Thoughts on 2010 FESTIVAL

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“The only people for me are the mad ones,the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a common thing, but burn, burn, burn, like fabulous yellow roman candles exploding like spiders across the stars…” JACK KEROUAC

This quote by Jack Kerouac really resonates with me because it best describes the kind of people who make theater at the Contemporary American Theater Festival. We are all just a bit mad…mad to live…mad to talk about serious issues…mad for radical innovation…mad for art…And we burn, burn, burn for creating new American theater. We are fearless in our support for the American playwright. We are determined to face the extraordinary financial challenges that are before us. The economic realities are daunting in 2010. And yet, as with every challenge, we will respond proactively and effectively. But we need you help! Our current economic climate is not a setback. It’s a test. It’s rough out there…but I am confident that we will continue to create exciting and daring programming even during these difficult economic times. I hope that I can count on you for your continued support as we launch the next draft of the future of contemporary American theater. Please consider making a personal donation to CATF. Your support is vital to our success.

For me the work never gets old. Every season is a new beginning. The rehearsal halls are empty. The stage is empty. But we have five new scripts to nurture, develop and produce this summer. We have five new plays to cast and prepare all the theatrical elements for production in our 2010 Repertory. This is who we are and what we do. And I love it…Because I love my work. I take so much joy in it, and I try not to focus on what I haven’t done, but instead on what I will do. Being creative is not just a once-in-a-while sort of thing. Being creative is an everyday thing, a job with its own routines. The routine is as much a part of the creative process as the lightning bolt of inspiration…perhaps more.

The thing I care about most in my professional life is new work, particularly new American writing that is socially engaged and represents the diversity of our country…And that is what the Contemporary American Theater Festival stands for. I share with you a profound belief that what we are doing in Shepherdstown, WV is important. We are consumed by new ideas and radical innovation.

Ed Herendeen

PR STUFF

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We are busy doing some PR events to begin to promote the March 28th SPRING BENEFIT and the 2010 FESTIVAL. Sandy Sponaugle, CATF Publicist and I did the 9:30 AM Talk Show on WEPM Radio in Martinsburgh on Monday. Yesterday Lisa Younis, CATF Board President and I spoke to the Martinsburgh Rotary Club Lunch Meeting. And Today…Bridget Cohee, CATF Trustee and I will be on WRNR TALK RADIO at 9:10AM. We are getting the word out about our upcoming ROAST, TOAST AND BOAST BENEFIT: Celebrating 20 Years of THE CONTEMPORARY AMERICAN THEATER FESTIVAL. This is going to be an entertaining evening of amusing anecdotes, inside scoops and behind the scenes stories from our last 20 years. CATF actor, Lee Sellars is joining us as the Master of Ceremonies. Lee is taking a day off from WEST SIDE STORY on Broadway to host the Benefit. We hope to raise some much needed donations…which will help support our 2010 THEATER FESTIVAL. Please join us on Sunday March 28th at the Clarion Hotel in Shepherdstown.

Ed Herendeen

DIRECTOR’S CONCEPT LIDLESS

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I have a 9am phone conference today with Bob Klingelhoefer our Set Designer to discuss my concept for LIDLESS by Francis Ya-Chu Cowhig. I want to share some of my ideas with you RE: this very important and original new play. Let me begin with an excerpt from a recent email from the playwright…in her own words: FYI: Frances is currently in China.

“Great to hear from you-and thank you so much for selecting LIDLESS to produce in your festival. I’m thrilled that the play will be shared with your community/audiences and hope it will spark some meaningful dialogue…In terms of insights/research notes–here are nine items that proved most useful to me during my research for the play:

1. MY WAR GONE BY, I MISS IT SO by Anthony Loyd…gives great insight into psychological  addiction to war/trauma as heightened experience.

2. THE NIGHT PORTER (film)

3. DEATH AND THE MAIDEN (film/play)

4. A FIELD GUIDE FOR FEMALE INTERROGATORS by Coco Fusco

5. FIVE YEARS OF MY LIFE by Murat Kurnaz…best detainee memoir.

6. MY GUANTANAMO DIARY by Mahvish Rukhsana Khan…a memoir

7. ENEMY COMBATANT by Mozzam Begg…a memoir.

8. EIGHT O’CLOCK FERRY TO THE WINDWARD SIDE by Clive Stafford Smith…written by Gitmo attorney.

9. THE INTERROGATORS by Chris Mackey…written by a former Army interrogator.

In terms of insights, ideas, notes–I just worked on the play for two weeks at Seattle Rep–and learned that the play works best when objects are kept to a minimal, transitions are lightning fast and the whole play happens in almost a streak or dream of motion–no traditional lights down between scenes–they just fall on top of each other and keep moving, as if (as suggested in the title) the audience is just being forced to watch a stream of action without having time to blink or breath. Running time is about 70 minutes–so it can really be one fluid motion from start to end…The play works best outside a proscenium staging. I thought about LAST TANGO IN PARIS a lot when I was thinking about Bashir and Alice’s relationship–there is a raw, erotic tension that is a silent non-verbal almost subterranean current between them throughout the play.”   Frances Ya-Chu Cowhig

My Director’s Concept for LIDLESS :

TIME/PLACE: A day in Guantanamo in 2004. A week in Minnesota, fifteen years later. Minimal, not realistic. Set pieces should transform instantly from scene to scene.

WORLD OF THE PLAY:  A prison/a cage/a box. The play begins in a prison surrounded by chain-link fences in 2004 and in Minnesota 15 years later. But all the characters are trapped in a prison of their memories. They can’t escape their individual prisons until they come to terms with their past. Bashir was held captive in Guantanamo…in a cage. Alice is held captive by her inability to remember her past. Lucas is held captive by his former addiction to heroin. Rhiannon is held captive by her lost identity. Riva is held captive by her memory. All the characters are trapped in their own cages. I want to create a world that traps the characters in a lidless cage. I want to set the action of this story in a lidless cage surrounded by chain-link. The only way out is through redemption and forgiveness. There is no “lid” on redemption.

PREDOMINANT ELEMENT:  CHARACTER/STORY:  LIDLESS is a story told by characters. This is a character/story driven play. I want to focus the audience’s attention on the characters telling this story. The scenery/props should be minimal and suggestive…a unit set environment. Let the characters be the focal point. Can we surround them and trap them in a lidless cage?

METAPHOR:  A CAGE/A CHAIN-LINK PRISON:  I am struck by the image of the Zunzum bird (a humming bird) Bashir say’s “It can fly through the chain-link cells.” Another powerful metaphor in the play is “boundaries.” I am also struck by the image/metaphor of the “Iguanna”…an endangered species. “The Iguanna has cells that, when activated by trauma, can regenerate a new tail completely. It doesn’t have to ask for anyone for help. It can just lie on a warm rock and mend. It’s completely self-sufficient.” Another powerful metaphor is Rhiannon’s high school  “Oral History Project.”  And finally the image/metaphor of the human liver. Bashir needs a liver transplant. The liver is where the soul lives.

MAIN IDEA:  LIDLESS is a play about redemption and forgiveness. It is a story about coming to terms with one’s past…one’s guilt…dealing with and remembering the past. It is a story about the search for one’s true self…one’s true identity.

These are some of my thoughts regarding my concept for directing this powerful new drama. I hope that this will give you some insight into my directing process…especially during this pre-production phase. Over the years I have learned to trust my first impressions of a play. I always begin by listening to my intuition. I believe in the intuitive process when ever I begin to direct a new project. I am interested in hearing your response to these beginning ideas. Please fell free to comment on this blog.

Ed Herendeen

PRE-PRODUCTION

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Bob Klingelhoefer, CATF Set Designer is continuing to work on the preliminary designs for the 2010 Festival. He has begun a conversation with Laura Kepley the director for BREADCRUMBS RE: her ideas and concept. And Bob and I are continuing to discuss and work on the preliminary ideas for INANA and LIDLESS. I am preparing auditions-sides for our New York Auditions. We will hold our New York Auditions on April 5th -April 9th. Our local AEA Auditions will be in Shepherdstown on April 12th and 13th. Pat McCorkle Casting and I have prepared the casting Breakdown for the 2010 Repertory Acting Company. The Breakdown will go out to AEA and New York agents later this week.

Our SPRING BENEFIT to help support the 2010 Festival is on Sunday March 28th. ROAST, TOAST & BOAST is a Celebration of 20 years of The Contemporary American Theater Festival. CATF actor Lee Sellars is the MC for our SPRING BENEFIT. I hope that you will join us at the Clarion Hotel for an entertaining evening.

Ed Herendeen