Showing posts with label The Seagull. Show all posts
Showing posts with label The Seagull. Show all posts

Wednesday, July 22, 2015

In Defense of The Perfect Dress

Guest Blogger: Madame Arkadina
“Oh, dear! What to wear!” may be the refrain of many of you fine women on the rare, or perhaps not-so rare, occasions when having the perfect dress is absolutely everything. Darlings, I feel your pain! (Well, not really. But that’s another plate of sardines.)

On any given day, or night, I am required to dress. It’s 1895, after all. I host salons. I take tea. I am invited to the finest suppers. Yes, all of that. But I’m an actress (a famous one, don’t forget), and my clothes alone are enough to ruin me! Can you imagine what my world is like? Well, probably not, so let me explain.

Without dwelling too, too much on the details, let me pose this: How might a once pretty and precocious young girl from a landed, financially secure family, who’s mother and father died (perhaps before she reached the age of ten), get along in the world? Well, she was quite possibly sent off to a good school where she learned manners, and how to properly dress; where she learned a little about the world, about music, literature, and culture. And imagine then, she arrives at the lovely age of sixteen. For many pretty women of that tender age The Theater was a financial necessity, but not for this smart girl. The Theater was part calling, and part common sense. Why? Because darlings, she had her wardrobe in place!

Do you know that these days we actresses and actors must look our best at all times? All times! We simply cannot be seen otherwise. Darlings, it’s not about social standards, though we all know how terribly important those are! It’s about hire-ability. From any producer-director’s point-of-view (they’re one-and-the-same these days darlings, and they’re all men! ) the best wardrobe is de rigueur for those of us who wish to work, most especially in the leading roles!

I am left completely alone to choose and provide what dresses, hats, feathers, gloves, parasols, shoes, and bags I use while on stage— quite an advantage for my audiences, since I have such remarkable taste in clothes— but then, do you realize: no one else (simply no one!) pays for, provides, cleans, or transports my numerous wardrobe trunks for the many (oh, so many!) fabulous plays I star in? (Dear, gods! I pray that one day some sort of actor union will emerge to grant us parity; one which will negotiate equitable costume, housing, and transportation rules. But for now, there are none. It’s simply a scandal!)

The rest of this scene you can, I’m sure, conclude: Since my life requires me to look and act like ‘la crème de la’ at all times of the day and night, I set about ordering, on a seasonal (and sometimes monthly!) basis, my gown, parasol, and hat fabrics, feathers, and ribbons from Paris, (peacock feathers arrive directly from India), my shoes from England, lace from Ireland, and on, and on. And ladies, it’s simply not enough to have a lovely frock without all the matching accoutrements! Talent is marvelous darlings, but without the clothes, pardonnez-moi, you can freakin’ forget it!

Of course, after many years of being established, I now have the best dressmakers, milliners, and glove makers in Odessa. (I know the absolute best place for corsets! …Let’s talk!) Yes, I have the best and latest European fashions made right here in Russia. But it costs! You have no idea how much! Neither do the dear folks at home, I’m afraid. And darlings, if the empress has no clothes, she doesn’t get parts. And do you know what happens then? The farm goes to seed. The family doesn’t eat. Do you realize I pay the taxes and upkeep on my dear brother’s estate? And don’t get me started on the monies wasted because of the utter incompetence our estate manager — his way with most things (HORSES for example!) alludes me, but my brother is ill now (more bills!) and besides, he knows nothing about running a farm! And what do I know about it? What do I know about anything except The Theater. And of course, the ways of men. Oh yes, I know about them too. (But, well… that’s another spoon of caviar!)

Wednesday, July 15, 2015

What did you think of THE SEAGULL?

Thank you for coming to The Seagull at Ames Farm!

What did you think of the performance?  Let us know in the comments!

And remember, Bridgman | Packer Dance return to the Opera House this weekend with two new performances.

See you at the theatre!

Thursday, July 2, 2015

Aren't we also touched by grace?

In preparation for our upcoming production of The Seagull, the Opera House staff recently sat down with director Peter Richards to talk about the production and the playwright. Here are some highlights from the conversation…

Anton Chekhov
Why Chekhov?

“Why Chekhov” is not the easiest question to answer, in part because it is such a given in the theatre world. I mean Chekhov is one of the top five writers in the world on most everyone’s list… He’s very very special.

Why is Chekhov so special? Why is he considered a master? Why is The Seagull one of the four masterpieces that he’s written? When properly done, or done with passion, it’s a very special type of storytelling. There are a number of different stories interwoven together that overall make a mosaic of life and reality that is relatable by the audience and in its entirety enjoyable and very satisfying to watch.

What do I mean by stories?

Have you ever been in love with somebody and known that it’s probably not going to work out – and that it’s probably not a good idea for you to continue to love this person? So you want to find a way to not love this person but you’re struggling with that and you can’t – and you try different things and you fail and you try different things and you seek advice from people – well, if you’ve ever lived that, that story is going to be onstage.

If you have ever had faith in an idea or another person that is very special to your heart and then lost that faith and felt kind of lost because you no longer believe in the thing that you felt so passionately about – that story is onstage.

If you’ve had to go through a very tough time in your life where all of the things that you lived for and thought were important don’t make sense anymore in the new reality that you face, and you’ve had to go through the herculean effort of transforming your mind and convincing yourself that actually you have to be a different person in the world – that story is onstage.

All of these different stories are woven together in these plays and as an audience, you can look at the human struggling and to recognize yourself in it. And in this recognition, you get to laugh at them and smile and say “yes, yes look at us: look at humanity, aren’t we doomed? And aren’t we also touched by grace?”

“Let everything on stage be just as complicated and at the same time just as simple as in life. People are having a meal, just having a meal, yet all the time their happiness is being made or their lives are being broken up.”
~Anton Chekhov

Director Peter Richards
Chekhov is not a judger. What makes him so special is that he’s not afraid to show people suffering and struggling, but he makes us look at it with a smile – and it’s okay, because that’s just how we are. So that attitude towards all this turmoil and searching and seeking and struggling is a real gift I think to us as people being able to watch these stories.

The play is about the difficulties that arise in people’s lives when they idealize people, things or times: how humans tend to idealize people and ideas – and what the consequences of that are. When the different idealizations bump into each other comedy ensues, life becomes interesting to watch onstage and this is the stuff of the play.

“An author must be humane to his fingertips.”
~Anton Chekhov

Chekhov shows us a reality that is dark, but he’s approaching that darkness with a light-heartedness that is full of grace.

For people who read his stories and watch his plays, Chekhov’s writing nudges people towards empathy. So, when you leave, there’s something about empathy that is central to how Chekhov sees the world and sees his characters, and I think if people can leave the theatre with that sense towards the characters, it would make me really happy. It’s not an emotion, but it’s a sort of attitude of feeling for these people, even though they are totally flawed.

I think, in the world, when empathy is missing we run into problems, so whenever you can put a thing in the world--like a work of art that encourages an empathetic response--to me that’s a nice opportunity. As a sort of why.