CASTING THE 2009 REPERTORY

The Contemporary American Theater Festival is dedicated to producing and developing new American Theater. This season we are producing FIVE new American plays in rotating repertory. We are one of just a few professional theaters that do rotating rep and are committed to providing our audience with a Repertory Acting company. This means that you get to experience actors who appear in more than one play. Casting a rotating repertory company is a challenging process. For the past several years we have worked with the prestigious Pat McCorkle Casting Ltd. in New York. Over the years Pat and I have developed a unique and collaborative relationship. We have developed an unspoken vocabulary when it comes to casting a FIVE Play Rep. Pat McCorkle gets us! She gets the CATF mission! And she gets me! Over the years she has introduced me to some of the finest American actors working today. We are looking for actors who understand the nurturing process of new play development. We are looking for actors who share our passion for new work. We are looking for actors who have a hunger and an adventurous appetite for doing new plays in rotating rep. Rehearsing two plays at the same time is an overwhelming experience and requires actors who are dedicated to this challenging process. Casting the 2009 Repertory Acting Company is one of the most important responsibilities that I have.

We will hold local Equity Auditions in Shepherdstown on April 13th and 14th. Our New York casting is April 21st –April 24th. I will announce the 2009 Acting Company in May.
Here is a behind the scenes look at the casting process:

A descriptive breakdown of the 2009 Cast:

Adam in YANKEE TAVERN will also play Stephen in FARRAGUT NORTH:
ADAM: A handsome male who is in his late 20’s. He has a good sense of humor. He is funny, intelligent and he is very good with language.
STEPHEN: A handsome male in his late 20’s. He is a political “wonderboy”. He is charismatic, charming and whip-smart. He walks a thin line between wide-eyed idealist and a cold blooded killer. He is a chameleon. He is a Machiavelli type. He feeds on power. All of this makes him sexy as hell.

Janet in YANKEE TAVERN will also play Ida in FARRAGUT NORTH:
JANET: An attractive woman who is in her mid 20’s –early 30’s. She is smart, tough and has a strong emotional range. She is caring and determined.
IDA: Age range late 20’s-early 30’s. She is political reporter for the NY Times. She is a no nonsense journalist. All she wants is the scoop. She is aggressive, sexy and determined.

Ray in YANKEE TAVERN will also play Tom in FARRAGUT NORTH:
Ray: This is a character actor type but with an edge. He is in his late 50’s or early 60’s. He is likable and passionate. He has fun with his conspiracy “rants”. He is a good comedian with excellent language chops.
TOM: His age range is 50’s to 60’s. He is a Senator Pullman’s Campaign Manager. Tom is the consummate political operative. He is slick and seemingly soulless. Every move and word is calculated and precise. He’ll do anything to win, no matter whom or what stands in his way.

Palmer in YANKEE TAVERN will also play Paul in FARRAGUT NORTH:
PALMER:  A male in his late 40’s-50’s. He is a mysterious and secretive man. He is very intelligent and dangerous. He is a strong and intense character.
PAUL: His age range is 40’s-50’s. He is Governor Morris’s Campaign Manager. He is a grizzled, foul-mouthed, tobacco chewing political veteran. But he’s got a brilliant mind lurking beneath the rough edges. He possesses a strong sense of leadership and sexual appeal.

Adam in FIFTY WORDS will also play Math in THE HISTORY OF LIGHT:
ADAM: His age range is early 40’s. He is verbally quick and used to charming his way through life. He is puzzled by the depth of his own emotion. He is emotionally volatile, but sees himself as the “rational voice” of the relationship. He should be “ordinary looking”…but with a quiet charisma. He is an architect who comes from a broken home…with all the underlying emotional uncertainty that implies.
MATH: His age range is late 30’s. He is a handsome white male. He is a management consultant and a classical pianist. He was a nerd until late in high school. He is an overachiever, cocky and irresistibly eloquent. While he is risk averse, he is soulful with a deep compassion.

Jan in FIFTY WORDS will also play Sara Jane in DEAR SARA JANE:
JAN: Is a former dancer in her 30’s. She is supple and emotionally deep. She is a creature of her emotions which are clear and reliable. She should radiate a sense of competence. She comes from “old blood” in St. Augustine Fla. She hates pretense, but knows that she herself has inherited a social self-consciousness which she takes seriously.
SARA JANE: A thin, pretty woman in her late 20’s or early 30’s. She needs to possess sweetness, vulnerability and depth. She has a wacky delightful madness. She is charming with great comic chops! She can sing like a bird. But she has a fierceness to play her twin sister, Lynnie. She plays the piano.

Molly in FARRAGUT NORTH:
She is a 19 year old intern for the Morris Campaign… a teenage knockout with an old soul. She seems more mature than woman twice her age. She is ambitious, bright and resourceful. She is sexy and attractive. She knows how to quickly move up the political ranks.

Ben in FARRAGUT NORTH:
BEN: He is a 23 year old Deputy Press Secretary who is right out of college. He is smart and ambitious, but a little green. He is a “wonderboy”.

Soph in THE HISTORY OF LIGHT:
SOPH: She is an attractive, black singer/songwriter and pianist in her late 20’s or early 30’s. She is pretty, witty, sharp and very appealing. She has let her checkered family and relationship history leave her vulnerable and handicap her growth. Soph sings jazz and blues and plays the piano live.

Turn in THE HISTORY OF LIGHT:
TURN: He is a handsome black man in his early 50’s. He is a political activist. He is irrepressibly radical, at times to his own detriment. He has forged a life of principle and lost track of some of the important relationships along the way. He is very attractive, charming and charismatic.

Suze in THE HISTORY OF LIGHT:
SUZE: An attractive white woman in her early 50’s. She is an American writer living in France. Her college days were marked by an idealism that still haunts her life. She is extremely intelligent and compassionate.

Frank in FARRAGUT NORTH:
FRANK: He is a reporter from the LA Times…a typical reporter trying to sniff out the story. He can be any race…and his age range is late 20’s-40.

Hopefully this gives you an idea of the complicated but exciting process of casting a Repertory Acting Company. Pat McCorkle Casting takes these character descriptions and submits an official “Breakdown” to the talent agencies. They in turn submit their clients for consideration for an audition.

—Ed Herendeen

Welcome to the World of Michael Weller

The magic and power of Michael Weller’s plays is in how alive, passionate, and well defined his characters are. If you are familiar with his plays: MOONCHILDREN, LOOSE ENDS, SPOILS OF WAR, WHAT THE NIGHT IS FOR, etc…then you know what I am talking about. Weller writes actor/character driven plays. He creates attractive, likable, and volatile characters. Weller’s plays dig deeply into the complexities of human relationships…they are brutally honest and firmly planted in present day attitudes and concerns. His work is funny and intense…psychologically compelling and emotionally involving. This kind of drama is “red meat” for actors offering them a fierce vehicle for physicality, naked honesty and emotional connection. As a director I really respond to his aggressive style.

I recently learned that FIFTY WORDS is the second play in a trilogy that Michael is writing. WHAT THE NIGHT IS FOR is the first play in the trilogy. Joyce Ketay, Michael’s agent sent me an early draft of WHAT THE NIGHT IS FOR a few years ago and I liked it very much, but I wasn’t able to include it in our repertory. I often have to pass on terrific scripts because of our rotating repertory constraints. WHAT THE NIGHT IS FOR is published and I recommend reading it. I just read a draft of the third play in the trilogy currently titled SIDE EFFECTS ZERO…which just received a reading in New York.  The trilogy is an incisive closeup of the emotional battleground of contemporary relationships.

FIFTY WORDS is a bruising and funny play about the back and forth of power games, recriminations, seemingly innocent putdowns and brutally honest confessions of a 21st century marriage. What is it about marriage that makes it sometimes so terrifying?  Is it the unparalleled power it lends it’s participants to wound, maim and annihilate, through the grim weapon of knowing exactly where the other person hurts?  Welcome to the world of Michael Weller…a bold and productive playwright who specializes in family portraits. In FIFTY WORDS… love hurts…and it isn’t necessarily pretty…but Adam (the husband) and Jan (the wife) do share an inextinguishable love and desire for each other.

“You have this magical idea about family, like it’s this eternal Disney World where everyone’s smiling and warm and available 24 seven,” Jan says. “It’s twisted, Adam.”

Most audiences with any experience of cohabitation will recognize themselves in this emotional battleground of contemporary relationships.

—Ed Herendeen

Victor Lodato’s World Premiere of Dear Sara Jane

Emily Morse, at NEW DRAMATISTS first introduced me to Victor Lodato’s work. He is a member playwright at NEW DRAMATISTS and I have been reading his plays and tracking his career. I am thrilled that I am producing and directing the World Premiere of his new play DEAR SARA JANE. Victor and I have had several phone conversations regarding our upcoming production. We will meet in NY in April to continue our pre-production discussions. Victor will also be in Washington, DC for his upcoming productions at Theater Alliance of THE BREAD OF WINTER and THE WOMAN WHO AMUSES HERSELF.

Victor Lodato in his own words:

DEAR SARA JANE is a solo play that examines the psychic disintegration and subsequent transformation of a woman waiting for her husband to return from war, a war during which he may or may not have committed a stunning atrocity.

The play, to my mind, hovers above naturalism. While I think it essential that the play exists believably in its external reality (a real marriage, a real woman waiting for her husband to return from war, a real atrocity), ideally the play must also have the strange and unsettling feeling that it is happening inside the character’s head; that the play is giving theatrical form to a shift in consciousness. By the end of the play, the character is profoundly changed, and I believe the power of the play will come from an audience feeling that they are somehow complicit, that they are closely participating in the character’s journey: a mad twisting road inside her mind by which she arrives at a radical change of heart.

At present, there are three songs in the play. In seeking to increase the theatrical electricity of the piece, and to more firmly establish the “cabaret of consciousness” tone, I would possibly like to add a few more songs, as well as to develop some interludes between the scenes (similar to the action of the prologue). The purpose of the interludes would be to give physical form to the madness inside Sara Jane’s head, and to theatrically underscore the absurd and tragic situation in which she finds herself.

I am attracted to Victor’s work. He has an original voice and a distinctive point of view. I respond to his imaginative approach to writing for the stage. He is inventive and theatrical. His plays often examine characters at a dangerous moment between sanity and psychic dissolution. His work explores volatile emotion territories and often pushes the drama into tragic absurdity. His plays are dark but not without humor and they address large and sometimes terrible questions.

Questions Under The Surface:
When you attend DEAR SARA JANE consider these questions:

  • Indirectly, DEAR SARA JANE will examine the psychological mechanism of compartmentalization that allows great brutality to exist peaceably beside the “good” and “noble” cause. What is the psychic damage enacted when compartmentalization is effectively achieved? What is the cost when it fails?
  • What is a “clean” war? / What is a “dirty” war?
  • How does the mythology of war change from generation to generation?
  • How does what it means to be “American” shift across generations? Questions of identity, pride, shame. How does each generation chart (or deny) its loss of innocence?
  • Questions of racism.
  • In regard to the woman’s relationship to her husband: how can one person ever really know another person?
  • What is the price of domestic peace, both personally and politically-from the living room to the world at large?

—Ed Herendeen

In the Air—Three Victor Lodato Plays

Paul Douglas Michnewicz, the Artistic Director of THEATER ALLIANCE in Washington, DC is producing two new plays by Victor Lodato. This is exciting news—DC Metro audiences will have an opportunity to experience three new works by Victor Lodato. Our Theater Festival is producing the World Premiere of DEAR SARA JANE in July. I encourage you to see all three of these new plays.

THEATER ALLIANCE will produce:

The World Premiere of THE BREAD OF WINTER: April 16-May 9.
Libby lives in a world where the sun don’t shine, a terrible angel encircles the earth, birds fall from the sky and the maternal instinct has all but gone extinct. This haunting World Premiere has garnered several awards already and promises to leave you breathless.

THE WOMAN WHO AMUSES HERSELF: May 16-June 6.
The beloved Mona Lisa has been stolen from the Louvre! The thief takes some time to contemplate her in his garret apartment. A cross section of the world reflects on her disappearance and how she affected their lives. This tour de force performance of a one man show is based on a true story and will keep you rolling in the aisles. Just don’t touch the art work!

I am thrilled that THEATER ALLIANCE is introducing the DC Metro audience to Victor Lodato’s new work. Go see these plays and then come to Shepherdstown and experience DEAR SARA JANE at THE CONTEMPORARY AMERICAN THEATER FESTIVAL. How often do we get the chance to see a body of work by the same author? So take advantage of this theatrical opportunity. Victor Lodato’s work is “in the air” this spring and summer.

For more information on THEATER ALLIANCE:
www.theateralliance.com

—Ed Herendeen