Our Town Opens

This Wednesday, October 8, previews for the first show of the Long Wharf Theatre’s 50th anniversary season begin. And that first show is an American classic: Thornton Wilder’s Our Town. Not only an American classic that many probably think they already know, the play has direct links to “our town” (i.e., New Haven) because Wilder lived here and is buried here. Not that Grover’s Corners should remind us of New Haven exactly. The play is actually set in a fictional New Hampshire town, and yet: Artistic Director Gordon Edelstein, who directs the play, has conceived of his cast as representing our local demographic more than any small town in Wilder’s day would have. That means that his cast is of diverse ethnicity, and, what’s more, his Stage Manager—a role associated with lean-jawed white actors such as William Holden, Hal Holbrook, and Paul Newman—is a black woman (Myra Lucretia Taylor).

That fact alone should make for an out-of-the-ordinary Our Town. And, to make the production even more “ours,” Edelstein has cast it with Long Wharf alums. So, if you’ve been going to the LW with any degree of regularity in its 50 year existence, you’re bound to see someone up there you’ve seen before.

Two such returners glad to be back are Jenny Leona, who will play Emily, and Rey Lucas, George. These two roles are, of course, the “romantic interest” characters in the play, who begin as neighbors and high school classmates who then become sweethearts and then . . . .

Both Leona and Lucas have experience playing younger than their years. In fact, Leona has played an adolescent boy on more than one occasion, and Lucas played the Boy in Eric Ting’s well-received adaptation of Ernest Hemingway’s The Old Man and the Sea in 2009. Leona, on the other hand, was anything but boyish in last season’s The Underpants, also directed by Edelstein.

When I talked to the two actors about Wilder’s play and their roles, both admitted that Our Town was a play they’d had youthful familiarity with—as most of us do, they encountered it in high school. Leona saw the TV version at some point and says “it stuck with me.” Returning to work with Edelstein, she says, is a “great opportunity” and found that, reading the play again—it had been about 10 years—she found it truly beautiful and thought she would be “perfect for Emily.” And why not? Leona comes by the quaintness of Our Town naturally—she spent 7 years of her childhood in Ardsley, an idyllic little village in West Chester County, and says it has remained a touchstone for her sense of small-town life.

For Lucas, a YSD grad raised in Queens by Dominican parents, Our Town brought to mind “folksy” TV shows like My Three Sons or Capra films like It’s a Wonderful Life—“a little cheesy.” Invited to take part in the show, he was intrigued by Edelstein’s color-blind casting and deliberate effort to diversify the cast ethnically. What’s more, he sees Edelstein’s approach as “more moving and compelling” than what Lucas may have formerly thought of the show. “If we forget what we’ve seen” the play’s truth will be more direct, he says. The play shows us “real families, with struggles and troubles.” Following Wilder’s intention, Lucas says, should give us a play that “combines Norman Rockwell and Pablo Picasso.” An apt expression of the everyday charm of the play contained within its sense of the more abstract and mythic possibilities of human life.

Both Leona and Lucas are excited by the opportunity to play romantic leads, and both find that there is unexpected comedy in the relationship of George and Emily that comes from inviting the audience to think back to their own introduction to teen-age love, to grasp how awkward and thrilling is the experience for these two. Lucas notes that Emily “calls George on his arrogance” and he responds quickly by falling in love with someone who cares enough to want him to improve—“not the sort of thing I was looking for in high school,” Lucas chuckles. Leona finds the awkwardness of the young lovers “adorable” and is glad of the opportunity, thanks to Edelstein’s search for “the true moments in the play and its spirit,” to find the humor in the early situations in the play. The later parts of the play, where things grow more troubled and dark, Leona says, are where she feels her strengths as an actress lie. Which may come as a surprise to anyone who saw her broadly comic role in The Underpants. That role, for Leona, was something of a surprise, and Our Town gives her an opportunity to show a full range of emotions.

The camaraderie of the cast should be expected, since all have worked at Long Wharf before and many with Edelstein, but, even so, both actors remarked on how quickly the process of bonding as a cast occurred on this production. When I spoke to Leona and Lucas, the rehearsals had not yet gone into tech, with scenery and so forth, but both pointed out that the sets will be unusually spare. Though both have had training with minimal sets, the challenge of acting out interactions with non-existent props presents another interesting aspect of the staging of Our Town.

For audiences who may think they know all there is to know about Grover’s Corners, Leoana suggests that this production will be “eye-opening” and Lucas points out the play’s satisfying sense of, as it were, “telling the stories behind the photo albums” most of us keep of our lives. The Long Wharf 50th Anniversary production of Our Town invites us to look a little closer at the “givens” we live with and our assumptions about the significance of our own lives. “Our town” has changed, and, with this cast, so should Our Town.

Our Town By Thornton Wilder Directed by Gordon Edelstein

Long Wharf Theatre October 8-November 2, 2014

Tickets and info: Long Wharf

Yale Cabaret Season 47: Down the Stairs We Go

Next weekend the Yale Cabaret returns—Cab 47—helmed by Artistic Directors, Hugh Farrell, a dramaturg, Will Rucker, a stage manager, Tyler Kieffer, a sound designer (who have participated in 19 shows at the Cab and/or Summer Cab amongst them), and Managing Director Molly Hennighausen, who ably managed the Summer Cabaret of 2013.

The Cab is the go-to spot for the unusual, the off-the-wall, the below-stairs (it’s literally in a basement, which this year’s logo capitalizes on, creating the look of a movie ad from the Sixties where a trip down the stairs may lead to unimagined things). It’s a place of creative ferment, where students see what they can do—often in areas they aren’t being officially trained in—and what they can get away with. The audience can be a mix—as Molly Hennighausen says—of many first-timers, drawn by the word-of-mouth of a specific show, and many dedicated regulars, who come no matter what’s on offer.

It’s also a convivial place to dine, thanks to Anna Belcher’s kitchen skills, with a changing menu that always offers 3 entrees, a number of small plates, a salad, a soup, and a choice of desserts, not to mention a fairly varied wine-list and a selection of beers. All the dining business is over before the show begins, with tables cleared, generally, so there’s little of the distraction of plates and forks while the play’s playing.

If you like your theater up-close and personal, with, as it were, the strings showing, then the Cab is a dream. And, if you come more than once, you’re likely to see the people who, one week, put on the show doing the service and such another week. It’s a “we all muck in together” entity, even more so now that Work Study support has been withdrawn. Previously, Work Study picked up half the wage of the Cab’s workers, so now the Cab, to stay on budget, will lean upon generous donors and sponsors—and full houses—more than before. The Cab’s site lists the different levels of patronage available, including the popular “show sponsor”—an innovation begun by Managing Director Jonathan Wemette in the 45th anniversary season, 2011-12. Check back here to get a brief preview of the shows when they’re announced, then hand over a check for the show you want to back. And if that’s too big a commitment, smaller donations—as Enthusiast, Friend, and even “Starving Artist” level—are available. The Cab is a unique institution, well worthy of support.

The site claims two mantras for this season: Make Happen the Make Believe—a good imperative for any creative endeavor—and Now or Never, which certainly puts an emphasis on timeliness and limited time. Theater, more than any other creative work, requires presence in the here and now.

The first three shows of the season have been announced, and the new décor—which features a classically appointed entranceway/lobby that will be complete with tech features, such as piped-in music or live audio feeds from inside the theater—is developing. The team—Hugh, Will, Tyler, and Molly—stress an “open door” policy and their accessibility as a team to audience input, and likewise to the students who may have ideas for proposals. They looked at 7 proposals for the first 3 slots and take a supportive, enabling role in all projects they accept, and can help teams get together for resubmitting proposals not successful at first. The teamwork of the projected work is key.

Hugh says the proposal by the Cab 47 team focused on “community and collaboration”—the community of YSD, certainly, but also the community that the theater serves, with “collaboration” a broad term that extends from the various talents of the people involved in the show—from those who build the sets and make the costumes to those who research and write and act and direct and keep the place running—to those who provide attention and feedback as audience. Will stresses “generosity without expectation” which is a way of saying “just show-up, ready for whatever.” It’s different each week and what you get should be something other than what you expected. The team wants to make a season “full of that Cab show”—the one everyone talks about and remembers. And that’s not necessarily to say it’s all about love and praise. Making people grapple with what they’ve seen, or offer personal insights, is part of the Cab experience.

First up is Look Up, Speak Nicely, and Don’t Twiddle Your Fingers All the Time—a new play by third-year playwright Emily Zemba, who collaborated on last year’s crowd-pleasing season opener, We Know Edie LaMinx Had a Gun. Look Up will feature a “sort of mash-up” of Alice’s Adventures in Wonderland with Toddlers and Tiaras. Directed by third-year actor Ato Blankson-Wood, who’s been turning in worthwhile Cab performances since the Summer Cab of 2013, and featuring Celeste Arias, ditto, the play follows Liddy, a young girl coping with the pressures of a child beauty pageant while encountering a series of characters right out of Lewis Carroll by way of whatever cultural associations the team tosses in. September 18-20

Cab 2 is a new translation by Kee-Yoon Nahm of Geun-Hyung Park’s Don’t Be Too Surprised. Nahm, trained as a dramaturg at YSD, also directs the cast, which will not include YSD actors, in “a really dark comedy” from 2009. Park is a prolific Korean actor—on screen, TV and stage—who also writes, and his play is about a fraught relationship between father and grown son, that features karaoke and an on-stage suicide. September 25-27

The third of the first three shows is American Gothic—no, not the painting by Grant Wood, nor the novel by William Gaddis, but an ambitious combining of three stories: Jorge Luis Borges’ “The South,” Raymond Carver’s “Popular Mechanics,” and Flannery O’Connor’s oft-anthologized and taught, “A Good Man is Hard to Find”—which puts the “Southern” in Southern Gothic. Proposed by two dramaturgy students, Eli Epstein-Deutsch and Nahuel Telleria, and directed by Telleria, the play represents a collaboration by students in YSD, the Yale School of Music, and the Yale School of Art, and features an “installation-like set” by Sam Vernon. October 9-11

When speaking about the Cab 47 team’s leadership and guidance in soliciting, aiding, and choosing proposals, Molly stresses how “safe” the Cab is: in the sense that almost anything can get a try-out there. Its small size means the house is frequently sold out, and that creates an exciting environment for both audience and performers. As a “safe house” for theatrical experiment, the Cab is truly a New Haven treasure.

It’s now or never: help make happen the make believe. Your eyes and ears are required.

Yale Cabaret 217 Park Street New Haven, CT

Eggs and Bones

Two former Cab shows to be re-staged in New York this fall. Listen! That sound you hear is the long, withdrawing roar of the summer. And that means the fall theater season is about to begin. Shortly, I’ll be posting a preview of the first three shows of the upcoming Yale Cabaret season, along with other announcements of interest for local theater here in New Haven. But right now, a few words about two shows opening soon in New York.

Fans and supporters of both the Yale Cabaret and Summer Cabaret may be interested to know that two former artistic directors of the Summer Cabaret, Devin Brain (*10) and Dustin Wills (*14), have further developed two shows that began life in the term-time Cabaret—Bones in the Basket and The Fatal Eggs, respectively—and this fall they will both be staged on back-to-back weekends at the Araca Project in New York. The Araca Project is an initiative to foster entrepreneurs from Yale, Syrcause, University of Michigan, Northwestern University, and Florida State. Artists selected are enabled to produce their work in an Off-Broadway venue.

Both shows have online sites for fund-raising. The Fatal Eggs, which has support through a Princess Grace grant, recently met its goal, but there’s always room for more; Bones in the Basket has 3 days left to reach its goal and, last I looked, had just under 60% of goal pledged

About the shows:

Bones in the Basket Devin Brain was co-artistic director, with Chris Mirto, of the Cabaret in the 2009-10 season, which happened to be my first season of attendance at the Cab. And that means I missed the Cab production of Bones, though I did catch a workshop staging of it about a year ago in NY. Brain was also the artistic director of the Summer Cabaret in the 2011 season; titled The Yale Summer Shakespeare Festival, the program featured two Shakespeare plays and The Rose-Mark'd Queen, Brain’s own ambitious and entertaining condensation of four Shakespeare history plays into one gripping show. In addition to Bones, and working as assistant director on a version of the Tempest at La Mama, Brain has a production of Macbeth in the works that will go on tour—beginning at the Guthrie in Minneapolis—and return to NYC in the spring.

Drawn to works with, shall we say, darker-than-average themes, Brain has found in Bones a greatly simpatico project. The show originated when cast member Alexandra Henrikson (*11) brought around a book of folk tales translated from the Russian, stories she was raised with. As with Grimm “fairytales,” these folk tales—many of them animal fables as in Aesop—have elements of the bizarre, the magical, the eerie. But unlike the Grimm tales—particularly in what Brain calls their “cleaned-up versions” familiar from Disney films and the like—the tales in Russian were, Brain says, told in bars for drinks and to entertain the clientele. They were decidedly not conceived as bedtime stories for kiddies. And, in comparison to Aesop, the “morals”—if that’s what they are—of the stories accept a rather harsh universe in which, at best, cleverness is rewarded and stupidity punished. Brain and company found the stories “morbid and dark in a comic, laughing way.” They adapted a selection of the tales into a form well-suited to the experimental space of the Cabaret and produced one of “those shows”—the ones that its audience remembers and its cast hopes to have a chance to do again.

That chance has come—Brain thanks YSD Dean James Bundy for suggesting he apply to Araca—with more money than before, 3 1/2 weeks of rehearsal, and a 140-seat auditorium with proscenium stage. It will be “the fullest set” the company has worked with and, Brain says, the theater has a certain decrepitness that suits Bones’ destitute “on the run” troupe, cadging what they can from whatever audience they can find. A bit like off-off-off Broadway theater. Returning again to the troupe are YSD grads Danny Binstock (*11), Jillian Taylor (*11), Blake Segal (*11), Alex Henrikson (*11), and Stéphanie Hayes (*11)—who has been back to stages in CT twice since she graduated: February House at Long Wharf, and a play also inspired by Russian folktales, last seasons’ The Fairytale Lives of Russian Girls at the Rep.

Since the iteration of Bones last year, a new tale has been added and the ending has changed yet again (none of the three versions has ended the same way). Another advantage this year over last year, besides locale and coffers, is the return of Michael McQuilken (*11) of Old Soundroom, as the onstage musician absent last time. He joins the cast of Ringmaster, two divas, and three “roadies” who, as a troupe fallen upon hard times, tell their tales as Russian expats representing, Brain says, “art in need, teaching lessons on loss and how to deal with it.”

It’s not about “happily ever after,” it’s about the unhappy here and now and how to cope. Rather than stories of triumph, Bones showcases stories that give lessons in the mentality needed to survive, stories that in certain circles—such as the Russia of their day—might be considered, Brain says, “treasonous or blasphemous.” With contemporary Russia wading through another dark era, Bones tells us something about the kind of wit and wisdom Slavic culture derives from our existential predicament where a certain general malevolence—in nature, in humanity—is assumed.

And yet the show is not a downer. It’s about the stories humanity tells itself to keep despair at bay.

For more info, tickets, donation: here.

Bones in the Basket October 8-12, 2014 American Theatre of Actors 314 W. 54th Street, New York, NY

***

The Fatal Eggs Mikhail Bulgakov wrote a short story called “The Fatal Eggs” (1925) in order to satirize the political institutions of his day—and the work, as most of what Bulgakov wrote did, immediately ran afoul of authorities in Stalinist Russia. With its attitude toward the people as preyed upon by their government and toward science as sinister—especially when co-opted by the State—“The Fatal Eggs” managed to be a sci-fi tale with bite.

Director Dustin Wills says Bulgakov is “my jam,” and has turned to the writer before when stalled with a project. The first time, he turned to Black Snow which he had first seen in a high school theater competition (Wills' project was The Crucible). The Bulgakov play, about the rigors of the author’s relations with Stalin—who liked some of his work and then kept the writer on a short leash, with little opportunity for publication or staging—lit Wills’ interest. When he needed something to propose for a term-time Cab show his second year at YSD, Wills turned to Bulgakov again, and this time enlisted dramaturg Ilya Khodosh to translate. Their script of The Fatal Eggs is an original dramatic version in English.

As a director, Wills seems to like nothing better than a challenge, and one of the key aspects of the Eggs production at the Cab was how to stage its sci-fi effects—such as a monstrous snake caused by scientific tampering—and how to pack the numerous settings and the dizzying number of characters into the Cab’s minimal space. They did it, after a fashion. But now Eggs, with 7 actors—most former YSD students such as Chris Bannow (*14, co-artistic director of the Summer Cab, with Wills, in 2013), Ceci Fernandez, Michelle McGregor, and Khodosh (all YSD class of 2014 and all in the original production), joined this time by Josiah Bania (*13), Mickey Theis (*14), and two grads of NYU’s Tisch School, Jeanna Phillips and Sathya Sridharan—enacting 56 roles, will get a much fuller staging in a more expansive space. The auditorium for the Araca Project gives Wills a chance to go further into the sometimes extreme effects he’s been noted for in his work at YSD—such as the very physical comedy of Mary Laws’ Blueberry Toast, the outrageous comedy of Kate Tarker’s Thunderbodies, and the ingenious “improv” staging of his dark and endearing thesis show of Peter Pan. This time around, the space should help the narrative of Eggs so that it will be easier to keep the story straight through a use of more distinct settings, with inventive staging by the same creative team Wills worked with the first time around.

As the website describes it, The Fatal Eggs “skewers political incompetence and corruption, misguided faith in technology, a gullible and complacent populace, and a fear-mongering media.” In Bulgakov’s Russia, such skewering meant he would always be a kind of loose cannon whose work would not be staged; in today’s U.S., the play’s targets may seem at times broadly vaudevillian, but bringing together a popular genre like sci-fi with misgivings about the state of our world and of our future is by no means uncommon. Indeed, Bulgakov took his inspiration from H.G. Wells’ Food of the Gods, with its giant chickens and humans, and The War of the Worlds’ manner of disposing of a sci-fi threat. In Bulgakov’s hands, these incidents fuel doubts about the wisdom of “experimenting” with humanity—experiments which may include radical political solutions.

For more info, tickets, donation: here

The Fatal Eggs October 2-5, 2014 American Theatre of Actors 314 W 54th St, New York, NY

For those who have appreciated the student work of these directors, actors, and teams, this is a rare opportunity to see Cab shows expanded and developed further for an audience of New York theater folk and fans, and friends. And the shows complement each other well, though very different in tone: Two darkly comic tales with the macabre trappings of popular genres—the one of sci-fi, the other of folk tales. Both deriving their sense of the human comedy from acerbic Russian sources. Both featuring, in cast and crew, recent graduates of the Yale School of Drama program and directed, respectively, by two former artistic directors responsible for two very successful Summer Cabaret seasons, the one in 2010 and the other in 2013. Two weekends in October, when the thrill of fall should be in the air with the tang of dying leaves. Bones, eggs, so white, and so easily broken.

Get your tickets now!

Summer 2014 Issue of New Haven Review Now In

An announcement to all who have so patiently waited.  The Summer 2014 issue of New Haven Review is now in and starting to ship.  Featured in this issue... “Meditation on the Shore (Ocean City, NJ)” by Benjamin Goodney  (poetry)

“The New Bag Men. How it is in New Haven when you don’t win the lottery” Alexis Zanghi (essay)

“What Happened, the Winter You Found the Deer” Genevieve Valentine  (fiction)

“And then house exploded” and “And then I played hooky from the apocalypse” Nick DePascal  (poetrys)

“Over at the Shiva Piano Lounge the Woman Who Was Sawn in Half Is Drinking a Hipster Variant (Green Chartreuse and Gin) of Lydia E. Pinkham’s 1876 Original Vegetable Compound” Sue D. Burton (poetry)

“The City Voiced. R.E.M.’s Überlin” Katarzyna Jerzak (essay)

“James Taylor vs. the King” Douglas W. Milliken (fiction)

“The Cup of Sun” Maxwell Clark (poetry)

“Reckoning with Athol Fugard. On the playwright, age eighty-one, and his work” Leon de Kock (essay)

“Vague You” Mark Gosztyla (poetry)

“Hooky” E.A. Neeves (fiction)

“Depending Upon Whose Side You’re On. Living with John Lennon’s most personal Beatles song” Colin Fleming (essay)

“The Death Row Dream” Rachel Hadas (poetry)

To subscribe, just visit us here.

Yours,

Bennett Graff Publisher

Yale Summer Cabaret: Summer Shorts Festival

Tonight the Yale Summer Cabaret resumed with Jackie Sibblies Drury’s We Are Proud to Present a Presentation about the Herero of Namibia, formerly known as Southwest Africa, from the German Sudwestafrika, between the Years 1884-1915, directed by Jessica Holt, which runs until July 26. It will be followed by Will Eno’s Middletown, directed by Luke Harlan. The first is, at first, a “laugh riot,” Harlan says, that gradually becomes a very moving experience that boldly examines questions of race in America. In returning, the Cab space has been partially reconfigured from the set-up of the first two plays of the season, with the main difference being the placement of the audience: both in and around the action. Actors may be seated at tables with the viewers.

Then the space will be completely changed for Middletown, involving a cast of 11, with the action set up in a different location and most likely using a higher stage platform than has generally been used at the Cab. After Middletown’s run from 31 July to 10 August, including a special 40th Anniversary celebration dinner by invitation, the final slot in the season is occupied by a festival of short plays.

Both Co-Artistic Directors Holt and Harlan have considerable previous experience with festivals of short plays and are enthusiastic about what a shorter playing time affords. “Short plays are often more challenging,” Harlan said, “less safe, and more willing to move beyond boundaries.” A full-length play requires a complete investment in an idea, one able to be fleshed out into a full show. Short plays can make their points more quickly, with greater concentration, and sometimes greater risks.

The intention all along has been to invite plays from alums of the Yale School of Drama. Everyone Holt and Harlan approached was interested. In two cases, with plays by A. Rey Pamatmat and MJ Kaufman, the plays were written expressly for the festival. Others are plays that pre-existed, and one play, by Hansol Jung, is an excerpt from a musical that had been proposed for last year’s term time Cabaret.

Here are the plays, none of which has been previously staged:

Rolin Jones, much lauded for his mash-up of Shakespeare and The Beatles in the Yale Rep show, These! Paper! Bullets!, provides three short plays, each about 10 minutes: Ron Bobby Had Too Big a Heart; Sovereignty; The Mercury and the Magic.

Hansol Jung, whose play Cardboard Piano was at the Carlotta Festival here in the spring, offers an excerpt from a musical, The Undesirables.

MJ Kaufman, winner of the 2013 ASCAP Cole Porter Prize in Playwriting, whose Sagittarius Ponderosa was featured in Carlotta 2013, presents Your Living Room is Full of Ghosts, which is set in an IKEA.

Mary Laws, whose Bird Fire Fly played in Carlotta 2014, returns with All Saints.

A. Rey Pamatmat, recipient of the 2012-13 Hodder Fellowship in Playwriting at Princeton, wrote We Have Cookies specifically for the Festival.

Kate Tarker, author of Thunderbodies, which appeared in Carlotta 2014, offers M.A.H. (A Museum Play).

The plays will be presented in two sets of three plays each, Series A on Thursday, August 14, Series B on Friday, August 15, and both Series on Saturday and Sunday, to close out the Summer Cabaret Season with a marathon of short plays. The plays inclusive to each Series TBA later.

According to Harlan, the playwrights were asked to submit plays less than 30 minutes in length, though one or two may be a bit longer. The entire running time for a Series is 90-100 minutes. Harlan says the majority of the plays are comedies, though comedies that risk violence and, in some cases, look at unpleasant aspects of America. The playwrights were also informed about the actors available for the Festival. There will be 8 actors, all of whom will have been seen during the course of the Summer Season. Two of the short plays feature larger casts, while some require 3 or 4 actors, and there are a few 2 handers as well.

Holt and Harlan will trade-off directing duties, so that each will be involved more or less to the same degree in staging the plays. The strong collaboration that has been shown so far in this year’s Summer Cabaret should be even more on view in this final effort.

Regulars of the Cab know that a surprisingly effective theatrical experience can be provided by short plays, and with the varied casts, playwrights, and running times, the Summer Short Festival offers an excellent opportunity to see the kinds of things the Cab does best.

With only three opportunities to see each Series, spread over four days, secure your tickets early for the Summer Shorts Festival. The end of summer is sooner than you think.

Yale Summer Cabaret 40th Anniversary Season Summer Shorts Festival, August 14-17, 2014

For more information: Summercabaret.org

50th Anniversary Season of the Long Wharf Theatre

Now that the International Festival of Arts & Ideas has come and gone, and even the Yale Summer Cabaret is on a hiatus until it resumes on the 11th, what is a theater person to do? One possibility is start thinking about next season.

Last week at the Long Wharf Theatre, Artistic Director Gordon Edelstein and Associate Artistic Director Eric Ting, in a conversation on stage, situated in two comfy chairs, outlined the coming 50th Anniversary Season of the New Haven theater staple, giving a nearly full house details on the process behind their choices and introducing three dramatic readings from the final three plays to be featured.

Ting, taking the role of interviewer, asked Edelstein “what is the process” in picking plays for a season. There was a charge of applause indicating that many in the audience wonder about that very question. While allowing that the process of selection is the “hardest thing,” Edelstein alluded to his 25 year experience of “picking seasons” both at Long Wharf and in Portland. He mentioned some of the logistics that affect decisions—most notably the “shrinking size of shows,” so that shows with huge casts are harder and harder to put on. And yet Edelstein said he always begins with what he “dreams of doing”—the shows he most would like to put on or see put on. “All our dreams are never realized,” he admitted, but he never loses sight of the main purpose: that a play “say something about what it’s like to be alive now.” And, throwing the question open to the audience a bit, he asked how many would agree that the future of the theater is in new writing and in finding works that appeal to a younger demographic. Most present seemed to agree heartily with this proposition.

Alluding to “the bumpy road and false starts and detours” of a process Edelstein called “complicated” and “non-predictive,” he also spoke of the three main desiderata: that the play be relevant to our local community, that it reflect the times and the country we all live in, and that the season end with a balanced budget. He added that one of the key questions each year is what the centerpiece of the season will be. This year, for the 50th anniversary of the Long Wharf Theatre, he gave that question considerable consideration, with some ideas including works by Arthur Miller, such as The Crucible, which was the first play produced at the Long Wharf, or Death of a Salesman which has never been staged there and which Edelstein would like to direct, though, he added, he felt it was “the wrong statement” at this time.

What play did fit the bill? Thornton Wilder’s Our Town, which Edelstein defended (against those who hear the title and think “high school production”) as perhaps the greatest play in the U.S. canon, a play “misunderstood” as “folksy” when in fact it was conceived by its author, who attended Yale and is buried in Hamden, as engaging with avant-garde literature of its time. What’s more, set in “all white” New Hampshire in the early 1900s, Our Town has come to seem a bit of a relic of a more homogeneous America. Edelstein intends to change all that by directed an interracial, multicultural Our Town that “looks like our town now.” He admitted to being “nervous as hell” about tackling this perhaps over-familiar chestnut with new vision as the first play of the season, then added a further wrinkle: the play would be cast using only Long Wharf “alum”—actors and crew who had worked there before. The combination of American classic, Long Wharf familiars, and a more contemporary approach should add up to an Our Town that—if you live in this town—you will not want to miss. Edelstein assured us that we “will not be disappointed.”

OUR TOWN BY THORNTON WILDER DIRECTED BY GORDON EDELSTEIN CLAIRE TOW STAGE IN THE C. NEWTON SCHENCK III THEATRE OCTOBER 9-NOVEMBER 2, 2014 PRESS OPENING: WEDNESDAY, OCTOBER 15, 2014

Ting, still the interviewer, set up the next play on the bill by restating a “story” he heard that author, comedian, actor, playwright Steve Martin, upon seeing Edelstein’s version of Martin’s The Underpants at Hartford Stage last year decided that he must have the director do Martin’s Picasso at the Lapin Agile. Edelstein recounted how he met Martin at a production of The Underpants and knew that Martin felt the show had been done to perfection. Next thing he knew, he heard that Martin told the producers planning a revival of Lapin Agile that, it’s hoped, may go to Broadway for the first time, that Edelstein was the man for the job. Consequently, Long Wharf audiences will find another clever Martin comedy offered up with a sense of both its verbal absurdities and its slapstick pace, as was The Underpants. And if it does get to Broadway, you can say you saw it here first.

PICASSO AT THE LAPIN AGILE BY STEVE MARTIN DIRECTED BY GORDON EDELSTEIN CLAIRE TOW STAGE IN THE C. NEWTON SCHENCK III THEATRE NOVEMBER 26-DECEMBER 21, 2014 PRESS OPENING: WEDNESDAY, DECEMBER 3, 2014

Next is the return of Dael Orlandersmith, the playwright, actress, and poet, whose works have “quite a fan base in New Haven,” where Yellowman and The Blue Album were staged at Long Wharf. Forever will be on its world premiere run, beginning in LA and stopping in New Haven en route to New York. Centered around the Père Lachaise Cemetery in Paris, where, it so happens, American expats such as rock star Jim Morrison and renowned African-American author Richard Wright are buried among French literary figures and other notables, Forever deals with the ghosts of the past, and the sense of family—“the ones we were born into, the ones we create for ourselves”—and is, Edelstein says, Orlandersmith’s “most powerful piece yet.”

FOREVER BY DAEL ORLANDERSMITH DIRECTED BY NEEL KELLER WORLD PREMIERE STAGE II JANUARY 2-FEBRUARY 1, 2015 PRESS OPENING: WEDNESDAY, JANUARY 7, 2015

Called by the New York Times one of the best comedies of the 2013-14 season in New York, Joshua Harmon’s Bad Jews takes up the theme of legacy where two cousins, one male and one female, battle over a religious necklace, an heirloom that their late grandfather, a survivor of the Holocaust, kept concealed on his person throughout his years of captivity. The jousting between the staunchly Hebraic Daphna and her less observant cousin Liam fuels a play of the comic ties and trials of blood relations. The except on stage at the Long Wharf preview readily attested to the comic potential of Daphna’s belligerence and the hapless niceness of Liam’s non-Jewish girlfriend in the face of such superior attitudes.

BAD JEWS BY JOSHUA HARMON STAGE II FEBRUARY 18-MARCH 22, 2015 PRESS OPENING: WEDNESDAY, FEBRUARY 25, 2015

For the penultimate production of the season, director Eric Ting brings us a play that has its finger on the dismaying news events that continue to surface in the supposedly “post-racial” America of the Obama presidency. Kimber Lee’s brownsville song (b-side for tray) tells of the aftermath, for an interracial family, of the loss of young, engaging and promising Tray. Revealed to us in flashbacks, Tray’s life involves, in the scene enacted for us at the preview, managing a Starbucks where his step-mother, who abandoned Tray and his younger sister to their grandmother’s care, shows up, looking for a job. An “issue play on some level,” Ting said, “at heart it’s about family,” and the role it plays in dealing with tragic events and the hardships of contemporary life.

brownsville song (b-side for tray) BY KIMBER LEE DIRECTED BY ERIC TING CLAIRE TOW STAGE IN THE C. NEWTON SCHENCK III THEATRE A co-production with Philadelphia Theatre Company MARCH 25-APRIL 19, 2015 PRESS OPENING: WEDNESDAY, APRIL 1, 2015

The final play of the season, directed by Edelstein, will be the world premiere of The Second Mrs. Wilson, a play that revisits an interesting historical situation. President Woodrow Wilson’s first wife died while he was in office and he became the first president to woo and wed a woman while president. That would be interesting enough, perhaps, but the situation of the play is more pressing: not long after the wedding, Wilson suffered a stroke and was largely incapacitated. Di Pietro’s play looks at a situation in which a woman, persona non grata to the Cabinet and others trying to run the president’s administration, has to take charge in a man’s world in her husband’s stead as de facto head of the Executive Branch. In the scenes enacted at the preview, we saw Edith Boling Galt, a widow, charm the donnish president Wilson; in the second we watched her take command, delicately but firmly, of a meeting with one of the chiefs of staff. A play about the kinds of tests and resources in life that demand strong resolve, the play is relevant to the changing role of women in American politics.

THE SECOND MRS. WILSON BY JOE DiPIETRO DIRECTED BY GORDON EDELSTEIN CLAIRE TOW STAGE IN THE C. NEWTON SCHENCK III THEATRE WORLD PREMIERE MAY 6-31, 2015 PRESS OPENING: MAY 13, 2015

Subscriptions are already on sale. Single tickets will go on sale Monday, August 4. For more information about the 50th anniversary season, visit www.longwharf.org or call 203-787-4282.

40 Years On: A Preview of Yale Summer Cabaret, 2014

This year marks the 40th anniversary of the Yale Summer Cabaret, a theatrical entity separate from Yale Cabaret (or “term time Cabaret”), which began life in 1974.

In tribute to the four decades of its existence, the current Yale Summer Cabaret, led by Artistic Directors Jessica Holt and Luke Harlan, with Managing Director Gretchen Wright and Associate Managing Director Sooyoung Hwang, will be staging plays by living American authors, beginning with Christopher Durang, who was one of the founding members of the Summer Cabaret 40 years ago. Today, of course, he’s celebrated for plays such as his most recent, the Tony Award-winning “Best Play” of 2013, Vanya and Sonia and Masha and Spike (which Summer Cab wanted to mount this year but Hartford Stage got there first), but, once upon a time, he was a YSD student working in the Summer Cabaret.

The decision to feature contemporary American playwrights follows nicely on last year’s program, which was a kind of syllabus of world theater, from the neoclassicism of Molière through naturalism, symbolism, and ending with the absurdist and pointed work of contemporary British playwright Caryl Churchill. The note reached at the end of last year’s Summer Cab, with Churchill’s Drunk Enough to Say I Love You looking askance at American dominance since WWII, sets up nicely this year’s program of “voices at the forefront of American theater,” works that encapsulate complex perspectives on our cultural heritage, our place in the world, our self-image, and our values, as a nation.

The shows will, like last year, open sequentially and play for about two weeks each. At midsummer, a break will give the company time to reconfigure the space so that, unlike last year, the seating arrangements will not remain fixed for the entire summer but will alter midway. This, Holt and Harlan feel, gives audiences the best of both worlds: the stage-like setup of last year’s Summer Cab, for two shows, and the more amorphous arrangements typical of term-time Cab for the next two shows. Capping off the two months of contemporary full-length plays will be a four-day program of very recent short plays, all by YSD alums, including the three playwrights currently featured at this year’s Carlotta Festival, Hansol Jung, Mary Laws, Kate Tarker.

The Program

First up, in June, is Christopher Durang’s 2009 absurdist comedy Why Torture is Wrong and the People Who Love Them which Holt, who will direct, describes as a “wildly funny, wacky, and zany” comedy about such laughing matters as torture, terrorism, gun violence, domestic dysfunction, male domination, and the fraught nature of interracial or cross-cultural marriage in America. In Holt’s view, the play is “grappling with what it means to be American,” and so, ultimately, fits the Summer program better than Vanya and Sonia and Masha and Spike would have.

We meet Felicity (Ariana Venturi), a young woman who has apparently married the unsettling Zamir (James Custati-Moyer) while drunk, so that she seems to be meeting him when we do, as she has no previous recollection of him. Then, of course, we go home to meet the folks: father (Aaron Bartz) and mother (Maura Hooper), with support from Aubie Merrylees as the seedy Reverend Mike, Celeste Arias as Hildegarde, dad’s “colleague,” and Andrew Burnap providing the cartoonish voice over. The play takes on most of the things the news keeps Americans fretting about, as stories of violence and the threat of violence are as American as television. From 5 June to 15 June

Next, still in June, Luke Harlan will direct Erin Courtney’s A Map of Virtue (2012), a New England premiere. Harlan calls the play a “journey into darkness” that mixes genres—romantic comedy, horror story, mystery, docu-drama—to keep the audience guessing. Narrated by a bird statue, the play tweaks expectations at every turn, but is also structurally symmetrical, with 6 scenes leading to a major event and 6 scenes following that key moment. With a cast of 7, the play mainly focuses on Sarah and Nate, a stranger named Mark and a house in the woods. An “exploration of evil,” the play, Holt says, is also “charming, brilliant, and ebulliently written,” and addresses the effect on relationships of traumatic events. From 19 June to 29 June

After 11 days off, including the 4th of July weekend, the Summer Cabaret returns with Jackie Sibblies Drury’s We Are Proud to Present a Presentation about the Herero of Namibia, formerly known as Southwest Africa, from the German Sudwestafrika, between the Years 1884-1915. Director Jessica Holt calls the play, which played at SoHo Rep in 2012, directed by Eric Ting of the Long Wharf, a “meta-theatrical inquiry into cultural anthropology” as we watch a theatrical troupe in the process of creating a play about the “first genocide of the twentieth century.” Germany, during the inclusive years in the play’s title, controlled what was then called Deutsch-Südwestafrika, which is today the nation of Namibia, and during that time found cause to destroy the Herero tribe. With a ruthless efficiency that seems the prototype for genocide against Jews and Poles in WWII, German soldiers were put in the position of executioners of a native population. But the only record of what took place can be found in the soldiers’ letters home. In Drury’s play, the actors’ difficulties with imagining and inhabiting the roles dictated by the extreme situations—particularly with gaps in knowledge and motivation—leads to obvious analogies to violence against native and slave populations in the U.S. Holt sees the play within the play as an ingenious device to bring the audience into the situation through the comic and seemingly improvised interactions of rehearsal, inviting the audience to consider the implications of their own presence in the room with the actors. From 11 July to 26 July

The final full-length play is Will Eno’s Middletown, the author’s breakthrough play. Eno has been called, by Charles Isherwood, “the Samuel Beckett of the Jon Stewart generation,” and, while I don’t know that many see themselves as defined generationally by watching Stewart, the notion of unsettling existentialism rubbing up against the self-aware ironies of the American media does strike a chord. Eno’s The Realistic Joneses, currently on Broadway, debuted at the Yale Rep in 2012 and was one of the best new plays to show up there in recent memory. Middletown dates from 2010 and is a kind of Our Town for an edgier era. In director Luke Harlan’s view the play asks, as does Our Town for an earlier time, “what does it mean to be alive right now?” Without romanticizing or dismissing everyday lives, but with real “humor and fear,” Harlan says, Eno’s play looks at normal people living normal lives in an “Anytown U.S.A.” but lets them say things no one says aloud. With a cast of 10 actors playing 20 characters, the show will be an opportunity to sample the excellent ensemble work of YSD and Cabaret shows. From 31 July to 10 August

Finally, the Summer Cabaret closes with Summer Shorts, a four-day festival of new short plays by six playwrights “whose work was first nurtured and developed at the Yale School of Drama.” Divided into Series A and Series B, there will be at least three plays in each Series (or evening), and on the last two days, Saturday and Sunday, August 16th and 17th, all the plays will be staged in two sequences, at 4 p.m. and 8 p.m., respectively, both evenings. The line-up of plays will be previewed here during the Summer Cab’s July interim. This part of the program should be very interesting, seeing what can be done in a short compass by playwrights that Holt and Harlan regard as the future of theater. From 14 August to 17 August

The Team

Jessica Holt, rising third year directing candidate, and Luke Harlan, rising second year directing candidate, met at the meet-and-greet last spring when Harlan visited Yale as a prospective YSD student. They hit it off then, with their belief in new plays that had been fostered by their work in, respectively, the San Francisco and New York theater scenes. By the time Harlan was midway through his first year, the two had begun to plan a proposal for the Summer Cabaret, where Holt put in time working last summer. Their mission statement focused on the virtues of new and challenging works that had enjoyed successful and highly regarded first or, at most, second runs.

Very aware that they are presenting the 40th anniversary season of the beloved experiment that is the Summer Cabaret, the Co-Artistic Directors wanted to provide a provocative line-up of plays that tell stories. Both directed plays in last year’s term-time Cabaret: Holt directed Edward Bond’s darkly comic dystopian play Have I None, a U.S. premiere, and Harlan reached back to The Brothers Size, an early play by YSD alum Tarell Alvin McCraney that gave Yale Cabaret 46 a strong finish. Holt’s and Harlan’s choices showed the commitment to current plays and youngish playwrights demonstrated by the Summer Cab line-up.

For their Managing Director, Holt and Harlan asked around “and heard and observed good things” about Gretchen Wright, whose background in choreography may afford participation beyond the key role of keeping the Cabaret running smoothly. As regular patrons of the Summer Cabaret know, the summer is a different animal from the term-time Cabaret, becoming a welcome oasis in a college town whose median age ratchets up considerably in the summer months. Other entertainments of the “afterhours” variety may be added later.

With its first offering, the 40th anniversary Summer Cabaret will touch base with its origins before taking us on a journey that will demonstrate some of the contemporary values of theater—bending genres, looking at the problem of historical enactment, re-imagining the “domestic quotidian,” and demonstrating the resources of short but powerful recent pieces.

The key terms for the 40th Summer Cabaret, devised by Holt and Harlan, are Community. Excellence. Imagination. Innovation. Investigation. Wonder. Providing excellent theater to the New Haven community through innovative works that investigate our ways of life with a sense of imaginative wonder, the Summer Cabaret will up and running in three and a half weeks.

Prepare to be challenged.

The Yale Summer Cabaret 2014 Voices at the Forefront of American Theater

Photographs by Christopher Ash

Passes and single tickets are available online at summercabaret.org, by phone at (203) 432-1567, by email at summer.cabaret@yale.edu, and in person at the Yale Summer Cabaret box office (217 Park Street, New Haven, Connecticut 06511).

Carlotta Festival: New Plays Soon to Open

Carlotta is coming! The annual festival of new plays by the three playwrights graduating from Yale School of Drama—this year, Hansol Jung, Mary Laws, Kate Tarker—opens next week, May 9th and continues till May 16th. The plays are directed by the three graduating directors whose thesis shows were staged earlier this school year: Cole Lewis, who directed Dürrenmatt’s The Visit, directs Jung’s Cardboard Piano, Katherine McGerr, who directed Ibsen’s Hedda Gabler, directs Laws’ Bird Fire Fly, and Dustin Wills, who directed Barrie’s Peter Pan, directs Tarker’s Thunderbodies.

According to Hansol Jung, the plays for this year’s Carlotta began as “Not-Carlotta Plays”—for their final play to be produced as students at YSD, all three playwrights returned, as chance would have it, to plays written in their second year for a workshop with Sarah Ruhl; at the time, none were consciously writing a play for Carlotta, nor felt the plays would eventually become their Carlotta plays. Working on the plays in such close proximity may have had its effect, however, as all three plays are concerned to some degree with war, and each features a soldier amongst its characters.

The inspiration for Jung’s play came from documentaries she had watched about “The Bang Bang Club”—a group of photographers who placed themselves in harms’ way to take hard-hitting photographs of parts of Africa facing war and famine. Jung also points to the viral online video about Joseph Kony and his depredations, involving child soldiers and other crimes against humanity. At the time when Carlotta proposals were due, Jung “had three plays, in various states of draft, on the table.” Director Lewis and dramaturg Whitney Dibo, Co-Artistic Director of Yale Cabaret 46, as well as faculty advisors, were unanimous in seeing Cardboard Piano as the play Jung should go with.

Jung says the play “gravitates toward trauma”; Cardboard Piano begins on New Year’s Eve, 2000, in a cathedral where two teen-aged girls, one the daughter of missionaries, have gone to unite themselves in marriage, only to be interrupted by child soldiers, hiding out. Part two opens, after an intermission, 14 years later as the girls, women now, return to the scene. For Jung, one challenge in writing the play is its strict adherence to “the unities” of time, place, and duration. Each part occurs in one location and in real time, offering “a day in the life” quality that should also resonate, in the second part, as a recognition scene with “super high stakes.” Large in scope and execution, the play retains something of the stagecraft minimalism that Jung prefers.

Jung worked as a director’s assistant in South Korea before coming to the States, where she received an MFA in Directing at Penn State before embarking on play-writing. She has done extensive work with musicals and always finds a place for song in her plays, but none so far have been musicals—though she is working on a musical side project at present. Her play’s title comes from a story told to calm one of the soldiers, and she finds in the image of a fragile, artful thing that can be destroyed but also restored a figure for the effect her play achieves.

Cardboard Piano plays Fri, 5/9; Mon, 5/12; Thurs, 5/15, at 8 p.m. and Wed, 5/14, at 2 p.m.

Mary Laws’ play Bird Fire Fly departs rather notably from the three unities. A short play in three parts, with a cast of three male actors, Bird Fire Fly’s tripartite title indicates the three distinct segments of the play, the 1st, “Bird,” depicting children, the 2nd, “Fire,” young adults, and “Fly,” soldiers.

“The three character names stay the same,” Laws says, though they are not the same people nor played, from section to section, by the same actor. The choice to avoid even the most basic unity of character identity was spurred by Laws’ interest in creating “a larger landscape less about individuals, and in following the arc of an experience.” The play, in her view, depends more on its poetry, its symbols and metaphors, rather than on static characterization. “There’s a contained story in each part, each a piece of the puzzle” that is the question of the whole play.

Of her plays that might have worked for Carlotta, Laws chose the one she wrote in the same workshop with Sarah Ruhl that spawned the other Carlotta plays this year. Laws finds the play well-suited to the Carlotta format, and is excited by her “last chance” at YSD to work with director Katherine McGerr. The violence in the play—Laws says her theme is “crushed innocence”—is necessary because, Laws says, the play treats “things that scare me and provoke questions I might not know how to ask in real life.” The presence of war in our time is one such frightening aspect of modern life, and Laws aims for a cathartic exploration of her theme, which may leave the audience somewhat troubled. Her second-year play, Blueberry Toast, was violent in a more satiric way, and—as directed by Dustin Wills—went for extremes of behavior.

Key to Bird Fire Fly is its tempo and rhythm, in Laws’ view of her work. And to achieve her ends she’s willing to take risks with the conventions. Educated at Baylor in Texas, her home state, Laws was encouraged by generous teachers to write plays and then worked for three years at the Rattlestick Playwrights Theater in New York to hone her craft further. She recently had the experience of seeing an early play of hers worked on in a drama class at Baylor and looks forward to the day when one of her plays will be given a full production in Texas, where theater, she says, is an important part of the local culture.

Bird Fire Fly plays Sat, 5/10, and Wed, 5/14, at 8 p.m., and Tues, 5/13, and Fri, 5/16, at 2 p.m.

Kate Tarker calls her play Thunderbodies “a fun play” and “a little war comedy.” Originating in the same workshop class with her Carlotta colleagues, the play received a reading with professional actors and was viewed by everyone as “clearly my breakthrough play.” The anarchic style of the play was nurtured by the Clown class Tarker took with Christopher Bayes, YSD’s master of extremely energetic comedy. At ninety minutes, Thunderbodies is “an epic one act” consisting of separate scenes that “come together at the end.” The approach is satiric, “topsy-turvy,” with “lots of physical comedy, body talk, and lower body energy.”

The play derives from both physical and intellectual inspirations. Written when, in fall of her 2nd year, she broke her foot, the play was influenced by an experience that, Tarker says, made her much more aware of her body and the physics of doing formerly simple tasks. At the same time she was reading M. M. Bakhtin’s study of Rabelais, in which Bakhtin formulates his ideas of the “carnivalesque” as a subversive force and the “grotesque body” as a means of liberating that force. Reading that work, Tarker says, gave her “more permission to create ravenous characters.” And to set her play in what she calls “the medieval now.”

With her background in visual art, Tarker comes to theater from a somewhat different perspective and says she likes to write about “outsiders looking in.” Her “origin story” as a playwright, she says, occurred when she went to an African chimpanzee sanctuary to work on a visual art project. For half of her time there, the art supplies did not arrive and so she spent a lot of time writing detailed journal entries. The act of writing took her toward other interests, such as the varied arts approach the Interlochen Arts Academy, her high school in Michigan, fostered. In addition to play-writing, while at Yale she directed a play by Phillip Howze at the Cabaret and acted in a show, The Most Beautiful Thing in the World, devised with Gabriel Levey, this past fall.

Thunderbodies plays Sun, May 11, Tues, May 13, and Fri, May 16, at 8 p.m., and Thurs, May 15, at 2 p.m.

This year’s Carlotta plays, while having in common, perhaps, a willingness to address the theme of war to provoke rawer or more visceral emotions from the viewer, take three decidedly different approaches to their themes and offer three unique theatrical experiences. The shows, besides adding to the challenging work of the three graduating directors, feature casts of first and second-year actors, many of whom have been seen in thesis shows or at the Cabaret, such as Celeste Arias, Aaron Bartz, James Cusati-Moyer, Melanie Field, Christopher Geary, Jonathan Majors, Julian Elijah Martinez, Yahya Abdul-Mateen II, Tom Pecinka, Bradley James Tejeda, Shaunette Renée Wilson.

Look forward to interesting offerings this year at the Carlotta Festival of New Plays.

The Carlotta Festival of New Plays Yale School of Drama May 9-May 16, 2014 The Iseman Theater 1156 Chapel Street

[Note: an earlier version of this article erred in the chronology of Kate Tarker's trip to the chimpanzee sanctuary (before college, not after), the location of her high school (Michigan not Colorado), and her studies at Reed (Literature-Theatre, not Visual Arts). Our apologies for any confusion.]

A Challenging Musical Comes to Long Wharf

For James Sampliner, musical director for Jason Robert Brown’s The Last Five Years, which opens previews May 7 at the Long Wharf, directed by Artistic Director Gordon Edelstein, taking on the assignment is “a major milestone.” Sampliner, who will be performing the show eight times a week, conducting from his piano’s keyboard, sees the complicated and varied score as both an immense pleasure and a challenge.

In Sampliner’s view, the show is a test of a musician’s stamina as, among devotees of musical theater, The Last Five Years is known for its demanding piano score. What’s more, the show is a “two-hander,” meaning that there are only two characters on stage throughout, and the entirety of the show consists of the songs each character sings about their relationship. For Cathy (Katie Rose Clarke), the story of her relationship with Jamie (Adam Halpin) is told from their break-up backwards to her first date with him, while for Jamie the sequence follows a chronology of first to last.

The challenges of the show, for a musical director, entail not only the physical task of playing the show each night—which Sampliner views as a good cardiovascular workout—but also reacting sensitively, even intuitively, to the singers/actors as they tell their parallel stories in song. Sampliner has never worked at the Long Wharf before but has worked with Brown on the latter’s Honeymoon in Vegas adaptation, and feels that his grasp of Brown’s music is important to the show’s delicate dynamic.

“Jason’s music is very carefully written,” Sampliner stresses, so that the musical director’s task is not so much interpreting the music as communicating to the other musicians the different emphases of the actors in performance. One begins to see at once what he means by “complicated.”

Drawing on blues, jazz, rock’n’roll, and classical techniques—all the musical forms he and Brown share a love for—the show, Sampliner says, is “one I needed to do.” Rehearsing with Edelstein, Clarke and Halpin, they have been asking lots of questions of the material, finding their unique way of bringing the show to life. “It’s not so much a question of new layers that other productions haven’t discovered, but asking ‘what do you think this is about,’” finding their own answers to the questions that arise.

The play’s structure is “a brilliant idea,” Sampliner finds, with Cathy moving from her lowest point to her highest and Jamie following the opposite trajectory. “They sing together at the middle point between the two extremes,” and each song offers its individual challenges, so that, for Sampliner, it’s not a question of finding the show’s highpoints, as each song has its highpoints and its rewards. “In so many ways,” Sampliner says, “The Last Five Years is Brown’s magnum opus,” the kind of musical that has musical directors “champing at the bit” for a chance to perform it.

When it comes to conducting, Sampliner finds that being able to conduct his ensemble of six players from the keyboard is the kind of skill necessary at a time when theater demands versatility and smaller orchestras. “It’s not uncommon,” he says and rising to the challenge of playing as well as conducting has him very excited by the opportunity to be, as he says, “the bus driver.”

“At the meet-and-greet when rehearsals began, everyone asks one another what they do, and I like to say ‘I’m the bus driver.’” Making sure the show gets where it needs to go and that all parts of this tuneful, challenging, funny, and moving show get there in concert is not unlike the task of steering an unwieldy vehicle to its proper destination, come what may.

Meanwhile, fans of musical theater and of Jason Robert Brown—currently enjoying a hit on Broadway with The Bridges of Madison County, and likened to Stephen Sondheim in his crowd-pleasing grasp of musical theater—should be lining up to take the ride.

The Last Five Years Written and composed by Jason Robert Brown Directed by Gordon Edelstein

The Long Wharf Theatre

May 7-June 1, 2014

Tuesdays and Wednesdays: 7 pm Thursdays, Fridays, Saturdays: 8 pm Wednesdays, Saturdays, Sundays: 2 pm

Shipwrecked! with New Haven Theater Company

Ensconced in their home at the back of the English Markets, the New Haven Theater Company now have the rights—and the right space—for their production of New Haven resident Donald Margulies’ Shipwrecked! An Entertainment: The Amazing Adventures of Louis de Rougemont (As Told By Himself). Margulies, a Pulitzer-winning playwright and a professor at Yale, first debuted the play in 2008, and there was a Long Wharf production that same year. Among the audience of the latter was Peter Chenot, who will be directing the NHTC production, which opens two weeks from today. For Chenot, the show accentuates the idea of the power of the imagination. With all the mechanics of the theater occurring onstage—including the sound effects of Foley art—the audience is not asked to suspend their disbelief in the usual fashion. Everything that Rougemont (Christian Shaboo) tells us, in his fantastic adventures involving, among other things, an attack by a giant octopus, is portrayed for the audience not as if it’s real but as if it’s an elaborate act of storytelling, happening before our very eyes.

Chenot was drawn to the play—which NHTC was initially slated to produce last spring at the Whitney Arts Center before the rights became unavailable—by the kinds of challenges and rewards it presents. It forces the troupe “to be more creative onstage” as well as “adding improv techniques” to their rehearsals—techniques that are part of the background of Chenot’s involvement with the group, as he’s a veteran of The Funny Stages, the improv comedy group that included Shaboo and Erich Greene, also a featured player in Shipwrecked! Also in the show is Margaret Mann, who directed Almost, Maine in the winter and was in the cast of NHTC’s production of Our Town, as was Mallory Pellegrino, also in Shipwrecked! and Almost, Maine. The NHTC regulars are joined by three debuts with the company: Jesse Gabbard, Katelyn Marshall, and Trevor Williams.

NHTC’s work on Our Town is an appropriate reference point, as Margulies himself references Thornton Wilder’s great play in his intro to Shipwrecked! The concept of theater freed of the effort to replicate realism in favor of imaginative flight unites both. As Chenot says, the stagehands are part of the play and seeing Drew Gray’s projections from an old-time magic lantern, or puppets made from found objects in two big steamer trunks onstage lets us know that the show is partly a matter of a willful redirection of reality. That element is significant for the story of Rougemont, a real person of Victorian England whose memoir chronicling his adventures was celebrated in his day, only to find the public turn against him when doubts about the veracity of his tale began to circulate.

Chenot likens Rougemont’s tale to the Odyssey where, famously, Odysseus tells his own “sea story” of strange lands and fantastic creatures. Uniting both is a love of storytelling for its own sake and the ability of a sailor to spin a yarn for the sake of his own skill. “For the players,” Chenot says, “it doesn’t matter if it’s true.” The troupe becomes “a family of believers in Rougemont” who are interested in the value of a good story and not in duping a gullible public.

NHTC is aiming the show for ages 8 and up, and indeed Shipwrecked! is the kind of show that might be said to be aimed at the child in us all, the one who is willing to be awed by reality’s potential to be more than we expect it to be. Is Rougemont a charlatan? Only if he doesn’t deliver the kind of entertainment we expect of the fabulous and incredible.

As Chenot comments, Shaboo, onstage the entire time as Rougemont, has to keep us enthralled and willing to follow his lead. A bit perhaps like the main character in NHTC’s most recent production, The Magician, Rougemont is trying to convince us that magic is what happens in our own minds, and this time all the sleight-of-hand will be right before our eyes.

Shipwrecked! An Entertainment: The Amazing Adventures of Louis De Rougemont (As Told By Himself) By Donald Margulies Directed by Peter Chenot

Showtimes: Thurs, May 1 and Thurs, May 8: 8 pm Fri, May 2 and Fri, May 9: 8 pm Sat, May 3 and Sat, May 10: 5 pm and 8 pm

New Haven Theater Company At The English Building Markets 839 Chapel Street, New Haven

$20, adults; $12, students, children

For tickets and information:new haven theater company

Making Magic

The New Haven Theater Company has had a run of revivals, with the two most recent—Our Town and Almost, Maine—staged at the English Markets. Next month—actually, next week—finds them going for something the company, in its twenty year history, has never done: an original play. The Magician, written by NHTC member Drew Gray, was given a staged reading last August and is now ready for a full premiere.

The story of a magician, Mark Wonderton, working “the big time” in a casino on the outskirts of Las Vegas, the play is one of a trio of plays that Gray has written about three brothers—one a thief, one a magician, one a gambler—and, for The Magician, was drawn to the idea of a play that would portray a performer onstage. Thus the staging of Act II—when Wonderton is onstage—entails the interesting doubling that takes place when a play’s audience doubles as the audience to a show in the play. To that end, NHTC has had to find a few tricks up its sleeve in order to pull off some actual magic tricks.

“Some will fail,” Gray says, but the audience should have a sense of Wonderton as “a polished performer having a bad night,” rather than, say, a middling magician. One of the reasons for Wonderton’s lackluster performance of his routine has to do with his own crisis, another has to do with news of one of his brothers. In the reading in August, Gray says, most of the audience emerged from the experience feeling “the emphasis of the play” was on Wonderton’s reaction to his brother’s fate. For Gray, the story to be told uses that event as “an instigating act,” the catalyst that causes the magician’s state of mind, but not the dominant feature of the play or of Wonderton’s situation.

“There’s a different ending entirely” now, Gray says, thought the emphasis is still on Mark Wonderton as a guy onstage having to go on with the show though his heart isn’t in it. It’s a situation with interesting dramatic parallels to the situation of acting. Gray, who is also directing the play and is responsible for scenic design as well, does everything—we can say—but act. The Magician explores the plight of the showman stuck in his show, no matter what.

Much of the play’s success, Gray feels, depends on “educating the audience in the first ten minutes about what is possible and potential with Mark.” Act I is mostly backstage, a dialogue between Wonderton and his voluble manager, Ronnie. Gray has cast two of the more versatile actors of the company, with George Kulp as Mark and Peter Chenot as Ronnie. Much relies on Kulp’s ability to balance the unhinged qualities that Wonderton develops as the show goes on with the more staid and steadfast character that Kulp is a natural at rendering. The NHTC has a thing for dialogue-driven plays—the plays of David Mamet are a key inspiration—and The Magician is right up their alley in that regard with Mark and Ronnie trading off insults, wise-cracks, and comments on the state of the act and the state of their working relationship.

From an audience perspective, we may find ourselves hoping that Wonderton will succeed—after all, no one wants to see a performer bomb, not even if an actor is doing a good job of playing just that. Gray looks to “the unique experience of live theater” to provide “a true and interesting experience,” so that such tensions add to the play’s realism. The audience, like Wonderton himself, have to find out that “disappointment is acceptable.”

The Magician plays for the first two weekends in March at the English Markets on Chapel Street.

The New Haven Theater Company The Magician By Drew Gray Directed by Drew Gray

March 6-8 and 13-15 The English Markets 839 Chapel Street, New Haven

Herzog Back in New Haven

Tomorrow night at the Long Wharf Theatre, Amy Herzog’s 4000 Miles begins previews, with its official opening next Wednesday, February 26th. Herzog, a graduate of of the Yale School of Drama and Yale College, debuted her play Belleville at the Yale Rep in 2011. Now, the well-respected slightly earlier play 4000 Miles, directed by Long Wharf's associate artistic director Eric Ting, gets its chance in New Haven. Produced at Lincoln Center Theater’s New Works program in 2011, the play won an OBIE Award in 2012 for Best New American Play and was a finalist for a Pulitzer in 2013. The story of an inter-generational odd couple, of sorts, the play depicts the bonds and frictions between Leo, a twenty-one-year-old man, and Vera, his ninety-one-year-old grandmother. That difference in age means that, though family, the two characters have rather different assumptions about the world they live in. Leo has come to New York City, biking 4000 miles cross-country from Seattle to reconnect with Bec, a girl who may be through with him, and is grieving after a friend’s unexpected death, and Vera happens to have some space he can use.

To Herzog, it’s a bit surprising that the play has become so popular in regional theater—besides going up at the Long Wharf, 4000 Miles is currently being staged at the Cincinnati Playhouse in the Park as well. “It has little plot and is mainly a dialogue-based character piece,” Herzog says, but those qualities may be part of what makes it so popular. Given that character studies are a major interest of theater, a story that brings together different generations in a meaningful way seems tailor-made for regional theater, where the majority of patrons have seen more than a few decades of life and where, as in New Haven, younger theater-goers are apt to be involved in theater themselves.  Set in 2007, 4000 Miles features a character based on a cousin several years younger than Herzog when she wrote the play—Leo's at an age when many are trying to decide their direction in life and what kind of life makes sense to them. Encountering a much older family member with very definite views on the world sets up many opportunities for the characters to reveal and discover things about themselves in small but significant ways. And that tends to make for fascinating theater.

Writing the play, for Herzog, was an effort to pay tribute to her own grandmother, who saw the play more than once, calling it “an eerie out of body experience” to see a character on-stage “lifted from her own stories.” Both Vera and Herzog’s grandmother share a past as communists in the post-World War II era, a time when persons of their political persuasion suffered much “red-baiting” and, when possible, prosecution. While a character like Vera is “necessarily engaged with political questions,” Herzog is uncertain that a domestic drama like 4000 Miles can really be called “political,” as some critics have done. With her own grandmother in mind, Herzog suggests that 4000 Miles and her earlier play After the Revolution “may have gained a political reputation unfairly.” Vera, a character in both plays, espouses communism, while her husband, recently deceased in the earlier play, was blacklisted and an actual Soviet spy. Yet Herzog questions whether her own grandmother’s stress on the importance of political art is met by her granddaughter’s plays. Herzog prefers to avoid “art with a sole message,” and rather considers her plays to be about characters with political views than plays with a particular political agenda. Her grandmother, on the other hand, felt that “art should have a political message.”

Thus part of the interest in the play is in how the values of Vera look to someone who has had none of her experiences—of the Depression, of the Second World War, of communist China, of McCarthyism, of the Vietnam War, of being devastated by the fall of the Soviet Union in 1989-90. For Leo’s generation, born in the mid-Eighties, Leftist sympathies are more likely to take the form of Green environmental issues and concerns with the global economy and its products, or perhaps with sexual freedoms and racial injustice. The play is not so much about a clash of ideologies as it is an observation about how different political climates create different kinds of responses in different generations. More to the point for Herzog, in terms of the play’s dynamics, is the theme of loss, as Leo “faces his first experience of real grief and finds questions about his life to look into.” Herzog intends her play, a comic drama, to be faithful to the kinds of interactions that can occur naturally but meaningfully between relatives thrown together by happenstance.

The other autobiographical feature of the play is that Herzog biked cross-country herself, right after graduation from Yale College in 2000, though, unlike Leo, east to west. While none of her experiences are directly incorporated in the play, she mentions a 4th of July celebration in a tiny town in Kansas that left an impression on her—a resident of the northeast all her life—in showing her a bit of small-town America at a time that was, in many ways, a turning-point in recent history.

With a sense of the vast area—4000 miles—that separates the coasts of our country—and the stretch of time—70 years—that separate the births of Vera and Leo, Amy Herzog’s 4000 Miles, contained in one room, offers viewers a chance to stake stock of their own sense of what separates us and joins us as inter-generational Americans.

4000 Miles By Amy Herzog Directed by Eric Ting

Long Wharf Theatre February 19 - March 16, 2014

Back to the CAB

Last weekend the Yale Cabaret offered its second-ever Yale School of Drag—memorable for many things, including Lupita Nyong’o drag, but if you missed it, then you missed it. And if you saw it, far be it from me to tell you what you saw. This week the Cab is back with the first of the eight shows that continue the second part of the 2013-14 Season. Artistic Directors Whitney Dibo, Lauren Dubowski, and Kelly Kerwin have arrived at an interesting mix of shows. Five are pre-existing plays, two are never-before-seen productions, and one is a mixture: a devised setting for known pieces (a bit like Radio Show in the fall).

The first three shows are scheduled beginning this week and for the next two weeks, then a two-week break, three more shows, a week dark, and then the final two. Got it? Here’s what’s coming:

Cab 11 is The Small Room at the Top of the Stairs, proposed by 2nd-year Set Designer Adrian Frausto (whose excellent work on Hedda Gabler closed recently) and directed by 3rd-year Director Cole Lewis, whose varied and unsettling thesis show The Visit was offered in the fall. The play, running for the Valentine's Day weekend, looks at the darker side of romance with a revisiting of the Bluebeard tale of the wealthy man who marries a woman and gives her everything, except . . . she can’t go into that room at the top of the stairs. If your Valentine is the kind who loves a good scare, then this is the place to be. And when was the last time the Cab offered a thriller based on tension and suspense? Written by Canadian playwright Carole Fréchette, the play, Dibo promises, will offer an unusual configuration of the Cab playing space and, with its theme of trust in romance, is perhaps all-too apropos for Valentine’s Day. February 13-15

Next comes Jean Genet’s psychological drama The Maids, proposed by 3rd-year Director Dustin Wills, Co-Artistic Director of Yale Summer Cabaret 2013, whose startlingly unusual Peter Pan played in December. The play, which usually takes place among three women—the mistress and her two maids—will be played by three males, “performing rituals of gender,” according to Dubowski, within a staged space constructed by Kate Noll with sound design by Tyler Kieffer. The idea is to present us with a space full of mirrors and different lines of sight so that the audience is placed in the roles of voyeurs and eavesdroppers, spying on what the maids get-up to behind the scenes. Mainstays of the Summer Cab 2013, Mickey Theis and Chris Bannow, will be joined by first-year actor, Andrew Burnap. February 20-22

The third show before the break is He Left Quietly, proposed by 1st-year Director Leora Morris, a play by Yaël Farber about Duma Kumalo, a man sentenced to death for a crime he did not commit in apartheid South Africa. Kumalo’s story, which involves a stay-of-execution delivered on the day the death sentence was to be carried out, followed by another four years of incarceration for a total of 7 years in prison, is a story of a man’s spirit triumphing over unspeakable deprivations. The show, which features three 2nd-year actors, Ato Blankson-Wood, Yahya Abdul-Mateen II, and Maura Hooper, returns us to the dark realities of apartheid South Africa and a search for justice. February 27-March 1

After two dark weeks, the Cab will return with The Crazy Shepherds of Rebellion, a partly devised piece proposed by 1st-year Dramaturg David Bruin. The show will transform the Cab into a Greenwich Village basement in the early 1960s where beatniks and bohemians gather to check out two one-acts by two of their own: Edward Albee and María Irene Fornés. The production takes us back to when these darlings of the theatrical world were still “up-and-coming” and where the surroundings for the play are part of the play in a time of porous conceptions of theater. March 20-22

Cab 15 is We Fight We Die by Long Island-born playwright Timothy J. Guillot and directed by 1st-year playwright Jiréh Breon Holder; the play looks at the fate of the work of graffiti artist Q in his tussle with City Hall, which aims to stamp out his form of art. With a Greek chorus rapping to us about the struggle and original works of art by MFA students in the Yale School of Art, the show provides an interesting collaboration between art forms and media that should be aurally and visually challenging, and, with the recent obliteration of 5Pointz in Long Island City, very timely. March 27-29

Next comes an unusual devised piece from 3rd-year actor and Co-Artistic Director of Summer Cabaret 2013, Chris Bannow. The source material: The Mystery Boy, Bannow’s sister’s original 126-page novel, written two years ago when she was 11. With 2nd-year dramaturg Helen Jaksch (seen in the fall as M in Crave) co-directing, the ensemble cast will be put through their paces with a love triangle, adventures involving the Mafia, vacation romance, and the various pleasures and perils of social media as the lingua franca of our current pre-teen world. April 3-5

2nd-year playwright Ryan Campbell—his Dead Ends was a studio play this past fall—offers his own A New Saint for a New World, directed by 2nd-year director Sara Holdren, who directed Tiny Boyfriend in the fall. The premise: Joan of Arc wants to return to earth; God finally agrees on the condition that she not start any wars or revolutions. Conceived as “a real big play for a small room,” Saint considers the possibilities for faith in 2014 NYC and the frustrations faced by a heroic crusader forbidden to crusade. April 17-19

Cab 18, the last of the season, might be a somewhat obvious choice: The Brothers Size by Tarell Alvin McCraney, the YSD graduate playwright who recently won a Yale Windham-Campbell Writing Prize and a MacArthur “genius” Award in the same year. Three 1st year actors, Jonathan Majors, Julian Elijah Martinez, and Galen Kane proposed the play, written while McCraney was a third-year at YSD, and made their case that it’s a play they have an urgent need to enact due to their personal histories and the unique opportunity offered by the Cab. Directed by Luke Harlan, the play is the story of two brothers—Ogun runs a car-repair shop, the other, Oshoozi, recently released from prison, comes to work for him—and a third man, Elegba, also come from jail, who visits to bring Oshoozi a gift. Set in the bayou country of Louisiana and involving music and African myths, the play should end the Cab’s 46th Season with a strong finish as YSD pays tribute to one of its own. April 24-26

So, that’s what you can look forward to in the weeks ahead. See you at the Cab!

Yale Cabaret 217 Park Street New Haven, CT

Season 46 Co-Artistic Directors: Whitney Dibo, Lauren Dubowski, Kelly Kerwin Managing Director: Shane Hudson

Just Girls

The new play opening tomorrow night at the Yale Repertory Theatre, The Fairytale Lives of Russian Girls, was written by Meg Miroshnik who graduated from Yale School of Drama in 2011. The production is not a world premiere because Miroshnik’s first stop after leaving Yale was Atlanta where, as a recipient of the Alliance/Kendeda Graduate Playwriting Award, she was a resident for a year, during which time The Fairytale Lives of Russian Girls was staged at the Alliance Theatre in 2012. Miroshnik had actually written the play before her final project at YSD, The Tall Girls, which was featured in the Carlotta Festival here in 2011, and that play will receive a professional staging at the Alliance this March, as part of the 10th anniversary celebration of the Kendeda Award. Both plays Miroshnik describes as “coming of age” stories, and both have in common—with “girls” in their titles—a focus on young women. Tall Girls, about a high school girls basketball team, has a single male role and Russian Girls has an all-female cast.

The story concerns a Russian girl, Annie, who returns to Moscow—from LA—in 2005, to brush-up on her language skills. She finds a Russia transformed by the trappings of capitalism (this is before the global economic downturn) where young women dominate. Miroshnik says that, at the time, life expectancy for Russian males was age 57, so that her perception (Russian Girls derives from time Miroshnik spent in Moscow in that period) was of a city overrun by “hyper-feminine women, considering themselves as commodities in the booming consumer culture.”

Against this boom backdrop, Russian Girls looks at the way fairytales contribute to female identity, exploring “character archetypes” as well as “comedy stereotypes.” Situations such as encountering a girl-eating witch or having a boyfriend who is a bear are part of the matters on hand. Miroshnik’s intention is to begin with an opening that is “80% real, 20% fairytale” then switching it so that fairytale dominates reality about 80%-20%. This transformation involves highly theatrical elements that clearly are out of this world as well as absurdist details from newspapers that audiences may be surprised to learn are actually true. In other words, Russian Girls suggests that reality is never quite as obvious as we like to think it is.

But what of the reality of the Russians depicted? An interesting development that took place between the play’s initial workshop reading in Paula Vogel’s playwriting class at YSD and its first staging at Alliance was the opportunity to see the play given a studio presentation—in Moscow, in Russian! In 2010, Miroshnik went back to Moscow and the show was translated and, she says, greatly altered for use by a Russian company. Seeing the show in Russian, Miroshnik began doing “edits for speed” and was able to test her vision of Russian girls against real Russian audiences.

And will this staging be different than the one at Alliance? Quite a bit, Miroshnik says: director Rachel Chavkin, two-time OBIE-Award-winner who directed the premiere of Natasha, Pierre, and the Great Comet of 1812, has “a radically different vision of the play,” and, for starters, the Russian girls are now members of a punk band. Enter Chad Raines, YSD grad, rock-band mainstay (for his own band The Simple Pleasures and, for much of 2012-13, as guitar and synthesizer on world tour with Amanda Palmer) and Critics Circle Award-winning sound design man, to concoct songs for the group and to do that voodoo that he do so well. The Rep’s Russian Girls is bound to rock.

Whether in workshop, at Alliance, in Russian, or in rock, Miroshnik’s play seems to be showing both endurance and a certain useful malleability. While the Rep staging will no doubt be a technical marvel in many ways, the play itself seems adaptable to many kinds of spaces. Miroshnik mentions that her mentor, Paula Vogel, would point at the “third production” of a play as the point at which the playwright relinquishes it and lets it have fully a life of its own. Miroshink laughs pleasantly when I suggest that perhaps in the not-to-distant future her play will be staged by YSD students—the Yale Cab’s new season ends with a play by celebrated YSD playwriting grad Tarell Alvin McCraney. Writing plays strong in roles for women, as Miroshnik does, seems not a bad strategy for revivals.

And what’s next? Miroshnik wouldn’t give too many details about her current projects, except to say that she has been at work on a play that’s more of a character study and less an ensemble piece as both the Girls plays are, and to say that each of her plays requires “a different engine”—such as basketball or fairytales—to drive the action. Like Vogel, Miroshnik is a firm believer in “stretching or exercising a different muscle with each new play.”

In any case, it’s not too much of a stretch to expect that The Fairytale Lives of Russian Girls will be a fascinating and entertaining debut of Meg Miroshnik’s work at the Yale Rep.

The Fairytale Lives of Russian Girls By Meg Miroshnik Directed by Rachel Chavkin

Yale Repertory Theatre January 31-February 22, 2014

Unhappy Hedda

The third Yale School of Drama thesis show opens tonight, directed by Katherine McGerr. Hedda Gabler, by Henrik Ibsen, is a masterpiece, a character study that is one of theater’s most fascinating roles. As the playbill by the show’s dramaturg, Jennifer Schmidt, suggests, the play, unlike some of Ibsen’s other famous plays, does not take aim at social problems so as to give meaning to the play’s action. In Hedda Gabler, the problem lies with Hedda herself; her manipulation of others and her ultimate fate would seem to set a moral, though audiences are left to determine what that might be. Is she tragic or does she get what she deserves, is she mean-spirited or high-spirited, is she idealistic or nihilistic?

For McGerr, Hedda Gabler is a play that is meant to shock its audience. “There’s nothing old about it, the play is alive today,” McGerr says, and hopes the audience will be “shocked, but understand it and be shocked by what it means.” One question the production faced was how to remove the play from its period setting—the 1890s—without “updating it” to the present. The show’s striking design (Adrian Martinez Frausto), with the audience literally looking through the glass walls of the home of Jørgen and Hedda Tesman, is somewhat modernist, without being of a definite era. Costumes (Soule Golden) as well are modern, with some of the elegance of art deco, while furnishings show a mixture of modern shapes together with the older mode of life that the Tesmans are trying to move up from. The house is one of the finest in the neighborhood and is the place where Jørgen (Daniel Reece) expects to begin his career as a professor with a young wife and possibly a family—particularly if his doting Aunt Julia (Elia Monte-Brown) has her way.

McGerr says that, in working with her cast, the question they have been asking is “who is [Hedda]?” They see both her cruelty and her frailty. McGerr thinks of her heroine as “ahead of her time and smarter than the others around her, but also frustrated.” It’s that frustration that fuels many of her actions, we might say, and Hedda’s complexity has always fascinated audiences. What interests McGerr and her company is the very question of what draws others to Hedda, what makes them love and trust her. We—the audience—might understand the attraction if we admit we love her too. Much may rely upon whether or not we identify with her.

As Hedda, Ashton Heyl is lively and accommodating, with finely chiseled features and blonde hair bound tightly to her head. Her costumes accentuate the graceful lines of her figure and she indeed looks very much the prize catch of the area that Tesman—and others—take her for. “Others” include Commissioner Brack (Mitchell Winter), a close friend of the Tesmans—Jørgen is literally in his debt—who wants to get closer. The sparring flirtation between Brack and Hedda is one of the show’s strengths, allowing us to see how Hedda handles herself when confronted with another’s machinations. Both seem wary of each other’s strengths while looking for an opening that will be useful. Winter’s Brack seems to be a man forever testing the water, just waiting til it gets comfy.

Reece’s Tesman is so absorbed in his hopes for his career and his elation at winning Hedda, he’s unaware of Brack’s overtures to Hedda, and rather welcomes his friend’s attentions to his wife. Tesman is the comic figure in the cast, to a large extent, and perhaps some of our sympathy for Hedda may come from our growing sense of the obtuseness of the man she married. Even so, Reece’s Tesman is likeable and aims to please. We might expect Hedda to wrap him around her finger, but not so. We’re looking at a domestic unit where the man—especially with the moral and even the financial support of his aunt—sets the tone and Hedda is expected to content herself in the home he has gone into considerable debt to buy for her.

The more dire threat to that contentment, for Tesman, is the sudden reappearance in town of the brilliant but dissolute scholar Eilert Lövborg (Mamoudou Athie). Suddenly Tesman again faces professional competition and, what’s more, we learn that Lövborg had some scenes with Hedda when she was single and living with her father. There’s a back-story there and Lövborg’s recent “reclamation” by the sweetly supportive Thea Elvsted (Tiffany Mack), an earlier flame of Tesman’s, sets up a possible game of mixed couples to offset Brack’s desired threesome. Ibsen was nothing if not canny about the possibilities of romantic affairs in small towns—your basic soap opera learned well from his tendency to hint at desires below the surface that may flare into reality at any moment. The cast is rounded out by Ariana Venturi as long-suffering servant Berte—suffering not only because she’s the only servant the Tesmans can afford, but because her long ears pick up some of the dirt on her mistress. This minor role is amplified a bit to give hints of the kind of “upstairs/downstairs” view in which a servant stands in as witness.

As Lövborg, Athie gives us a vivid sense of instability, but also of the kind of passion that threatens at any moment to overrun the pacing of Hedda’s cat-and-mouse game. Athie’s loose cannon in the midst of a world of bland formalities adds an odd force to the play that other characters seem unable to cope with. As Thea, Mack is lovely and very sensible, perhaps too sympathetic. Hedda’s maliciousness toward her can seem motiveless if we like Thea too much.

Hedda, we see, toys with the possibility of romance but doesn’t truly desire it, so that much of her motivation comes from her attitude toward Thea, who, unhappily married in a manner worse than Hedda, has been Lövborg’s salvation, as well as placing her chaste romantic hopes in him. Backing the now ascendant Lövborg, Thea may actually “win,” you see . . . .

Plot-wise, the over-riding interest is in who will get the upper-hand on whom, and with what consequence. Props—such as Hedda’s old piano, her father’s pistols, Lövborg’s new book and, even more, his brilliant unpublished manuscript, dictated to Thea, written with her in weeks of comradely intimacy—serve well as tangible reference points in a world where dialogue can be a duel, a seduction, and almost always the imposition of one will upon another. Paul Walsh’s translation, in shedding some of the Old World gentility, seems at times to lose some of the finer nuances of motivation as well.

Ibsen was a great playwright. Hedda Gabler is one of his greatest plays. McGerr and company have created a deliciously dark modern comedy in which Heyl’s Hedda—steely, desperate, winning, manipulative, and fine—pits her wits against obtuseness. To what end?

Hedda Gabler By Henrik Ibsen, translated by Paul Walsh Directed by Katherine McGerr

Scenic Designer: Adrian Martinez Frausto; Costume Designer: Soule Golden; Lighting Designer: Caitlin Smith Rapoport; Composer and Sound Designer: Steven Brush; Production Dramaturg: Jennifer Schmidt; Stage Manager: Shannon L. Gaughf

Yale School of Drama University Theater February 1-7, 2014

Theater News

This week the Long Wharf’s world premiere of Heidi Schreck’s The Consultant opens officially on Wednesday, January 15. See our preview here. This week as well the Yale Cabaret resumes its 46th season with Have I None, a daunting play by British playwright Edward Bond from 2000. Set in 2077, the play darkly imagines a dystopia in which memory, and therefore history, has been erased. Jessica Holt, 2nd-year YSD director and Artistic Director for the Yale Summer Cabaret, 2014, will stage the claustrophobic play with stress on Bond's sense of the absurd. January 16-18.

Next week, on January 23, from 5:30 to 8:30, celebrated local theater troupe A Broken Umbrella Theatre will host a fundraiser at the Eli Whitney Museum and unveil details about their latest venture. As usual, the project is an original play based on historical figures, facts, and locales of New Haven. If You Build It, the new play, focuses on inventor A. C. Gilbert to celebrate the 100th anniversary of his most famous creation: the Erector Set. Director Ruben Ortiz, playwright Charlie Alexander, and cast members will present an excerpt of the work in progress.

The build up of the production will be complemented by an evening of treats and toys: Small Kitchen Big Taste will be serving “architectural food,” including slider and mashed potato stations to build-your-own-cupcakes, Thimble Island Brewery will feature locally crafted beers, and ABU's Chrissy Gardner and the Moody Food Trio will provide musical accompaniment. Guests are invited to try their hand at the engineering feat of Erector Set construction along with ABU’s crew of welders, carpenters and electricians.

A Broken Umbrella Theatre has presented site specific works in New Haven for the last five years and enjoyed perhaps their greatest triumph at last year’s Arts and Ideas Festival with Freewheelers. Come out, sneak a peak at their next production, become a patron, and have fun.

For more information, please visit www.abrokenumbrella.org, or contact Rachel Alderman at: 203.823.7988 or rachel@abrokenumbrella.org

Next week as well will see the 10th show of the season at the Yale Cabaret: 3rd-year YSD actress Elia Monte-Brown’s original play, The Defendant, about the rigors of public school in New York (where Monte-Brown taught); the play aims to recreate some of the anxieties of today’s student, and to question the values of public education in America, using all 1st year actors in the YSD program. January 23-25.

And on the last week of the month, January 31st, previews begin for the Yale Repertory Theatre’s next production: The Fairytale Lives of Russian Girls, a world premiere from Whiting-Award winning playwright, and recent YSD graduate, Meg Miroshnik. Miroshnik's play, directed by two-time OBIE-Award-winning director Rachel Chavkin, who previously directed an Off-Broadway production of the celebrated musical Natasha, Pierre, and the Great Comet of 1812, is set in 2005 as a twenty-year-old girl named Annie returns to her native Russia. Underneath the glamor of a Post-Soviet Moscow bedecked with high ticket consumer goods, Annie discovers a land of enchantment straight out of a fairytale, with evil stepmothers, wicked witches, and ravenous bears.

The Fairytale Lives of Russian Girls opens officially on February 7, and runs til February 22.

Consulting Heidi Schreck

The new year has begun, and snow and cold have come to New Haven. But have no fear: The theater season resumes this week with the world premiere of The Consultant at the Long Wharf Theatre, the third full-length play by Heidi Schreck. Long Wharf patrons who saw the production of The Old Masters in 2011 may remember Heidi Schreck as Nicky Mariano. Schreck, an Obie Award-winning actress, has divided her time between acting and playwrighting since her days acting in her own plays at the Seattle Theatre Company. That’s where she got to know Gordon Edelstein and his welcome support of her projects, so that coming to the Long Wharf with a new play is much “like coming home”; The Consultant is directed by Schreck’s husband and former colleague at the Seattle Theatre Company, Kip Fagan.

Outside of theater, Schreck has held a number of positions that have played into her work. A stint as a journalist in Russia fueled her play There Are No More Secrets, and, after moving to New York with Fagen in 2003, a job as an ESL teacher and a coach for persons making business presentations became the basis for The Consultant. In the play, Amelia finds herself with the task of helping Jun Suk, a talented but insecure designer, present his designs at a New York pharmaceuticals company. She learns he has reasons for his insecurity as no one at Sutton, Feingold, and McGrath is quite sanguine about their future. Though Schreck’s experience in the corporate world predates a bit the attrition of the Great Recession, the sense of paranoia and pressure in her play certainly resonates with our times of high unemployment and jobs that are apt to disappear at a moment’s notice.

To Schreck, Amelia “is a lot like I was,” a bit detached from the corporate world, encountering people like Tania, an office assistant “over-educated for her job,” who seems to use the job simply to make ends meet, rather than pursuing a career. As a consultant, Schreck found that a lot of people “just want to talk, and are looking for a good listener” as a way to reflect on what’s happening with them. Amelia doesn’t play therapist, but is rather “our entry into this workplace,” as we begin to grasp its dynamic, perhaps with more clarity than she does. Amelia is only “looking for an opportunity to use her skills,” but, as Schreck sees it, “disaster”—like losing a job—“can sometimes be the opening to other opportunities.”

Watching the talented cast at the Long Wharf—Schreck says everyone is “exactly right” for their parts—Schreck has come to see a struggle in the play: “who’s play is it?” There are back stories to the male parts—Jun Suk (Nelson Lee) and Mark (Darren Goldstein)—that only come out bit by bit, and a certain recklessness in the air at times, particularly for Tania (Cassie Beck). Jun Suk is going through an awful time that has nothing to do with his job, but which has impact on his performance at work. Each character’s situation changes in the course of the play, and perhaps it’s Tania who changes the most, leading us to see that Amelia (Clare Barron) may be more witness than catalyst.

Rather than look to the kind of popular office comedies that have been on TV for decades—particulary the kinds of satire found in The Office—Schreck looks to the work of María Irene Fornés, finding inspiration in her off-beat, avant-garde productions that showcase the challenges women face in male environments. Schreck says she’s not interested in the absurdity of the workplace but rather in “the strange and surprising forms of tenderness” that can arise between workers facing similar challenges. No one is really at home in the work environment of The Consultant and all are coping in different ways. Part of the challenge of coping has to do with the possibilities of “self-invention and of finding one’s true values.”

The Consultant gets much of its comedy from the loose ends and unfinished business we sense in Schreck's characters. They are people not yet completely formed, not quite willing to be only what their jobs make of them, but also not really focused on what else to do with themselves. From her first play, Creature, about the medieval memoirist Margery Kempe’s decision to become “a saint” by living a spiritual life despite her bourgeois background, to her next play about work in a soup kitchen in the Bronx, Schreck continues to explore the question of faith, including “faith in other people.” She sees all her plays as asking questions about “figuring out how to live”—both at the level of how to get by, when one’s interests might be more spiritual or creative than most day jobs expect workers to be, and at the level of how best to live up to one’s potential and to do what is best for all in the kinds of imperiled environments we all cope with.

The Consultant premieres on Wednesday, January 8, with an official opening the following Wednesday, January 15, and runs til February 9.

Long Wharf Theatre 222 Sargent Drive, New Haven

203.787.4282 or longwharf.org

In Search of Peter Pan

The second Yale School of Drama thesis show goes up tomorrow night, Friday the 13th. Third-year director Dustin Wills, recently honored by a Princess Grace Award for his final year of study at YSD, presents his adaptation of J. M. Barrie’s Peter Pan. Wills, who was co-Artistic Director for the highly successful Yale Summer Cabaret of 2013, says he sought out “dark children’s stories” after realizing his plan to adapt Pinocchio was unworkable. Peter Pan, dark? Wills went to the Beinecke where he found all the various drafts of J.M. Barrie’s work on the play, which the author rewrote yearly throughout much of his life—beyond the initial stage play of 1904, An Afterthought, four years later, and the prose work, Peter and Wendy, based upon it, published in 1911. Wills, who has seen several productions, was drawn to the story, he thinks, by his former work in his home state of Texas, devising theater for underserved audiences, such as juvenile detention centers. The theme of “the Lost Boys”—the children “who fall out of prams” and are lost, until they turn up in Neverland—appealed to Wills, finding in the play a tribute to the imagination of children.

“No matter how dire things may be, nothing stops the imagination,” he said, and the story of how children might clutch onto imaginary worlds, and to youth, certainly has resonance. In his past work with children, Wills was struck by “the cleanliness of their imaginations vs. the messiness of their emotions.” The key, then, is to find a vehicle that shows the tensions within children’s imaginative compensations. Though the play is contemporary with Freud, Wills sees the text as pre-Freudian, even as he has decided to move the setting forward in time. Wills sets his production in 1917, and intends the war-time setting to inspire much of the children’s anxiety.

This Peter Pan is less about spectacle—no one flies, a decision not an imposed limitation—and more about themes of loss, abandonment, and the community that sustains the children in Neverland. With a cast of thirteen, the show is large, and features what Wills calls “ruin porn” in its set—the picturesque qualities of the dilapidated and partially destroyed, showing the grim realities the children have to work with. In Wills’ conception, the children—orphans all—are putting on the show in an effort to find homes among would-be adopting families. Thus one can expect that the elements of showmanship—as Wills’ actors play children acting—will underscore the tenuous relation between the children’s imagination and the audience’s willful suspension of disbelief.

The first thing, then, is that we believe in the children as children. Wills said he has coached his actors to be themselves as children—or early teens at most—as much as possible. The cast, Wills said, became very close very quickly, and “everybody worked really well together from the start,” which has permitted the show to do a full tech run-through well ahead of schedule. And that’s even with a few setbacks, such as Wills himself being sick when the rehearsals began, and losing the actor originally cast as Hook due to an injury during a classroom workshop.

The prospect of actors behaving as younger versions of themselves who then take on the roles in the “Peter Pan” show the orphanage is putting on—including the Darling home as well as Neverland—permits the kind of interesting double-vision found in play-within-a-play situations. The text of Wills’ show, then, is not a version of Peter Pan that anyone will have seen before. His researches led Wills to “grab from all sources,” including a screenplay for a silent film that Barrie composed, as well as incorporating a line that has always been cut from the play, but which Wills restores.

For Wills, the play, in its Edwardian setting, has always been to some degree about “what childhood means.” Granted, there are highly un-PC aspects of the play Barrie wrote—with Indians as savages and girls as domestic servants in-waiting—but Wills wants to retain those aspects to indicate how childish imaginations work. The question this should raise, among modern—adult—audiences (Wills’ show is not designed as an entertainment for children) is “what did I grow up on?”

Wills stresses how all of us, in our fantasies, incorporate the materials that have left their mark on our imaginations, the images that arise from whatever dimly remembered tales and films and shows and cartoons of our youth. Certainly, for generations in the U.S. since the fifties, the prevailing common denominator has been Disney, but in earlier eras the stereotypes of the day—in children’s adventure stories—would’ve done that work. Peter Pan and his adventures, then, becomes the kind of tale children themselves might invent as a defense against the grown-up world of war and chaos, even as they invent manageable villains—a pirate (Captain Hook)—and an exotic maiden (Tiger Lily), a fairy (Tinkerbell), and a mother figure (Wendy), for sentimental reasons.

In Wills’ production we may hope to see, rescued from the preciousness of Disney and the more upbeat aspects of Broadway, a Peter Pan grown-up at last.

Yale School of Drama presents Peter Pan Directed and adapted by Dustin Wills

Yale University Theatre December 13-19, 2013

Oppenheimer on the Advocate

Mark Oppenheimer, founder of the New Haven Review, former editor of the New Haven Advocate, and columnist at the New York Times, comments on the end of the New Haven Advocate: Here's the sad thing: the Advocate was an alt-weekly that could have made it. New Haven is a loyal town, the brand was great, and it was for a couple decades an absolute must-read — not only among the heads, freaks, geeks and other counter-culturalists who loitered on the Green (smoking the green), but in the political and business communities, too. The combination of arts coverage plus progressive politics worked for this publication.

And I Iike to think it was still working in the years I edited the paper, from 2004 to 2006. But we were already owned by the Hartford Courant, which was already owned by the Tribune, and that big, massive, stupidly run conglomerate, now in well-deserved bankruptcy, somehow managed to stymie every possible innovation that could have kept us relevant. It wasn't just starving us for funds, or even mainly starving us for funds. Worse, it was insisting that we be part of a "synergy" strategy that folded our web presence (and ad sales) into that of other publications, including dailies that we were ostensibly supposed to fearlessly cover, and even a local Fox TV affiliate.

The synergy never materialized, of course, and what the suits had to show for it was not higher ad revenue or more eyeballs but just a shitty website for an alt weekly that, a decade earlier, had been early to, and smart on, the web, as well as a generally demoralized staff. And with all that, we still did good work. Our alumni — including people I hired who are now at The New Republic, Foreign Affairs, and (as a free lance) New York magazine and elsewhere, and who are writing novels and recording music and generally making trouble — continue to bear (I hope) the mark of the beast that I branded on their forehead, using a branding iron that had been passed on to me by other alumni, including Paul Bass and Gail Collins and a forgotten cast of awesomes. Good night, New Haven Advocate, and may plights of angels ping you in your dreams.

—Mark Oppenheimer, December 1, 2013

End of an Era

In case you missed it: the once proud New Haven Advocate is no more.  Granted, it hasn't been itself in a while, but as of last week, it's gone.  Former NHA staff member Brian LaRue posted his take on the untimely demise on November 27.  Here's what he had to say about it.  You can see his original post at ItsBrianLaRue, and you can email him with comments at: brianglarue@gmail.com.  At NHR we welcome comments to Brian's post as well as more detailed reflections from those who wrote for, worked at, or read avidly The New Haven Advocate at any time in its former existence.  Submit the latter to editor@newhavenreview.com  

Three Alt-Weeklies, My Own Salad Days and One Long Goodbye to Them All

This morning, the final editions of the three alt-weekly newspapers that serve Connecticut — the New Haven Advocate, Hartford Advocate and Fairfield County Weekly — all hit newsstands. The Hartford Advocate, which I discovered on the floor of my high school’s chorus room, was the first alt-weekly I ever read and inspired me to pursue journalism seriously. The New Haven Advocate, which I read religiously through college, opened my eyes to the premise that whatever I wanted to get out of doing journalism, I wasn’t getting it from being a journalism major. (I switched to English pretty quickly.) At some point in my 20s, I wrote for each of those three papers.

It’s often sad to acknowledge a significant part of your past is gone (and almost always a bum-out to realize you’ve reached an age when you can look back and notice how entities that at one point defined your life are totally gone), but my own sense of loss is a mere detail. The tragedy is that every region deserves an alt-weekly, and to imagine every Connecticut college campus and artists’ colony and band rehearsal complex not having one that serves its own denizens… well, the image just doesn’t feel like Connecticut to me. The Connecticut I know is home to a culture where mild crankiness and dry wit ride high, where homegrown music and art are championed by very vocal local boosters, where the landscape is dotted with a few of the more prestigious colleges and universities in the U.S., where the political conversation tends to pan leftward, and where an extremely diverse (economically and ethnically) group of people try to understand each other and get along. Connecticut is alt-weekly country, man.

Now, just to clarify things: There are some people who will probably say the Advocate, the NHAdvocate and the Weekly aren’t going anywhere. Those three papers — collectively, the New Mass. Media Group — are owned by the Hartford Courant,  Hartford’s daily and paper of record (which in turn is owned by the long-flagging media giant the Tribune Corp.). The Courant has, for many years, published a weekly pull-out arts and lifestyle supplement called Cal. The New Mass. Media papers and Cal will henceforth be combined into one publication, to be called CTNow. This name reflects the longstanding domain CTNow.com, which had previously existed as a Courant­-owned, web-only entertainment publication. New Mass. Media editorial staffers will hold onto their jobs — they’ll just be folded in under the CTNow umbrella. There will be some kind of paper in the old Advocate/Weekly boxes. It’ll just have a different name.

It’ll also have a different mission. Former colleagues of mine at New Mass. Media have told me the higher-ups at the Courant have instructed them to refrain from cursing in print and from writing about “edgy” topics. Furthermore, the Courant’s description of this whole re-branding project, in a recent memo to advertisers, as a “strategic realignment of our suite of entertainment products” misses the point of alt-weeklies entirely: They are supposed to be news publications, not merely “entertainment products.”

Look, even before everyone with an internet connection had the opportunity to publish anything at any hour of the day or night, alt-weeklies faced a particular challenge of timing. Dailies had the lock on breaking news. In order to be worth reading consistently, because they can expect to be scooped more often than not, alt-weeklies have to go in-depth and provide valuable context, to illuminate the characters involved, to explain the back story and point to potential outcomes. Most local dailies can only really go into a similar amount of depth in their weekend editions, because their reporters each have to polish off a handful of quick news stories every day and can’t sprawl out and devote 1,200 words to one topic. And alt-weeklies are supposed to be loud, opinionated, profane, funny, comforting, irksome, turgid, terse — because that’s how we are as human beings. Daily papers are expected to behave more decorously, “on the record,” so an alternative is needed to pick up the slack and join the conversation in the same tone as the people on the street. If you don’t have that, you don’t have an alt­-weekly. And if the Advocate/Weekly papers lose their “alt-” functionality and become mere “entertainment products,” then they are effectively done.

There’s a tragedy for readers in losing the Advocate/Weekly papers, as I hope I at least partly explained, but there’s another tragedy, one that’s repeating throughout the world of alt-weeklies, and that’s the loss of opportunity for journalists, particularly young journalists. Oh, sure, it’s 2013, and there’s no shortage of outlets for a young, loud, opinionated writer to be loud and opinionated in media. But oftentimes — and I’ve written about this before, talking about the shift in media from the all-hands-on-deck newsroom to these networks of isolated bloggers — you lose the wisdom of the tribe that comes from being part of an editorial staff at a decades-old publication. And beyond that, working at an alt-weekly teaches a journalist so many important lessons. For reasons I’ve already laid out, when you report for an alt-weekly, you have to go deep. You have to figure out the not-obvious story. You have to become an engaging storyteller, not just a sharp transcriber. The editorial staff is small. (When I worked at the New Haven Advocate, the most full-time editorial staffers we ever had was seven, and that didn’t last long.) Your beat is broad. You need to learn your history, fast, so you know what to ask about and who to talk to. In general, you need to get really good. Really. Goddamned. Good.

I first came to the New Haven Advocate in the summer of 2004, in a manner that seems impossible now and was fairly improbable even for that time. I was sitting around in my apartment, unemployed, in a prolonged post-collegiate daze. “I should write CD reviews professionally,” I thought, and so I emailed Chris Arnott, the paper’s arts editor, to ask for his advice to a young aspiring music critic. He wrote back explaining, well, he started out in the early ’80s, and back then you cut your teeth in ’zines and then worked your way up to weeklies, and he just wasn’t sure how to navigate the blogosphere because he’d never had to, but he liked my band’s most recent CD-R and particularly liked my lyrics, so might I be able to come by the office the following afternoon?

When I did visit the Advocate’s office — located then in a sleek office tower 11 floors above the New Haven Green, which, for the low-slung Elm City, offered panoramic views in all directions — Chris explained the paper needed someone to take a crack at re-imagining and completely updating its upcoming annual guide to everything in the New Haven area. That was the assignment he had for me, and, well, once I was done, we could take it from there. He was excited to make progress — this issue, he said, would be an ideal showcase for this hot-shot young designer they’d just hired, this kid with a portfolio full of pieces inspired by pulp novel covers. Seconds later, I discovered that kid was my college friend Jeff Glagowski, and after a downright giddy reunion, Jeff, Chris and I started talking about the cover for this issue. We had this pulp theme, right? So let’s have a 50-foot-tall something laying waste to the Green. A giant Yale bulldog? …No, too needlessly antagonistic. A giant angry squirrel? …No, too in-jokey; you’d need to explain the Green is full of squirrels with attitude and… no. Finally, thinking of the man who’d held the highest elected office in the city for 10 years (and who would continue to hold it for 10 more), I said, “…How about a giant Mayor DeStefano?”

That was the one. It had just the right balance of “ridiculous” and “appropriate” to work. (And here it is as a lunchbox.):

That afternoon commenced about five years of having completely ridiculous ideas and, a week or two later, publishing 50,000 copies of them. I’ve explained — I hope — why alt-weeklies are important. But they’re also fun. They kind of have to be. The salaries are typically atrocious, the hours are long and the benefits are slim. There are reasons why so many young reporters in the alt-weekly world bounce around from one city and one paper to another, looking for the gig through which they can gain a foothold and advance. In his excellent appreciation of Boston Phoenix upon that esteemed alt-weekly’s shuttering, former Phoenix editor S.I. Rosenbaum pointed out how “the job itself had to be the reward.” You work for an alt-weekly because, every week, it feels like some combination of a public service and a tremendous prank you can’t believe you’re getting away with. You spend countless days in which you work from the moment you wake up to the moment you go to bed again because you know you’re helping to create an ongoing community institution, something thousands of people rely on for an experience they can’t get anywhere else, and you have to bring your A-game for them.

And then there are all the weeks when you and your colleagues end up putting something in the paper simply because it’s funny and you can and no one’s stopping you. One former editor of mine, Tom Gogola, had an ongoing campaign, several weeks long, of making sure there was at least one image of a goat in each issue of the paper. When the New Haven Coliseum was demolished, Chris Arnott had an idea to include a “Demolish Your Own Coliseum” kit in the paper — the staff created a design that was printed in the centerfold of the paper, and by snipping it out, folding along the dotted lines and affixing some tape, readers could set up their own tiny Coliseum and smash it however they  wanted. Another time, before Christmas, we sent illustrator/writer Hugh Elton, who was then about 20 years old, out to sit in mall Santas’ laps and review their performances. During one editorial meeting, while joking about the tendency of the local daily, the New Haven Register, to publish cuddly human-interest stories, we decided to beat the Reg at its own game and devised the “kittencopia,” a horn of plenty from which protruded the pasted-together heads of about a dozen kittens, which we printed in several issues. One year on Valentine’s Day, I published a bitter ode to being broken up with that culminated with me proclaiming my adoration of my ever-trustworthy cassette four-track recorder. We sent contributing writer/illustrator Craig Gilbert out on the town wearing a Bigfoot suit, and photographer Kathleen Cei assembled a huge photo spread of Craig-as-Bigfoot riding a skateboard, browsing local shops and interacting with kids on the street.

We also published a lot of work that was cool and meaningful. We covered the work of housing advocates exposing the city’s worst slumlords. We covered the work of immigrants’ rights groups and told the very human stories of the perils faced by many of the city’s immigrants, before and after New Haven’s controversial move to issue IDs to undocumented residents. Reporter and editor Betsy Yagla brilliantly covered a high-profile local trial of a Navy sailor turned suspected Al Qaeda informant in 2008. Contributor Doron Monk Flake decided to throw a block party and logged the entire process of securing all the necessary permits and permissions. Tom Gogola, in 2005, insisted we use a tour stop by The Black Keys as an opportunity to put them on the cover, and assigned reporter Ryan Kearney to write the first comprehensive, long-form feature about them in any newspaper or magazine. I had the chance to interview Tommy Ramone, Lee “Scratch” Perry, Lou Barlow, Ian MacKaye, Juliana Hatfield, Ted Leo, Doug Martsch, Ian Svenonius, Zach Hill, Honus Honus, Mary Timony and countless others — an absolute dream for me as a 20-something rock musician. And our pages saw an endless stream of reviews, reports and columns by local musicians, artists, actors, filmmakers and so on, writing from the perspective that only active artists can bring to coverage of their own world. (This was a particular point of pride for Chris, that so many working artists of all disciplines would pitch in to write for the Advocate when we simply asked. “Other papers write about the scene,” he would often say, “but at the Advocate, the scene writes for us!”)

I have to acknowledge that I’m mainly remembering the Advocate for what it was at one time. I moved to Brooklyn in 2010 and missed out on the last three years of its existence, but it had been hobbled for at least a couple years by that point and the last three seem to have not been pretty. While New Mass. Media had been performing in the black for a long time, we were told, it reached a point when it couldn’t escape the effects of Tribune Corp.’s financial woes and eventual entry into bankruptcy proceedings. Many of the perks — like the vouchers advertisers would give to the paper in lieu of paying a balance in cash — dried up long before I left New Haven. There was a series of perhaps ill-thought-out hires at the management level, and content started to suffer. Long-time staffers gradually left all three New Mass. Media papers, and a hiring freeze prevented them from being replaced. The Weekly shuttered its Bridgeport office and moved operations to the New Haven Advocate’s office. Both papers eventually moved into a small storefront several blocks from that glorious 11^th-floor perch. New Mass. Media didn’t have an easy time finding a digital foothold. Sales departments had some difficulty selling into the websites, and the sites were plagued by poor navigation and the disappearance of huge chunks of its web archives.

Eventually the Advocate/Weekly’s web properties were shunted into one tab on the CT.com domain — a tab labeled “The Advocates,” a designation no one in the editorial department of any NMM paper ever used, and which was probably as nonsensical to readers. I don’t think the consolidation of the Advocate/Weekly papers was a natural function of how print (and certainly not digital) media has performed in the 21^st century. I think it goes to show the Courant’s management didn’t have a clue about what the brand of each of these papers was worth, or about the value audiences derived from the publications. The management has rolled these media properties up into something they can understand, which does not reflect the value audiences recognized in them during the days when they were performing in a functional fashion.

In any case, I’m in a position I never thought I’d be in: I’ve seen my former colleagues put the paper to bed for one more week, except this is the last time it’ll wake up on Wednesday morning. New Haven Advocate, Hartford Advocate, Fairfield County Weekly — you all did right by me. You shocked, amused and, most importantly, educated who knows how many people, and you turned me into a grownup along the way. Goodnight, old friends.

 —Brian LaRue, November 27, 2013