Mastering the Art of Long Days and Sleepless Nights.

My time at Villanova Theatre

I’m not going to lie, grad school is hard.  And as much as I love this program, it can be brutal!  I have a number of friends who are attending graduate school for Theatre and they are stressed and tired just like we are here, but I don’t think their programs are quite as all encompassing as the M.A. in Theatre program at Villanova. 

Coffee becomes your best friend in Grad School.

Some insight:  all graduate students here earn a Master of Arts in Theatre, a comprehensive degree with equal emphasis on scholarly and practical experience.  We are here to learn it ALL, not just acting or stage management or directing (as you might in an M.F.A program), we are all afforded equal opportunities to try anything and everything that interests us!  This means that not only are we LOADED with tons of academic work, readings, projects and papers, we are also the ones building the sets, props, and costumes, stage managing, and acting in the main-stage shows.  (I am not even in The Drowsy Chaperone and I’m tired!)

It's the little things!  The Drowsy Chaperone Co-Creator and Original (Tony Award Winning) Man in Chair, Bob Martin, visits a performance of The Drowsy Chaperone at Villanova Theatre.  (Bob martin is in the Middle.  Lisa Lambert, also a Co-Creator joined us!)

All of that aside, I couldn’t imagine myself at another program.  Through the tired tears, the sleepless nights, and the stress of getting our first Production History done (the first big project for our Dramaturgy – Classics class), I am confident that once I graduate from the Villanova M.A. in Theatre program, I will be able to handle absolutely anything that may be thrown my way.

My Production History Binder on August Wilson's The Piano Lesson.

The biggest challenge that I see myself facing here is that the program is only two years, and there is so much I want to get involved in, achieve, and accomplish!

If you are interested in learning more about the Villanova Masters in Theatre Program, or more about Villanova Theatre in general, please contact Annetta Stowman.  Auditions and interviews for the incoming class of 2013 are in February.  Visit www.villanovatheatre.org for more information.  Wish me luck as finals approach!

-Brie Knight

1^st Year Graduate Assistant

Marketing and PR Department

Sarah Moya - Villanova Undergraduate Theatre Minor Interns this Semester at the Abbey Theatre in Dublin, Ireland

You may remember Sarah Moya as Shelley in Villanova Theatre's Batboy: The Musical:

Here, Sarah tells us her tales of interning at the Abbey Theatre in Dublin!

I am an archival intern under Mairead Delaney at the Abbey Theatre in Dublin. I have now been working there for about a month and a half and work about 9 hours a week, and I must say that it is quite possibly the best time to be working at the Abbey. From the newly acquired building they plan on using to expand the theatre, to the recent digitization project for the Abbey archives and their partnership with NUIGalway, there is a lot of new and exciting things happening for the Abbey! It was incredible, I got to meet several Abbey actors and writers, including Stephen Rea, and I even got to meet the Irish President! I could not be more honored to be a part of it all. Then again, as I'm told, there is always something big and exciting happening at the Abbey, so I'm sure I have more in store.

 Most of my work for the first few weeks involved dealing with documents that were going to be put online as part of the digitization process. I was cleaning and helping restore documents that were up to 110 years old, scanning them or taking pictures of them. A lot of the time, Mairead would go through the history of a lot of these documents with me, allowing me to learn more about the rich history of the Abbey, which is certainly extensive. Along with the preparations for the digitization project, I very recently started a research project in which I'm tracking the Abbey's American tours, looking at where they were and what theatres they played at, then updating the information accordingly, hoping to help make the information that the Abbey already has more accurate and relevant to researchers who come in seeking information. 

Every day, I'm amazed by some of the things that Mairead has in her collection. And every day, she's getting something new. It is very cool being a part of the archival section of the Abbey because the best way to learn the history of a place is put yourself in it. I also get to interact with other departments, such as props, communication, and set design, since they come to the archives to ensure that what they may be presenting or performing with is historically accurate. 

I would definitely recommend this internship to another Villanova student. It has been such a welcoming environment where I have always been treated with respect and as a co-worker. I am happy to answer any questions for those who are looking into the internship.  

-- Sarah Moya, October 2012

Becoming cooler.

Last week, Joanna gave me some "homework" to do regarding my character in MUSEUM. Tink, she said in her deep, lilting voice, "is a downtown girl. She is not... well... she is not a Villanova girl." With that, I knew exactly what she meant! I had to completely drop the "middle class" in me--I needed to find something deeper, something about me that was much more edgy. My friend & fellow MUSEUM actor, Ashley (she plays Tink's "frenemy," Kate) and I did some research and found some pretty cool things about Downtown Girls:

1. They're not trying to impress anyone. (Unlike me, who likes to make everyone happy!)

2. They don't smile excessively. (Again. If you've

ever met me, you know how difficult not smiling is for me.)

3. They're not easily offended by anyone.

4. They wear much funkier clothes & jewelry than Villanova girls.

5. They're really smart. Book AND street.

6. They listen to cool, underground music.

So, it's been pretty fun working to become my own kind of Downtown Girl. I get to act edgy and tough and much cooler than I actually am. ;) And, Janus (our Costume Designer) says I get to have a blue streak in my hair! If only Ashley & I could get Andy Warhol to appear and hang out with us... then we'd be set.

Tink & Kate are just two of over forty characters you'll meet at our MUSEUM. You don't wanna miss what all these crazy people will get into!

Talk to you soon!

Emily

PS. I'm sure I'll have some brilliant insights during tech this weekend. Or, at least I'll have some funny things to share. Look out!

PPS. Still need tickets?

Hi, friends!

Emily again, this time writing about Villanova Theatre's upcoming production of MUSEUM! MUSEUM, which is written by one of America's most inventive female playwrights, Tina Howe, is directed by Joanna Rotté, one of Villanova Theatre's most experienced faculty members. Joanna was taught by legendary acting teacher, Stella Adler, so it's pretty cool to be learning from and directed by someone with so much knowledge!

What's really crazy about MUSEUM is that it features 42 (yes, 42!) actors that range in age all the way from 18-72 years old. Our first read through was such a joy ride--it was so neat to come together and actually hear the silly antics and moving moments all the characters go through. As we read, and at subsequent rehearsals since, Joanna was sure to remind us that our characters are real people experiencing art. "Don't play the comedy; it's about the art," she keeps telling us. That piece of direction is really helpful for me--when the actors are staying true to reality and actually understand their characters, the comedy definitely comes out! Without forcing it, each and every actor is able to bring some kind of comic intent to the play. But behind the comedy lie some really poignant ideas.

Another fun fact (maybe the MOST fun fact!) about our production is that the art in the show's exhibit is being created by actual artists. Pretty cool, huh? Joanna and the production team found real artists who fit the playwright's description of the artists in MUSEUM perfectly. There's Villanova Theatre Prop Master (and painter/sculptor) Ward Van Haute, who is "playing" the Steve Williams character. Ward (and Williams) created hanging soft sculptures that intrigue and delight several of the characters on stage. Lawrence Anastasi is Zachary Moe (well, and his father, "Mr. Moe"... you'll see what I mean when you see the show)--he has created some abstract white paintings that are visited by some very special people. Finally, there's Heather McLaughlin, who is Agnes Vaag. Heather is in the process of creating seven found-object sculptures for the exhibit. My character, Tink, is especially interested in Agnes' artwork--something pretty neat happens when I'm checking out her sculptures, so you'll just have to see the show to find out exactly what it is! All of the artists will appear in the show each night--so it'll be especially fun for the audience to look for them every night!

The best part about this show is the sense of community we're fostering among the cast, crew, production team and the artists. With over 50 people involved, that can be pretty hard to do! But I truly feel that everyone's understanding of the process and respect for the art is helping to foster a great sense of togetherness. I can't wait to see what this week of rehearsal brings! I'll be sure to keep you updated with awesome revelations and the fun and moving moments we encounter.

Talk to you soon!

Photo by Jen Jaynes

Emily

P.S. Want tickets to the MUSEUM? Go online or call 610-519-7474. They're going fast, so get to it! :)

An "outsider's" perspective.

Hi, everyone! My name is Emily and I run the light board for WOMAN AND SCARECROW.

This past weekend was "tech" for the show -- where all the costumes, lights, sound and props were layered into the work that the actors had been perfecting for the past few weeks. This weekend was the first time I was exposed to WOMAN AND SCARECROW and, let me tell you, I was seriously blown away.

The level of intensity at which the actors work is incredible. Felicia (Woman) and Jessica (Scarecrow) possess such beautiful and magnetic energy that captivated me from the very beginning of the show. Their connection is palpable. Felicia's commitment to her character brought tears to my eyes. Jessica's characterization and absolutely chilling portrayal of Scarecrow is fierce. Their relationship drives the show.

The support that Ahren (Him) and Lizzy (Auntie Ah) bring to the performance is equal parts refreshing and heart-wrenching. The way each character relates to Woman sheds light on haunting moments in her past. Ahren's ability to weave his inherent charm into Him gives his seemingly spiteful character a softer, more vulnerable edge. Lizzy's unique vocal qualities allow her to mold Auntie Ah's words into a striking melody that can, in one instance, both comfort and sting.

Never before have I been so awe struck by a play. The show offers so much to its audience -- humor, intensity, artistry and compassion. Each of the technical elements of the show combine to make the production a real "must-see." The student designers (Vandy Scoates/Set and Valerie Cavooris/Costumes) should be extremely proud of their amazing artistic work. Congratulations to Fr. David for creating such a gorgeously haunting production!

Please don't miss WOMAN AND SCARECROW (it's the Philadelphia premiere of the show -- how cool!) Thank you to everyone involved for creating such a brilliant and stunning piece of theatre!

-Emily

Light board operator

"Intensity and passion"

Hello all, Lizzy (Auntie Ah) here...

Initially, I read my character "Auntie Ah" as a strict, God-fearing Catholic Aunt. But as rehearsals began, I started to see her in a new light. She is definitely a 'no nonsense' type gal, but the tender connection with her niece (Woman) is subtle yet endearing. Auntie Ah is fulfilling her destiny in life -- after her own sister died, she took on taking care of the ailing Woman, which she considers her destiny. In this instance, Dan's dramaturgy was crucial to understanding this world's fascination with death. (Dan -- You're awesome!!!)

Working with Felicia, Jessica and Ahren has been an uplifting and humbling experience. Felicia is heart-wrenchingly tender and emotionally perfect. Jessica is captivating as she moves about the stage like a force to be reckoned with. Ahren is so cool, calculated and oozing with 'old Hollywood' charisma.

Father David is so wonderfully generous as a director. His intensity and passion for this piece is so deeply rooted in his efforts to get us 'into the world' of the play. He doesn't let us 'off the hook.' He finds ways for us to discover crucial elements of the play, characters and relationships.

With only a week of rehearsals left, I hope to achieve Father David's vision for Auntie Ah and will remember this experience with fondness and appreciation of working with such an amazingly dedication team.

Thanks to Allie Ward and her team (Maddie and Erin) for keeping all of us on task. Allie gets the job done but adds an element of understanding and compassion to this grueling rehearsal schedule in combination with grad school demands...

'Til next time!

Woman & Scarecrow ~or~ "I wish I wasn't in this play."

So, let me qualify the title of this post before we go any further.

Every once in a great while actors have the distinct privilege of being a small part of an amazing piece of theatre. On those occasions where I happen to be in that position, I say to myself, "Man, I wish I wasn't in this play." I say that because I desperately want to see the production in its totality...to experience it as an audience would. To be moved by it, rather than being a part of what moves it. That is, of course, a testament to great writing, wonderful production ideas and execution, sensitivity to process, and keen and thoughtful acting.

I am aware, too, that it’s a selfish thing to say and I hope it isn't misconstrued as a means of alluding to some augustness concerning my small part in the play.

More to the truth, it is a statement born from intense desire to have the soul stirred on some deep level.

But it is also (if I’m going to be completely honest) a statement born in a small way out of fear.

When something, anything, is worthy of your full attention, mindfulness, and care...can you rise to meet it? Do you have the ability to turn off (or at least tone down) the inner critic that says, "You can't, you can't, you can't. It isn't safe to be open and vulnerable." And that’s a constant struggle no matter who you are or what you do. I try my best to laugh at that part of me...to put on boxing gloves and challenge it in the ring, when I have the strength...to distract it with something shiny when I don't. And sometimes there is success and other times there are utter failures and complete breakdowns. When those breakdowns manifest in a process (and they always manifest) being in the wrong company can be devastating to an actor’s journey.

Fortunately in this instance, in Woman & Scarecrow, I am surrounded with wonderful, adventurous, and supportive people; in particular my cast mates. So, I'd like to talk about them for a moment.

I’ll be upfront about it…this play is scary. Scary in terms of the piece demanding sensitivity and an openness that only comes at great personal cost. It can be a terrifying place to live. It’s draining. Raw. Fragile. Points to the heart of individual sufferings. And asks for incredible trust and courage. My cast mates are willing to live in that emotionally expensive place night after night and I’m in awe of that, really. They don’t pull punches and they’re tenacious practitioners who attack this play. The exploration in the room is an amazing thing to be a part of and I’m very excited for people to come and see the nuance that these women breath into their roles. The work is phenomenal.

Last night I was re-reading Art & Fear, by David Bayles and Ted Orland, and I came across this quote, which reminded me of something Fr. David said when we started rehearsals:

“To make art is to sing with the human voice. To do this you must first learn that the only voice you need is the voice you already have. “

Folks...get ready to be sung to.

~Ahren Potratz (Him) first year Graduate Acting Scholar