Michael J. Hume directs Southern Oregon University’s “Mr. Burns, a Post-Electric Play,” Anne Washburn’s dark musical comedy, now playing in OSF’s Black Swan Theatre. The play envisions a post apocalypse world set in Northern California.
Next year Hume will be in his 26th season at the Oregon Shakespeare Festival, with roles in “Romeo and Juliet” and “Sense and Sensibility.” We met downstairs at Mix in Ashland.
EH: How did SOU choose: “Mr. Burns, a Post-Electric Play”?
MJH: SOU wanted to celebrate the art of storytelling. We are doing this play, about people telling the story of The Simpsons, in repertory with Mary Zimmerman’s “The Arabian Nights,” about Scheherazade and a thousand and one tales.
EH: Is the play science fiction?
MJH: It’s dystopian fiction as opposed to science fiction; there’s not much science in the play. It’s about surviving and not uncomfortably. “Mr. Burns” begins with very basic storytelling: Folks sitting around a campfire obsessing about The Simpsons “Cape Feare Episode.” The great irony is that: What if these same people were obsessing about “King Lear” or “Moby Dick,” some great classic piece of literature, as opposed to what some people would call trivial or pop culture? I’m not a huge Simpson’s fanatic, but I am a fan. In terms of social commentary, I think it’s brilliant.
I would argue for The Simpsons that they’re smart. That they are a dysfunctional stupid American family is actually very telling — in terms of who we have become. It becomes a new mythology. We have Simpson’s scenes, we have Simpson’s characters: It’s not “The Simpsons on Ice,” or anything like that. It is human beings talking about The Simpsons and eventually putting on Simpson’s plays to make money. Capitalism is all over this. Continue reading The art of storytelling in a dystopian setting
Actor/director Peter Alzado plays Joe Keller in Arthur Miller’s “All My Sons” now playing at the Camelot Theatre in Talent. A veteran actor of Broadway, television and film, Alzado spent five years as artistic director of the Actors’ Theatre (now the Camelot Theatre) before founding Oregon Stage Works, where he served as artistic director for 10 years. We met at Pony Espresso one sunny afternoon.
EH: Why is “All My Sons” pertinent today?
PA: It’s about responsibility to the greater good. Just being responsible to yourself and to your family doesn’t cut it. Individually, we have a responsibility to the world. If we disregard that responsibility, then it wreaks havoc. You’re creating a world of divisiveness, hatred and anger. And it’s a world that doesn’t have basic equality to it. Eventually it wreaks havoc on the people you’re trying most to protect, which is your family and people you love.
EH: How do you develop a play?
PA: To my mind, it’s all about words and action. There are themes: One has to be aware of what those themes are, and how to interpret those themes, so that they are accessible to everybody. What often happens now is, directors are layering things on top of the script that have absolutely nothing to do with the script whatsoever. It’s just coming out of what they think could be creative, but it doesn’t take into consideration the writing. People recognize subliminally (and sometimes consciously) that they are not being told the truth. That “truth” is found in the writing, and if you start layering things on top of the text, people stand up, applaud, say that it’s great, and it meant nothing. It’s an intellectual pretense. That’s not the effect that you want to have in the theater or in any of the arts. Continue reading ‘If you can touch people’s souls … then you’re doing something’
Pam Ward, of Medford’s Collaborative Theatre Project, is directing a series of live radio plays from the ’40s and ’50s called Radio Days. I recently saw “The Canterville Ghost,” an adaptation of Oscar Wilde’s classic tale, which has had many adaptations. This version, by Edwin Blum, took place during World War II, with locations moving from the English countryside, to the interior of an ancient castle, to the British front line in the height of battle with Nazi soldiers.
In varied productions through the years, the Canterville ghost, Sir Simon, has been played by such luminaries as Sir Michael Redgrave and Patrick Stewart. This ghost was performed neatly by Will Churchill with such supernatural effects as sporting a detachable head and swinging from a chandelier.
With a cast of eight, performing multiple characters along with a full array of sound effects, the play was slickly produced and ran just over an hour. Future productions include “Fibber McGee and Molly” and “The Judas Clock.”
I met with the cast after the show. Here are a few comments from: Lauren Taylor, Pam Ward, Archie Koenig, John Richardson and A J Falk. Continue reading Backstage: Medford theater hosts ‘Radio Days’
Liisa Ivary is directing David Ives’ version of Georges Feydeau’s “A Flea in Her Ear,” opening Wednesday, May 3, at Ashland High School. There’s a cast of 20 student actors and a good deal of technical support from Ivary’s colleagues at the Oregon Shakespeare Festival, including fight director U. Jonathan Toppo.
Ivary spent seven seasons in the Oregon Shakespeare Festival’s acting company. She has also performed in Shakespeare Festivals and regional repertory theaters all over the nation. She recently directed “Annapurna” for Oregon Stage Works. We met one afternoon at Noble Coffee Roasting in Ashland.
LI: This is something I wanted to do, because it’s important for these talented acting students to be mentored by OSF veterans, showing them style — and teaching them precision, timing and how to physically commit to a style that is split-second and dangerous.
It’s a large cast. It’s a lot of language and a lot of fight moves: kicks, punches, chases, slaps, rolls and jumps — every kind of slapstick; but it has to be timed perfectly, with intricate threading of props and costumes, because it’s a play of mistaken identity. It’s setting the style, the world and staying consistent. Continue reading Backstage: Some serious work goes into a farce
Jeremy Johnson has been with the Oregon Shakespeare Festival for eight seasons. He was a superb Sky Masterson in OSF’s 2015 production of “Guys and Dolls.” This season he will be portraying Doctor Caius in “The Merry Wives of Windsor,” and M. D’Arque in Disney’s “Beauty and the Beast.” This is the second of a two-part interview. The first was published on March 6.
EH: Is there a common quality that all actors share?
JJ: The vast majority of actors I have met have been very warm: outgoing, even if a little shy. There’s that stereotype that actors need a lot of approval, and I’m sure that’s true sometimes. But actors have also been, in my experience, unbelievably generous and open-hearted.
EH: Do you have a theory of acting or method?
JJ: I went to Northwestern University. I studied with David Downs. He would focus on: How can you be clear and understood and believed on stage from a purely technical point of view? How do you build a character physically? If you start with a role, and you say, “Who is this person?” How do you go about creating that character in a meaningful believable way?
Continue reading Jeremy Johnson: Embracing the new and old
Actor Jeremy Johnson of the Oregon Shakespeare Festival directed Steven Sondheim’s “Sweeney Todd,” now playing at Ashland High School. With a talented cast of 22, a full orchestra, and a towering revolving set, the production is a fantastic musical delight.
For decades the Oregon Shakespeare Festival has contributed to Ashland High School productions, with company members making time to direct, design and choreograph shows
Johnson discovered acting at age 10 and decided to become a professional actor early on. He majored in theater at Northwestern University and acted in New York and Los Angeles before coming to the Oregon Shakespeare Festival 10 years ago. Johnson played Sky Masterson in OSF’s production of “Guys and Dolls” in 2015. We met near the fireplace at Mix. This is the first part of a two-part interview. The second will be published on March 20.
EH: Tell me about “Sweeney Todd.”
JJ: It is a classic of musical theater, a 1979 Tony Award Winner with eight Tony Awards. It is a masterwork of construction and composition. And it is endlessly satisfying in its complexity: In the questions that it raises, and how it seeks to answer them. It is also just a lot of fun. Continue reading OSF actor directs ‘Sweeney Todd’ at AHS
Scott Kaiser’s new play, “Shakespeare’s Other Women,” will be presented Feb. 16 to 19 at Southern Oregon University. We met in his office on the Oregon Shakespeare Festival campus, where he is director of company development. This is the second of a two-part column. The first was published on Dec. 26.
EH: You’ve written several books?
SK: Most of my writing has been deeply inspired by Shakespeare.
EH: Why do you find the study of Shakespeare so compelling?
SK: He understood human existence better than any other writer. As you move through stages of life, different characters, plays, scenes, situations and moral conundrums start to read differently. “Romeo and Juliet” is a great example of this. When you’re a teenager, you totally understand Juliet: the passion, the love. But as you get older, you start to look at the parents and what they’re going through; the death of children; hatred towards a rival faction; a prince that is trying to make peace and simply can’t do it. Continue reading A glove-maker’s son’s words reveal worlds