Spunk Cocktail Contest

Spunk will grace the Bruns stage with joyous poetic language, powerful movement, and the wailing sounds of the blues this July. What similarly flavorful and fulfilling cocktail would you wish to sip while soaking up the Spunk experience?

Invent a bourbon-based drink, name it, and tell us about it no later than Friday, July 6 one of these ways:

  • Email marketing@calshakes.org with the subject header “Spunk cocktail contest.”
  • Post your recipe on Twitter with the hashtag #zoracocktail.
  • Share on our Facebook wall.

The creator of the winning cocktail will be rewarded with their choice of a Spunk T-shirt or free entry to our July 12 pre-performance Cal Shakers party at the Bruns. 

Click here for more information about the party.

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The Tempest Grove Talk

Listen to a podcast of a pre-performance The Tempest Grove Talk, presented by Resident Dramaturg Philippa Kelly. Podcast produced by Will McCandless. The Tempest runs through June 24, 2012.

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The Tempest Brings Out the Best in Student Audience … and Local Cows

 

SMAT Pic

Pictured: The cast of The Tempest takes a bow for the Student Discovery Matinee audience; photo by Jay Yamada.

Director of Artistic Learning Trish Tillman gives us an inside look at the first Student Matinee of The Tempest.

We had our first Tempest matinee today, with a brand new group of Artistic Learning interns, and a really excited, well-prepared audience of students.  They came from many schools, including Willard Middle and The Academy in Berkeley, Oakland Charter and Joaquin Moraga from Oakland, and several private school groups.  We saw familiar residency teachers, some conservatory students, students who reeled off ALL the student matinees they had been to since 2009, plus students brand new to our theater.

The whole audience was admirably attentive, even when tempted to shriek as the clown Trinculo dove headfirst under the monstrous Caliban’s smelly cloak, and when the young lovers swooned over each other. I talked to several students I knew at intermission and several that I didn’t, and all were enjoying it very much.  There was a full forest of hands up when Clive Worsley, our inimitable Moderator, asked after the show what their favorite moments were.  The marriage of Ferdinand and Miranda, the creation of the tempest itself (with only sound effects, actors in raingear, a rope and a stick) and the Trinculo-under-the-cloak moment won out for favorites.

The Question and Answer time after the show was attended by actors Nicholas Pelczar (Trinculo, Ferdinand), Catherine Castellanos (Antonio, Caliban), Erika Chong Shuch (Ariel), as well as sprites Travis Santell Rowland and Aaron Moreland.  They were ALL spectacularly articulate and respectfully serious in answering every question, ranging from “Is it hard to memorize Shakespearian language?” to “Was it weird being under the cloak?” to “How did you all decide to be actors/dancers?”  There was also a seriously playful moment when a student asked if Aaron was really singing the song when the marriage dance occurs, and he said no, but that he could sing and that it was a famous song by Nat King Cole.  He asked the kids if they knew Nat King Cole and (interestingly) a lot of hands went up (besides chaperones and teachers!).  Then they asked him to sing the song, and he sang the first two lines, very nicely, to thunderous applause.  They then asked him to sing a pop song (anyone know “One Direction?”) which he didn’t know, so an entire girls’ chorus from Willard sang a verse to him.  (Also to thunderous applause.)

Catherine ended the Q&A session by saying that being an actor really helped her as a person who is full of feeling to be able to deal with life by learning to express powerful emotions on stage.  There was a little hush in the theater after she said that it was a blessing to her to be an actor.  (And then more thunderous applause!)

The only rather sad note was that a very large group of students from one public high school were not able to attend due to their inability to get their school administration’s authorization in time, even though the teacher had reserved seats with us weeks in advance.  So the audience was somewhat smaller than what we’d like, to be able to serve as many students as possible.  If you are anyone who is close to an underserved school or want to build a relationship with such a school, I’d love to talk to you about becoming a special liaison.  Relationships are crucial to what we do and what keeps us going.  Sometimes just an extra bit of attention can keep schools feeling connected and excited to be with us, and that is a commodity that is really lacking in those communities.  And then they can keep their commitments and the students benefit so, so much.

A final note: the beautiful rolling hills behind the theater stage are home to a few groups of wandering cows, and for some reason during the Q & A today they were especially vocal.  Loud MOOs punctuated almost every sentence said by an actor; so much so that it seemed like the cows wished to answer the questions themselves.  There was a special round of applause for the newly named Cal Shakes Cow Chorus, after which a collective MOOOOO rose from the students and reverberated back into the hills. A Tempest remember.

 

The Tempest  opens at the stunning outdoor Bruns Amphitheater in Orinda, CA, Saturday, June  2, and continues until Sunday, June 24.

 

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High School Drama… Naughty or Nice?

 

In-School Residency student scene

Students reading scenes from Macbeth at our in-school residency at Dougherty Valley High

Marketing Intern Jessica Reinhardt sits in on her first in-school residency at Dougherty Valley High School’s drama class in San Roman, CA.

 As my second week at Cal Shakes began, I was antsy with anticipation for my first classroom residency visit. Thursday was finally here and, as I gathered my camera and notepad (feeling very official) I tried to imagine the atmosphere of a high school drama class. I automatically thought back to the ever so fond memories of my theater classes and the journey one takes from first warm-up to final performance. Everyone always seems a bit intimidated at first. (Hey, you try to articulate “If Peter Piper picked a peck of pickled peppers…” ten times fast without any mistakes!) But as soon as I got to meet these wonderful students at Dougherty Valley High in San Ramon, I knew I was right where I should be.

 Talk about being “in the moment”: They embraced what Artistic Director Trish Tillman had to teach them as soon as we walked in. Trish started with a simple exercise and encouraged students who don’t usually step out of their comfort zones to get in there and “not be afraid of the ball.” It got the whole room to loosen up and begin to get out of our shells—the ones we all sometimes find ourselves hiding in. Being open to new experiences and letting it all go in a positive, healthy way is what makes performing special, and is something that, specifically, can benefit young adults. The class asked a lot of great questions and really embraced the exercises, even as they became more complicated. Trish chose a scene from Macbeth, leading the class through an exercise demonstrating how movement and proximity changed the way the actors felt. Someone yelled out “this feels intense!,” clearly showing the differences in dynamic as one actor moved physically closer to another.

 As these realizations and connections happened before my eyes, I stumbled around trying to get good photos of it all (let’s just say my picture taking skills aren’t exactly … professional). Out of all these moments I attempted to capture, the one that really sticks out were two students in the background looking really involved in the text. It just showed me how much Shakespeare can relate to us regardless of age, education, or status in our society. The kids really got a feel for the text and as Trish said making conceptual connections through the text improves students skills.

There were a lot of amazing, genuine surprises that I was fortunate enough to experience today. And isn’t that what theater is all about?

 To support student achievement and teacher professional development, Cal Shakes Classroom Residencies bring teaching artists into the schools with the aim of developing students’ minds, imaginations, and voices.

 

 

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Meeting and Greeting the Story Inside Us All

Marketing Intern Jessica Reinhardt offers a look into the Spunk meet and greet with Director Patricia McGregor and cast.

“There is no agony like hearing the untold story inside of you.”—Spunk

Spunk Costume Photo

Spunk costume design by Callie Floor.

The rehearsal space at Cal Shakes was abuzz with laughter and smiling, eager faces. I settled into my seat within the sea of interns, all excited to see what a Meet and Greet entails. The story of Spunk unfolded as director Patricia McGregor captivated the room with her moving language and an enthusiasm that everyone could feel. A key theme in Spunk is home, and Patricia began to connect her concept of what it was like to grow up in the South to the show. She explained how her hometown inspired a sense of community by focusing on the meaning of sharing and storytelling.

 She then began to bridge the gap of time by bringing everyone in the room back to the good old days. Her vivid descriptions of drinking ice-cold lemonade on your granddaddy’s porch was accompanied by Anthony Peterson, A.K.A. Tru, (Guitar Man and musical director for Spunk) improvising bluesy rhythms on his lap steel guitar. Everyone was rapt as Tru set the mood of the story, sculpting the emotions of the Deep South right there in front of us. 

 Patricia quoted an old adage: “Being listened to is so close to being loved that most people cannot tell the difference.” There are bumps in the road in every person’s journey and one of the things that get people through is the simple feeling that someone cares; everyone needs to feel appreciated and loved and this is one of the beautiful themes of this show. The audience even gets to feel the love by actively participating and engaging with the actors just before the show begins, at the top of the first act.

 We got to hear from Paloma McGregor, Patricia’s sister and choreographer for Spunk, who gave her perspective on how movement and dance are incorporated in the show: The lively nature and movement mixed with dynamic character roles is definitely something to look forward to. The cast themselves sure had a lot of spunk, the type of actors whose chemistry you could see just as they sat around their table. The cast was sure not afraid to laugh, and this was just part of their magnetism.

 Patricia talked about how it was important for her to honor Zora Neale Hurston’s vision of giving a voice to the voiceless. This theme is something every person can relate to, regardless of skin color or age or any of the other categories designed to divide us. Everyone has their own personal story and should embrace where they have been in order to get to where they are going. I don’t know about you, but I cannot wait to see these characters come to life and “git to the git with some pain n’ some spit n’ some spunk.”  

 Spunkthree tales by Zora Neale Hurston, adapted by George C. Wolfe, music by Chic Street Manplays at the stunning Bruns Amphitheater in Orinda, CA July 4-29, 2012.

 

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The Inspiration for THE TEMPEST

Resident Dramaturg Philippa Kelly reveals real-world inspiration for one of Shakespeare’s final plays.

The Tempest has an unclear setting: We know simply that it takes place somewhere in the Mediterranean, since Alonso and Antonio are on their way back from Tunis (where Alonso’s daughter has been reluctantly married off) to Naples. The Tempest is also one of the few Shakespeare plays not to have a clear literary source. It is thought to have been inspired by Shakespeare’s reading of a real-life event described by a voyager: On July 24, 1609 a fleet of nine English vessels was nearing the end of a supply voyage to the new colony of the Bermudas when it ran into “a cruel tempest,” presumably a hurricane. The vessels in the fleet couldn’t keep together, and two fared particularly badly. One of them, The Sea Venture, carrying the fleet’s Admiral, ran ashore.

The Sea Venture

"The Sea Venture in a Heavy Sea in 1609," painting by Christopher Grimes

How could they have survived such peril? Ariel conveys the amazement that Shakespeare probably felt in reading of the safe delivery of the sailors to the shore: “Not a hair perish’d,” he says to Prospero in wonderment. Exhausted by battling the tempest and suffering the effects of food deprivation, the sailors huddled on the battered ship in corners or, indeed, as one sailor put it, “wheresoever they chanced first to sit or lie.”[i]  This sailor’s account was most likely the basis for Ariel’s report to Prospero:

The mariners all under hatches stow’d;

Who, with a charm join’d to their suffer’d labour,

I have left asleep…

Moreover, Ariel herself (for whom there is no literary precedent) was probably inspired by what the sailors saw after the wreck of the Sea venture. The Virginia Company Secretary William Strachey, one of the survivors, reports seeing in the aftermath:

An apparition of a little round light, like a faint star, trembling and streaming along with a sparkling blaze,…shooting sometimes from shroud to shroud, tempting to settle as it were on any of the four shrouds:…half the night it kept with us, running sometimes along the mainyard to the very end, and then returning. [ii]

As you’ll read in my program article, what Strachey saw was a phenomenon called “St. Elmo’s Fire”—the luminous plasma created by an electric field emanating from a volcanic eruption or a storm. Ariel describes himself to Prospero, flitting around the shipwreck, “flam[ing] amazement,” “burn[ing] in many places: on the top mast,/The yards and bowsprit….” To the cramped streets of London, Shakespeare brought these images of a sparsely-populated island, a place whose existence had only recently been made known to Europe at all. Not unlike Prospero—whose art contracts the vagaries of life into his magically-controlled universe—Shakespeare contracted the far reaches of the known world to the perimeter of his dramatic stage, using the stage itself to infuse this world with its own far-reaching mysteries.

The Tempest begins previews at our stunning outdoor Bruns Amphitheater in Orinda, CA, on Thursday, May 31, opens Saturday, June  2, and continues until Sunday, June 24.

[i] This account was given by Silas Samuel Jordan, whose job it was to keep a daily log of events on the ship.

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From Romance to Revenge

Resident Dramaturg Philippa Kelly on Prospero’s and other’s journeys in The Tempest

The Tempest is a “Romance” play, best illustrated in relationship to King Lear, written six years before in 1605. Lear is a tragedy that leaves its audiences in a diminished Britain amidst the wasteland of loss, with only Lear’s brief reunion with his beloved Cordelia to comfort us—and even that reunion is made bittersweet, since both are dead by the time the curtain falls. The Tempest affords a more elegant wrap-up. Its fairytale structure—the power of Prospero’s magic; the mysterious setting somewhere in the Mediterranean; and the satisfaction of final redemption and of a wedding to close things—allows Shakespeare to tie up the play’s loose ends and to make what many have seen as his farewell to London and the stage (although he did write The Two Noble Kinsmen after this, as well as contributing to a few other plays).

Michael Winters is Prospero

Michael Winters plays Prospero in our 2012 production of THE TEMPEST; photo by Kevin Berne.

The Tempest highlights several prominent themes and conventions. It is one of Shakespeare’s most spectacular plays, with its apparitions (Ariel/Harpy); its storm and shipwreck to begin the play; and the dance, the vanishing banquet, the songs, as elements of scenic display. The Tempest is also underscored by journeying: There is the interrupted journey made by Milan’s Duke Antonio and Naples’ King Alonso, which brings them to the island; the journey that Prospero has made from Milan to the island; the journey that Shakespeare the dramatist has often been said to be making as he gives us an artist (playmaking as a form of magic?) who, by the play’s end, says goodbye to his art; and the journey from activity to age, signaled by Prospero’s transformation from an artificer at the height of his powers to one wearied by his art.

What is the relationship between art and nature? We experience nature through our bodies, but perhaps it is through art that nature is more truly understood. Nowhere is this juxtaposition between art and nature more intensely felt—and perhaps more challenging—than in the relationship between Prospero, master of the island via his mind and magical practice, and Caliban, who claims ownership of the island via his birth and breeding. “This island’s mine, by Sycorax, my mother,/Which thou take’st from me,” Caliban tells Prospero, “For I am all the subjects that you have,/Which first was mine own king.” Yet while Caliban declares ownership via his birth, Prospero sees this self-appointed “king” as a perverse wretch, an “abhorred slave” whose proclivities have abused the laws of “nature.” Who has more claim to authenticity? Caliban with his unchecked appetites, or Prospero with his history of Dukedom, his rage, and the sophisticated arts that he uses to check and arouse Nature’s tides? “This rough magic I here abjure,” Prospero says near the close of the play. “I’ll break my staff,/Bury it certain fathoms in the earth,/And deeper than did ever plummet sound,/I’ll drown my book.” Why does he ultimately disclaim ownership and authority on the island? The Tempest teases us with this question.

The Tempest begins previews at our stunning outdoor Bruns Amphitheater in Orinda, CA, on Thursday, May 31, opens Saturday, June  2, and continues until Sunday, June 24.

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Where Are the Mothers in Shakespeare?

Resident Dramaturg Philippa Kelly muses on maternal absences in The Tempest and other Shakespeare plays.

Pericles photo by Kevin Berne

A rare Shakespeare mother and child reunion: L-R, Sarah Nealis (Marina), Delia MacDougall (Thaisa), Ron Campbell (Cleon), and Christopher Kelly (Pericles) in PERICLES (2008); photo by Kevin Berne.

In Renaissance times the mother was the family member principally involved with her children’s education and upbringing. Yet in Renaissance drama older women were rarely represented onstage in what would obviously be one of their more sympathetic roles: that of the loving and nurturing mother. This lack is partly explained by the fact that women were not allowed to perform on the English stage: All of the female roles were played by young boys before their voices broke, so that a younger character part was obviously a better physical and vocal match. The lack of mothers in Shakespeare is notorious:  We have the noticeably absent Mrs. Prospero (of whom Prospero says merely that “thy mother was a piece of virtue”); the apparently nonexistent Queen Alonso; and the devilish witch Sycorax, Caliban’s dead mother.  Consider this lack of mother-nurturers in context with the three sisters in King Lear, Imogen in Cymbeline, Marina in Pericles, Portia and Jessica in The Merchant of Venice, Beatrice and Hero in Much Ado About Nothing, Ophelia in Hamlet, Desdemona in Othello, Isabella in Measure for Measure, and Rosalind and Celia in As You Like It, characters who are all deprived of mothers. Moreover, almost all of the older women Shakespeare does represent onstage offer negative images of motherhood: Volumnia in Coriolanus; Gertrude in Hamlet; and Lady Macbeth, who says that she would have been a terrible mother if she had had the chance to be one. And as for Lady Capulet in Romeo and Juliet, we can infer that, having herself been married at age 13, she depicts a former girl-bride who learned principally to please her husband.

Why does Shakespeare exploit this idea of the older woman as largely absent figure, or an unsympathetic one if she must be present, except for those few rare mothers who, like Hermione in The Winter’s Tale and Thaisa in Pericles, are effectively buried alive, losing their children either forever or for most of the play? (Hermione in The Winter’s Tale, for example, is forced into a 16-year banishment so that her husband can undergo a process of personal moral regeneration.) We might hypothesize about the playwright’s own life, married, as he was, to a woman eight years older than himself who reached middle age well before he did. We know that William Shakespeare spent most of his married life living in London, while his wife Anne Hathaway lived in Stratford with their children. We also know that Shakespeare’s plays were written in an extremely patriarchal period. But we can also see how useful a mother might be to a girl as, at a very young age, she comes face-to-face with the complexities of love and life.

And this is where there emerges a structural and thematic reason for the absence of mothers in Shakespeare. Aside from helping to solve the difficulty of finding boys who could plausibly play the parts of mature women, this lack allowed Shakespeare to create an important dramatic pretext: By taking away the mother (either, as in Romeo and Juliet, as a figure of real guidance or, as in many of his plays, like The Tempest, as a presence onstage at all), Shakespeare creates a gap in the young female characters’ lives, compelling them to develop that extraordinary independence and character that makes them so attractive. It is the completely sheltered and yet wise Miranda, after all, who first sees inherent nobility in the King’s son, of whom she knows nothing at all except that “nothing natural/I ever saw so noble.” Prospero might shape events in the world through his magic: But it is this young girl, Miranda, who shapes her own destiny through her heart.

The Tempest begins previews at our stunning outdoor Bruns Amphitheater in Orinda, CA, on Thursday, May 31, opens Saturday, June  2, and continues until Sunday, June 24.

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Spunk Song Contest: The journey is the reward

Duke Ellington

Duke Ellington rehearsing onstage at the Savoy, 1948; photo © Wayne Miller / Magnum Photos.

What song helped you along your personal journey? The dynamic characters in Spunk, stories by Zora Neale Hurston, adapted by George C. Wolfe, embody the all-too-human experience of struggle, love, loss, and—perhaps most of all—finding a place to call home.

Submit songs that have inspired and fueled your journey—literally or metaphorically—no later than June 11 to marketingintern@calshakes.org, tweet it with the hashtag #spunkjourney, or post it on our Facebook wall. We’ll include a list of the most popular and our other favorites in the Spunk program, play them at our opening night post-performance party, and post the playlist online! Spunk’s characters “git to the git with some pain n’ some spit n’ some spunk.” What songs git you to the git?

Here are some songs submitted by the Cal Shakes staff to get you thinking:

Mumford & Sons “After the Storm
Simon and Garfunkel “Homeward Bound”
Cole Porter “Don’t Fence Me In”
Alex Kramer and Joan Whitney “Far Away Places”
Jolie Holland “Goodbye, California”
Genesis, “Follow You, Follow Me”
The Beatles “Blackbird”
James Taylor “Carolina In My Mind”
Pulp “Weeds”
Journey “When the Lights Go Down in the City”
Green Day “Christie”
The Goo Goo Dolls “Broadway”
The D.I.’s “Mohawk vs. D.A.”
Rusted Root “Send Me on My Way”
Coldplay ”Fix You”
Tom Petty “Learning to Fly”
Jack Penate “Pull My Heart Away”

 

 

 

 

 

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How many goodly creatures are there here!

Stage Management PIP Alex Kimmel offers a window into the Tempest rehearsal hall.

interns at Haight-Ashbury

Interns Katie, Jessica, Erin, and Alex at Haight-Ashbury.

I’m Alex and I’ve just completed my first week as an SM intern at Cal Shakes! Three cheers to Erin, Andrea, Katie, Jess, Kendall, and Jessica—all the other interns—for completing their successful first weeks!

And it has been such a fantastic first week. Just yesterday, we stumbled through all of Act I, and it looks fantastic. This comes as no surprise, but I am just overwhelmed by the talent and hard work everyone has thrown into this play. The play goes by quickly and is packed full of beautiful movement pieces, moving language, and lots and lots of charm and wit.

Since internships are about learning I thought I would use this blog to share the lessons I have learned at Cal Shakes so far.

Lesson 1: Cal Shakes folks are friendly folks! Smiling seems to be part of the dress code and everyone is extremely helpful (especially explaining how to properly use “Big Ricoh,” the printer).

Lesson 2: Percolators make weak coffee… I have yet to discover the ideal coffee- to-water ratio in a percolator, and for that I apologize to everyone who drinks the coffee I make. I’m working on it, and it’s getting better (I promise)!

Lesson 3: The nanosecond you take your eyes off the prompter’s script is the nanosecond that someone calls for line.

Lesson 4: Glitter is fun but it’s a bear to pick up. Folding the glitter makes it easier and faster to pick up (thanks, Corrie Bennett!).

Lesson 5: The universe—and Cal Shakes folks—are generous. If you mention that you are looking into buying a bike, someone may give you one for free (thanks again to Corrie!). That being said, the intern house would benefit from a vacuum …

Lesson 6: The songs in the play will get stuck in your head for three days straight. Singing Tina Turner’s “Private Dancer” is an effective if unpleasant way to get the songs of the play out of your head (Thanks Catherine Castellanos!)

Lesson 7: Actors are creative, witty people (see Lesson 6), and if you give them a prop of a roasted rabbit on a spit, they will do creative, witty things with it … primarily when they are on their breaks.

Lesson 8: Scamels are delicious if you know how to cook them correctly.

I hope you have found these lessons as valuable as I have; if there are any that you don’t understand, I hope you take it as incentive to come see The Tempest opening in just two short weeks! It’s going to be a magical show!

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