Musings

My friend Stephanie and I went to the BCA on a Saturday and saw all three Shirley VT plays. Haven’t heard of them? You will. If not them, you will know about the talented playwright, Annie Baker.  All three plays take place in the fictional town of Shirley VT, but Ms. Baker and her voice are the thread that weaves them together.

I liked them (as you will see in the video), but more than that, I was grateful for them. Because they are plays. Not screen plays on stage.  They are theatrical, contained within their world and helping you explore your world through them.

CIRCLE MIRROR TRANSFORMATION closes Sunday. BODY AWARENESS and ALIENS close on the 21st. If you live here, don’t miss them. Ben Brantley didn’t.

[youtube=http://www.youtube.com/watch?v=ggAITut-hs4&fs=1&hl=en_US]

Just back from Sarah Ruhl’s IN THE NEXT ROOM OR THE VIBRATOR PLAY at Speakeasy Stage. A great production under the extremely talented guidance of Scott Edmiston, with a wonderful cast and stunning production elements. All of these things create an amazing evening of theater. But then you add Sarah Ruhl.

Sarah Ruhl is an amazingly talented playwright. She does not aspire to be a scriptwriter, or a TV scribe. She is a playwright. And her works are very theatrical. They live in the theater. They require theater in order to live. I am awed and inspired and so grateful that she is still young enough that I will be able to enjoy her career for a long time.

See the play at Speakeasy. And then keep thinking about it. And thank Sarah Ruhl for that.

Here’s an interview with her from Downstage Center.

On Monday I went to see Phèdre at the Coolidge Corner Theatre.  Phèdre was a live theater production in London, at the National Theatre, last spring. It filmed as part of the NT Live series, where theater is broadcast live around the world. I suspect what we saw was edited down (it ran around two hours). Dame Helen Mirren (and a host of other very talented actors) were in it, and it was very good.  But it wasn’t great. And that is wonderful.

Let me explain. In this world where live performance is struggling to “prove” its worth, I think that filmed plays are a slippery slope. Plays aren’t movies, or tv. Plays are unique. And they are magic. I truly believe that–the interchange between the audience and the production produces a unique experience that is akin to magic. And so the idea of something capturing that magic on film…that makes me nervous for live performance. But while Phèdre was a fine movie experience, it made me wish I’d seen the live performance.

During the film the camera kept panning to different actors. Of course. You can’t stay with a wide angle the whole time. It would be too boring. But I bet seeing it live, and watching the other actors react was far from boring. I bet seeing the lighting effects and hearing the sound design was brilliant. I bet seeing the costumes on that fascinating set was striking. It was all good on the screen, but made me regret not seeing it live.

How great is that? A film that makes you miss theater. I’m already looking forward to seeing the NT Live version of King Lear with Derek Jacobi. I’d rather see it in London, but that is not in the budget. A good alternative. Not perfect, but that in itself is perfect.

I listened to Moises Kaufman on Downstage Center a week or so before Tectonic Theater Project came to town to help launch ArtsEmerson’s inaugural season. They are performing both THE LARAMIE PROJECT and LARAMIE TEN YEARS LATER in repertory, the first stop in a national tour.

First of all, the work is amazing. I had never seen THE LARAMIE PROJECT, and to see some of the company members who originally went to Laramie, did the interviews and created the work was a wonderful opportunity.

In his interview Moises Kaufman talks about the cathartic properties of theater, and how we don’t know what theater is capable of yet. I’ve been thinking about that all week. When you are sitting in a room with other people, breathing the same air, watching the same performance–which by its nature cannot be the same as the previous performance because of the human factor–when you are sitting in that room, something happens.  And companies and playwrights who are willing to stretch and push audiences make magic.

The Tectonic Theater Project’s shows tell a horrific story from many points of view.  It is strong, brave work, and I am so honored to have seen it.

Last Friday I saw Doug Elkins’ FRAULEIN MARIA, part of ArtsEmerson’s inaugural season. As someone else said, I was sorry when it was over. I wanted more. FRAULEIN MARIA is an homage to the movie of THE SOUND OF MUSIC, using that soundtrack to deconstruct/reconstruct the story through a mixture of modern dance. See it and you’ll never think of “Climb Every Mountain” the same way again. And I defy you not to be moved by Doug’s interpretation of  “Edelweiss”. It is here for another week. Don’t miss it.

And yes, I called him Doug. I was fortunate enough to meet him this past summer, when he came to town to discuss doing a flash mob with our students. I was inspired and charmed. As were some Emersonians who spent the first few nights of the new school year learning the choreography for a flash mob. Here are the results. You can see my in the audience  at one point. Beaming. Try not to after you see this: