.

My role is Clown 2. I play over a dozen different characters during the course of the show, sometimes multiple characters in the same scene. It’s a unique challenge in that I’m using multiple accents, tone of voice and physicality. Clown 1 is performed by Keith Strang, and he is similarly playing a variety of characters.

What have you been doing to prepare? What have rehearsals been like?

The script stage directions play such an important part in this show, which is very different from most plays in which I’ve performed in the past. The director has a clear vision for the show, and to make it work we need to make sure that our comedic timing is precise and clear to bring out the audience reaction we’re looking for. Memorizing lines is a special task as it seems I need to remember a different vocalization and physical approach at every turn.

How does Covid affect your experience preparing for and performing in the show?

Everyone in the cast must be vaccinated, and we’ve been rehearsing with masks. We’re carefully reviewing our plans for audience and cast mask requirements for the performances.

What are you looking forward to most about bringing this show on stage?

We’ve been laughing so much during rehearsals. I just can’t wait to see the audience reaction to this unique and truly hilarious show.

Why do you think this is a show audiences will enjoy right now?

The sheer absurdity of the plot and the situations in which the characters find themselves and the way the story is presented on stage are fresh and fun and escapist in a time where everyone could use a complete departure from reality.

Joshua Goldberg

playwright and composer

Chicken Little, presented by Upside Arts at the Players’ Ring Theatre (105 Marcy St., Portsmouth) from March 12 through March 20, with showtimes on Saturday and Sunday at 10 a.m. Tickets cost $18 for adults and $15 for kids under age 12. Visit playersring.org or call 436-8123.

What inspired you to write this play?

I had a picture book when I was little with a few different folk and fairy tales, and for some reason the Chicken Little illustrations have always stuck with me. It’s a pretty simple story: Chicken Little gets hit with an acorn, thinks the sky is falling, gets his friends into a frenzy, sets out to tell the king and meets a fox on the way. There’s a lot of room for expansion. My adaptation is centered on the idea of fame; at first, Chicken Little is fed up with everyone teasing him and wants to be anonymous, but then, the king validates his fear that the sky is falling and calls him a hometown hero, so he has experiences with two ends of the spectrum and has to navigate to the middle. I’ve also combined the king and fox characters, so there’s a little bit of ‘don’t meet your heroes’ going on.

What was your experience writing it? What is your process like?

Most of the shows Upside Arts does are written or edited to fit the specific group of kids we’re working with, and this one is no different. I’ve written all the songs, and the general outline with some dialogue ideas … but the script itself will take shape after auditions and over the first few weeks of rehearsals. Musical theater is such a structured medium, so writing the songs first helps me make sure that each one is furthering the story.

What do you hope the audience will take away from your play?

I hope they’ll be inspired to have confidence in themselves and to speak out when they see something wrong.

What are you looking forward to most about seeing your show on stage?

Seeing how much fun the kids are having on stage and how much they grow as actors from show to show … and getting to hear my work and [see] audiences enjoying it.

Featured Photo: The Full Monty. Photo courtesy of the Palace Theatre.