Monday Blues – Get Outta Town!

Oh, hello there! I’d like to introduce myself: My name is Katie McGee and I’m Cal Shakes’ newest marketing intern. I’m from a distant Midwestern land known as Iowa, I love long hikes through the Orinda hills, nights out to the theater, and YES if I could have any super power it would be time travel. Why time travel? Because I’m pretty sure I am going to want to rewind and do this blast of an internship all over again.

Do you ever feel like January is just one long chronic case of the Mondays? A month where three cups of coffee just isn’t enough, socks never match, and gas tanks seem perpetually famished?

January 2012, however, appears to be turning a corner. Since moving to the Bay in December and joining the Cal Shakes crew, things have been looking up. The coffee at Cal Shakes is always hot, no one gives a hoot if my socks match, and public transportation has my gas tank and bank account a little fuller. These subtle joys sprouting in my life do not even come close to the career growth satisfaction that I have experienced since starting at Cal Shakes.

“Kid, what are you doin’ with your life?” Since graduating from Saint Louis University in May, I have been getting this A LOT. My usual response is “Building a future.” Am I getting paid for my role in glorious PIP-dom*? Nope, but unlike many of my freshly graduated peers, I am working and networking in my preferred field and getting the opportunity to shape my goals and experiences.

So far I have done social media analysis (like us on good ol’ Facebook if you haven’t already!); mapped out a season preview video; researched and created a slideshow based on the fascinating life of Zora Neale Hurston (author of the stories that inspired Spunk!, our second-slot production this summer) for the staff to study; and designed fliers and email banners for the gang—and I’m not even halfway through my internship yet!

If the Mayans’ apocalyptic predictions for 2012 are correct, I can, at least, rest assured that this year will be full of activity, good people, new skills, and generally great stuff, right up to the very end.

Next McGee blog issue: Past PIP-ians, where are they now? Have they found success in the big, bold, theatrical world? Check back next week.

 

*At Cal Shakes, “PIP” stands for “Professional Immersion Program.”

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The Illustrated SHREW

As anyone who does any kind of educational work can tell you, kids can be awfully cute. And the emails, letters, and surveys we get here at Cal Shakes from conservatory campers, residency students, and Student Discovery Matinee attendees range from the sweet to the surprising, the inspiring to the painfully adorable.

The illustration to the right, from an Oakland middle schooler, falls firmly into all four categories. Click on the thumbnail to see the detail with which the student depicts Shana Cooper’s 2011 production of The Taming of the Shrew. Anyone who saw that show—as this student did as part of a Student Matinee audience—will instantly recognize the scenes and the actors! My personal favorite is the caption “MEAN MEETS CRAZY!” (And she obviously knows what she’s talking about when she squeezes in “Cal Shakes iss [sic] the place for go [sic] theatre!”)

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Posted in Artistic Learning, By Stefanie Kalem, Main Stage, The Taming of the Shrew | Tagged , , , , , , , , , , , , , , , , | 1 Comment

Ask Philippa: Off-season Edition!

Philippa Kelly, Resident Dramaturg for Cal Shakes, shares her thoughts and answers your questions on our upcoming 2012 season programming and about productions past.

Philippa Kelly by Jay Yamada

Photo by Jay Yamada.

Throughout his 20-year writing career, Shakespeare was fascinated with metaphors of rehearsing and scripting: the very things we do in life to re-make the past and to predict and forestall the future. No matter how we might wish it, there is no rehearsal that can prepare us for, or insulate us against, the vagaries of life itself; and there are limitless possibilities for misspeaking our intentions and mishearing what we ought to understand. This is the stuff of comedy as well as tragedy, history as well as romance.

What was Shakespeare doing in the “lost years”, the period immediately prior to 1592? What were his preoccupations when the 35-year-old author wrote Hamlet, at the end of the 16th century? Why was The Tempest one of his very last plays, even though up to that time he was in still in the full vigor of his life and production schedule? Thoughts, questions, opinions about Shakespeare or about any of his plays (they need not just concern Hamlet and The Tempest), are welcome in the “comments” section below. Also welcome are questions about George C. Wolfe and Zora Neale Hurston, whose Spunk we’ll be doing next season, as well as Noël Coward, whose Blithe Spirit is third in the Main Stage line-up.

 


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Volunteering by the Numbers

By Jamie Buschbaum, Volunteer Program Coordinator

A mother-daughter volunteer team hands out programs; photo by Jamie Buschbaum.

Volunteering at Cal Shakes came in many different forms this year. The one most visible up at the Bruns Amphitheater was, of course, ushering. Our ushers come from all over the Bay Area to hand out programs, help patrons to their seats, sell raffle tickets, andbonus!see our plays. In 2011 we had ushers from Berkeley, Orinda, Folsom, Campbell, Washington state, and even from as far away as Nepal. Many of our ushers are mother-daughter teams, representing the National Charity League. Together, our extended family of ushering volunteers helped out with nearly 4,000 hours of service during 100 performances, including the ever-important Student Discovery Matinees.

Some of the young people running around up in our Orinda hills home are also volunteersthey’re our interns. This summer, 30 people participated in our Professional Immersion Program, shortened around the office to PIP. The PIPs arrived, for the most part, in May, and helped out for a big chunk of our season, learning the ropes in our education, marketing, production, artistic, and development departments. You can read up more on the PIP program in these blog entries by the interns themselves. The summer PIPs worked 1,700 shifts, totaling more than 10,000 hours of work!

We have PIPs outside of the theatrical season, too, helping us prepare and put on our annual black-tie fundraiser in March; making the casting process go smoothly (it’s happening right now!); keeping the momentum going on the Triangle Lab, our New Works/New Communities partnership with Intersection for the Arts; assisting in our marketing and development efforts; and more. That adds up to another 500 hours that we couldn’t do without.

We’re so fortunate to have this help in making our different programs happen. More than 600 people so far this year have provided us, the theater-going community and the schoolchildren of the greater Bay Area with an irreplaceable gifttheir precious time and energy. We thank you! And if you’re interested in helping us out in the future, please drop me a line to let me know. or visit our Shiftboard page and see what opportunities are available at your convenience (you’ll have to complete a brief registration process first).

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Occupy Theater with The Triangle Lab

The Triangle Lab is collecting and presenting performance responses to recent events at #Occupy Oakland. This is an open call for interested theater artists, musicians, dancers, singers, writers or anyone interested in contributing a story to be performed. Performances will take place in Oakland on Wednesday November 2, and will also be made available online.

Performances will be on the street, brief, unamplified,  and various; based on tweets, videos, and other stories coming out of the Occupy movement.

ONLINE
Share a story you’d like to see performed by actor:
Via Ustream
Via Twitter #OccupyTheater @Triangle_Lab
On our Facebook wall
Upload videos to Vimeo group

LIVE
Meeting/Rehearsal Tuesday Nov 1, 6-10pm at Intersection for the Arts

Performance Wednesday Nov 2, 4-4:15pm
Meet at 3:30pm at It’s a Grind Coffee Shop and we will walk over to City Hall together. The performance will take place in the amphitheater in front of City Hall.

To participate live:
Please come to our artist meeting/rehearsal at Intersection for the Arts on Tuesday 11/1, 6-10 pm.  RSVP on our Facebook page

Please bring a 1-3 minute piece; feel free to incorporate any of the story resources collected on our Facebook page.  Please email a script or description of the piece to drasmussen@calshakes.org by midnight on Monday.

Actors wishing to perform assigned material are encouraged to come to the rehearsal as well or you can just show up on Wednesday.

The Triangle Lab: Intersection for the Arts + California Shakespeare Theater + Campo Santo
Experiments in making new plays with diverse communities

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SHREW Grove Talk Podcast

Philippa KellyDr. Kelly explains it all! Our resident dramaturg provides historical and theatrical perspective on Shana Cooper’s production of Shakespeare’s The Taming of the Shrew. Music by production Sound Designer Jake Rodriguez. Podcast produced by Will McCandless.

 

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Fare thee well, Cal Shakes!

By Marketing Intern Anna Kritikos

My last day as the Marketing Intern at California Shakespeare Theater is quite nearly here—I leave tomorrow. And I will be sad to go. This summer has been fun, and challenging—a fun challenge, you might say—learning about a whole new company and trying to figure out how I could serve it best as an intern. Nearly all of my time this summer was spent with Cal Shakes: I worked in the office during the weekdays and I was up at the Bruns Amphitheater about three evenings a week, working in the Theater Store. Given this chunky time commitment, it is kind of amazing to me that I never grew tired of Cal Shakes. Not even slightly weary, even though most of what I did this summer was live and breathe Cal Shakes. I was happy to invest so much of my time in this company. I think this is because a) I love theater, and it’s good fun to be around other people who love theater too, and b) because of the energy and passion and friendliness of all of the people who work here. When I told people that I worked in the office for the Marketing Department, they all assumed it was a stuffy, boring work environment. But it is actually a lovely, vibrant office, filled with funny people with buoyant personalities. And not only were they fun people to work with, they are all passionate and talented. So it was a pleasure learning from them and doing tasks for them when I could. And even though they are all so busy, all the time, they always took the time to answer whatever questions I had.

One thing I really appreciated about my supervisors, Marketing and PR Manager Marilyn Langbehn and Publications Manager Stefanie Kalem, is that they always welcomed me into their various meetings, and filled me in and answered whatever questions I may have had. It was really interesting to hear ideas being expressed and discussed, and then see them cultivated and carried out into tangible products, like with the various social media marketing campaigns and development campaigns.

Having the rehearsal hall a stone’s throw away from the office was also awesome. I was able to watch (and help a bit when I could) the photo shoots for the past three shows, and those were fascinating and a lot of fun. I loved observing the collaboration between the director, the actors, the photographer Kevin Berne, Artistic Director Jon Moscone, and Marilyn. The final product always looked magnificent.

Publicity photo for THE VERONA PROJECT, taken by Kevin Berne. (I was there when this was taken!)

Just being around this office, being a fly on the wall, and doing my intern duties—helping with press releases, research, the organizing of archival lofts and A/V closets, aiding the social marketing campaigns and the Cal Shakes blog and so on, has taught me a lot about marketing and office life in general. At the moment, I feel very satisfied with my stint as an intern, and how I have grown from this experience. Granted, I am no fortune teller, but I’m sure that in the future I will come to realize just how much I’ve learned, as I move onwards and look back on my experience here at ol’ Cal Shakes.

So, in conclusion, I am reporting an excellent experience as an intern/Theater Store employee for Cal Shakes. I have grown quite fond of this lovely company, and I will miss it dearly.

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Ask Philippa: THE TAMING OF THE SHREW Edition

Philippa Kelly, Resident Dramaturg for Cal Shakes, shares her thoughts and answers your questions on our 2011 productions.

Shrew publicity by Kevin Berne

Erica Sullivan (Katherine) and Slate Holmgren (Petruchio) in THE TAMING OF THE SHREW; photo by Kevin Berne.

Written when Shakespeare was in his late 20s and first flexing his muscles for the stage, The Taming of the Shrew engendered both merriment and controversy from the very start, even in a society that was accustomed to the punishment of shrews via bridles and aquatic torture as well as with words. The induction scene that begins this play—both Shakespeare’s induction and the contemporary musical one with which our company has replaced it—firmly situate Shrew as a comedy to be raucously enjoyed. And yet there is cruelty, too—the sharpness of social rejection and the harshness of public humiliation—and, in Shana Cooper’s beautiful production, there are also mysterious and poignant glimpses of love.

Are you going to see our  production of Shrew? Do you have questions or comments about the production’s themes, creative choices, or anything else? Please leave them in the comments, and I’ll be sure to respond.

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Joan Mankin blogs from the set of SHREW

By Associate Artist Joan Mankin

Joan Mankin, Doug Hara, and Danny Scheie in A MIDSUMMER NIGHT'S DREAM (2009)

Joan Mankin, Doug Hara, and Danny Scheie (who she rejoins in Shrew) in A Midsummer Night's Dream (2009); photo by Kevin Berne.

I’m so happy to be back working at the Bruns! I missed last summer, so being in the gorgeous new green room and dressing rooms is wonderful. To say nothing of being able to work with such a magnificent cast and crew for The Taming of the Shrew.  I remember when Shana Cooper was an artistic associate at Cal Shakes in 2002—my first year performing there. She’s come back as the director of this show, and her knowledge of outdoor performance and working at the Bruns Amphitheater is incredibly helpful in putting up this complex piece.

We all have so many costume changes. Last night (Sunday) was our first run-through with costumes, and we were all running around backstage trying to figure out what to put on next. I’m really interested to see how this piece works for the student matinees. I can’t imagine that the kids won’t love Kate and Petruchio wrestling. Right now my hardest task is figuring out how many different mustaches I can wear.

 

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Notes from the SHREW Meet & Greet

How did it get so late so soon? It’s night before it’s afternoon. December is here before it’s June. My goodness how the time has flewn. How did it get so late so soon? —Dr. Seuss

The Taming of the Shrew

Yesterday was the first rehearsal day for The Taming of the Shrew, the final production of our 2011 season. And though the last show of the season is always steeped in bittersweet, this one has a sense of triumphant closure to put the anticipation level right over the top. As Cal Shakes Artistic Director Jonathan Moscone explained at the start of the traditional first-day meet-and-greet presentation, our 2000 production of Shrew (directed by Lillian Groag) was not just the start of Moscone’s very first season here—it was also the first show that his new Associate Artistic Director, Shana Cooper worked on.

Fast-forward to 2011, and a new Shrew is being created in the Cal Shakes rehearsal hall, directed by none other than Cooper. It took some work to get her out here, said Moscone, but he kept a promise to Cooper that started the negotiations rolling: As he’d sworn to do when she left Cal Shakes in 2004, he want to see her MFA senior show at Yale, Ghost Sonata.

Love's Labour's Lost at OSF

Cooper's recent production of LOVE'S LABOUR'S LOST at OSF; photo by T. Charles Erickson

“I wouldn’t be where I am today or be able to imagine worlds the way I do if it wasn’t for my time here,” said Cooper, fresh from a production of Love’s Labor’s Lost at Oregon Shakespeare Festival. She went on to explain how she started 2011 with Romeo and Juliet at Yale Rep, and how she also considers Shrew to be a great love story as well—albeit from a far more adult perspective. In her Shrew, the extremities of violence in R & J‘s culture are replaced by extremes of seductive commercialism. Kate and Petruchio are untamed spirits, creatures of authenticity who stand out in sharp relief to the culture of Padua. And in this play, they begin an adult relationship, which is, by its very nature, a challenging journey.

SHREW set model by Scott Dougan; photo by Dave Nowakowski.

SHREW set model by Scott Dougan; photo by Dave Nowakowski.

Her challenge—and that of her cast and creative team—is to re-hear this play, so that they can give that fresh hearing to the audience. Cooper, herself, heard something in our current production of Candida, which she saw this past weekend, that director Moscone had not heard. In the final scene, Cooper heard Kate in the title character, particularly in this passage:

“Ask James’ mother and his three sisters what it cost to save James the trouble of doing anything but be strong and clever and happy. Ask ME what it costs to be James’s mother and three sisters and wife and mother to his children all in one. Ask Prossy and Maria how troublesome the house is even when we have no visitors to help us to slice the onions. Ask the tradesmen who want to worry James and spoil his beautiful sermons who it is that puts them off. When there is money to give, he gives it: when there is money to refuse, I refuse it. I build a castle of comfort and indulgence and love for him, and stand sentinel always to keep little vulgar cares out. I make him master here, though he does not know it, and could not tell you a moment ago how it came to be so.”

Bianca costume sketch by Katherine O'Neill

Bianca's costumes; sketch by costume designer Katherine O'Neill.

Cooper has no doubt that Shrew is a love story, one with a cost. Both Kate and Petruchio are changed by the end, but only Kate is asked to make her compromises public. Recalling a conversation she had with the freshly-married Erica Sullivan, who plays Katherine in our production, Cooper said, “This play is a testament to the great challenges and joys of marriage. At the end of the day, all we can do is turn to our partners and ask, ‘Is the cost worth it?,’” as the couples of Shrew all do at play’s end.

The world of the play, explained Cooper and set designer Scott Dougan, is one in which appearances are crucial. The whole thing is inspired by pop art, from Warhol and Lichtenstein to Jeff Koons and Banksy and beyond—beautiful colors and bright, graphic pieces that are seductive but ultimately prove themselves to be shallow, empty. “Part of what pop art is about,” said Dougan, “is that it’s not real. Everything is repeatable and sellable.” That is the world of Padua—Baptista’s Hollywood Hills-type home is decorated in the midcentury modern style and intersects with a garish billboard; Bianca (Alexandra Henrikson, currently buttoned-down to the nth degree as Prossy in Candida) is auctioned off using giant cardboard cutouts of herself, and rides something akin to a famous Koons creation into one of her lessons.

And this kind of world, said Cooper, “is what makes what happens between Kate and Petruchio even more miraculous.”

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