SEMINAR - Star-Struck

SEMINAR cast member Will Hightower (playing Martin) guest blog posts, reflecting on the progression of his theatre career from studying in college to joining the Actors Theatre cast with some of his favorite actors and actresses.

Imagine growing up with a passion for football, admiring the heroes on and off the field for years, and with each passing year renewing your love for the game. Next, imagine playing alongside living legends from your hometown.

That’s what it feels like to play Martin in SEMINAR alongside Kerry McCue, Kim Richard, Andy Cahoon and David Barker. 

Top it off with my theatre idol Ron May directing and that’s game folks!

How did they achieve this status in my eyes (and yours too, I hope)? Let me explain.

The first Actors Theatre show I attended was THE INTELLIGENT DESIGN OF JENNY CHOW, directed by Matthew Wiener in 2006, because my Phoenix College theatre professor Gerald Burgess performed in the remarkable cast. It was an enjoyable and eye-opening experience, but that level of skill and status of Actors Theatre at that time felt like an unrealistic dream.

In 2007, I started my second year of college and became jaded with the curriculum of plays written by dead, white men. I started to wonder if I should have taken the full-ride scholarship to ASU for computer science instead of pursuing this now fading passion for theatre. Not exactly “the best years of my life” as sold to me in high school.

Eventually, the theatre club on campus decided we should see a play outside of little college world, but how? In a pre-Facebook society, we didn’t know where to get suggestions or how to discover new experiences. Luckily, thanks to something called a “Newspaper” with a review for a little known play titled, “Dog Sees God: Confessions of a Teenage Blockhead,” we saw the production by Stray Cat Theatre. After watching it with the lovely Kim Richard as CB’s Sister, I realized why I gave up computer science’s banal cubicle farm. This kind of theatre I wanted to perform and stories I wanted to tell!

In 2008, I transferred to ASU where I met David Barker—an intense and intimidating acting professor. I had limited experience with David until I saw his “Dodging Bullets” performance in 2009. In awe of his ability and accomplishments, I signed up for his movement class and his professional development class for the following semester. It ended up becoming an earth-shattering experience, causing more soul searching and dwelling on life choices. Ultimately, I learned from the best to accept criticism and gained awareness about my acting body as tools for my career.

In 2009, I returned as an audience member to Actors Theatre to watch Kerry McCue in RABBIT HOLE and then I saw Columbinus, directed by Ron May, at Stray Cat Theatre. Two devastatingly dramatic performances that, again, reminded my angst-y-college self that stories worth telling exist! I still believe Columbinus is one of my favorite theatre experiences to this day.

Finally, this year I saw Equivocation with Andy Cahoon acting and David Barker directing at Southwest Shakespeare Theatre Company. While I am not extremely well-versed in Shakespeare, I found the production powerful and riveting.

I also saw Andy in Childsplay’s Robin Hood, but this was something else. The play was so good it made me angry! I continue to try figuring out why. (I might have a problem.)

And now I have the privilege to perform and play with all of these amazing artists who affected me in unknowable ways. Every day at rehearsal I remember what a gift I have to feel so star-struck. 

- Will Hightower

Purchase tickets to see Will Hightower on stage as Martin in SEMINAR - running October 24th through November 9th, 2014. 

Follow Actors Theatre of Phoenix on Facebook and Twitter for schedules, promotions and show news.

SEMINAR: Constructive Criticism

David Barker guest blog posts as he discusses how his experience providing constructive feedback as a theatre professor versus his character Leonard in SEMINAR shredding the egos of his pupils one semi-colon at a time.

In "Seminar" I play Leonard, a teacher who unleashes criticism with no regard to anyone's feelings, decorum or ethics.  In my 33 years of university teaching, 31 at Arizona State University and 2 at UC Santa Barbara, I've always explained on the first day of classes that the ability to receive constructive criticism is required.  It is required for artistic growth and development. But it is also difficult, particularly for actors.  This is why: as an actor you become the target of criticism.  The way you move, the way you speak, the way you behave, your emotions, in short, you, in person become the target.  So when I tell you, for example, "you are not speaking loud enough" or "you should be much more upset" or "you are moving too quickly," it often is challenging for the young actor to separate artistic analysis from personal attack.  The first day of classes I ask what the difference is between these two comments: "you are not committing enough to your objective," and "you are a moron." One has to do with craft, and the other is personal. 

Enter Leonard, the amoral, alcoholic, verbally abusive former professor (he was fired for sleeping with students) who teaches four young, aspiring writers in "Seminar."  His criticism is ruthless and relentless, and deeply personal.  Leonard eschews some generally accepted rules of a civilized society.  He chooses his words to cut through ego and pretense and apparently to wound.  During his diatribes in Theresa's Rebeck's 2011 comedy, Leonard attacks the four twenty-something's with piercing words such as moron, whore, coward, pussy, whiner, nobody, weenie and big baby.  He doesn't care if someone's feelings get hurt.  He is in the business of training writers, and preparing them for the cutthroat competition they're going to face in the real world. 

At ASU, I pride myself in being a tough teacher; straightforward and honest, but completely ethical and understanding. So, in playing Leonard, my immediate point of connection is his intensity, which comes very easily to me. But the acting challenge becomes bringing to life his complete lack of sensitivity, which is more and more foreign to me as I age closer to my 60s and deepen my compassion for others.  My four precious grandchildren have softened me considerably. Fortunately I'm sharing the stage with four dedicated, talented young actors who are present every moment and generous: Kerry McCue, Kim Richard, Andy Cahoon and Will Hightower. And I trust the caring and sensitive directorial eye of Ron May.   They all want every moment to spring to truthful and specific life.  In the incubative confines of the rehearsal studio, surrounded by artists I trust, the vicious verbal attacks become fun, particularly when I consider they all serve a greater good: the bridge to the profession Leonard provides all his students with, eventually. 

- David Barker

Get your tickets for SEMINAR- running October 24th through November 9th, 2014. 

Follow Actors Theatre of Phoenix on Facebook and Twitter for schedules, promotions and show news.

http://actorstheatrephx.org/Event/26/Seminar/

Opening Week of THE COTTAGE

Actors Theatre of Phoenix is pleased to announce opening weekend for THE COTTAGE at The Black Theatre Troupe Building.

Performance Schedule for this week:

Friday 6/27 7:00 P.M. - Preview Night

Saturday 6/28 7:00 P.M. - OPENING NIGHT

Sunday 6/29 2:00 P.M. - Matinee

THE COTTAGE (a comedy in two acts), is a rollicking farce inspired by the works of Noel Coward. Set in the English Countryside in 1923, this tale of love, sex and betrayal begins when Sylvia Van Kipness decides to expose her love affair with her husband's brother. The true meanings of fate, identity, and marriage are all called into question as a surprising and hilarious web of secrets unravel in this ridiculous, potentially murderous, romantic comedy.

Have you purchased your ticket yet? 

Follow Actors Theatre of Phoenix on Facebook and Twitter for schedules, promotions and show news.

Opening Week for THE BOOK CLUB PLAY

Actors Theatre of Phoenix is pleased to announce opening weekend for THE BOOK CLUB PLAY at The Black Theatre Troupe Building.

Performance Schedule for this week:

Friday 6/20 7:00 P.M. - Preview Night

Saturday 6/21 7:00 P.M. - OPENING NIGHT

Sunday 6/22 2:00 P.M. - Matinee

THE BOOK CLUB PLAY is a contemporary comedy about a group of friends who welcome a new member into their book club, only to see him tear at the fabric of their longstanding relationships. It is a new play about the literary set. It is a comedy for book lovers. And yet, wrapped inside its sleeve, it becomes a sly examination of social groups, ritual, and the true nature of friendship.

Have you purchased your ticket yet? 

Follow Actors Theatre of Phoenix on Facebook and Twitter for schedules, promotions and show news.

Actors Theatre of Phoenix Summer Season - Meet the Cast

Add some comic relief to the hot Arizona summer with Actors Theatre of Phoenix's upcoming season:

Get ready for some rollicking comedy and thought-provoking theatre with a kick-ass cast that will double up for two productions.

From June 20 - August 17, THE BOOK CLUB PLAY will kick-off the first weekend and THE COTTAGE the following weekend.

Meet the cast for Actors Theatre of Phoenix's Summer Season productions of THE BOOK CLUB PLAY and THE COTTAGE:

Maren Maclean, who will perform as Ana in THE BOOK CLUB PLAY and Sylvia in THE COTTAGE:

Maren Maclean feels thrilled/thankful to return to Actors Theatre after playing Pamela in Fox on the Fairway.

Favorite productions include Belinda in Noises Off at Phoenix Theatre, Kate in Shrew at Southwest Shakespeare Co. and Hilda in Venus Observed at Verse Theatre Manhattan.

Angelica Howland, performing as Jen in THE BOOK CLUB PLAY and Marjorie in THE COTTAGE:

Angelica Howland makes her home in Phoenix, Arizona with her husband, Brian, son, Harrison and two wagging piles of furry love, Charlotte and Hansel.

Some of her recent theatrical credits include: At Birth with The Hormel Festival of New Plays and Musicals 2014, All New People with Stray Cat Theatre, The 39 Steps with Phoenix Theatre, In The Next Room (or The Vibrator Play) with Actor’s Theatre (ariZoni Award, Actress in a Major Role).

Alexis Green, performing as Lily in THE BOOK CLUB PLAY and Dierdre in THE COTTAGE:

Alexis Green graduated from ASU in 2013 with her BA in Theatre Arts.

While at ASU, Alexis produced and performed in their first ever black theater festival which included four plays and almost thirty performers. Her recent credits include Life in the Cancer Lane with Inkwellchick Productions, Wedding Band with The Black Theatre Troupe, and the National Geographic film American Blackout. In the fall, Alexis will be pursuing her MFA in Acting at Brown University.

Joe Kremer, who will perform as Rob in THE BOOK CLUB PLAY and Beau in THE COTTAGE:

Joseph  feels incredibly proud and humbled to join in these two productions at Actors Theatre.

Kremer’s most recent role at Actors Theatre was Denny in A Steady Rain. Recent productions in the valley include Love's Labour's Lost at Southwest Shakespeare, All New People at Stray Cat Theatre and Bloody Bloody Andrew Jackson at Phoenix Theatre. "

Tyler Eglen, who will perform as Will in THE BOOK CLUB PLAY and Clarke in THE COTTAGE:

Tyler returns again to Actor’s Theatre after playing as Stevie in GOOD PEOPLE.

Tyler’s many work hats include actor, educator, fight choreographer and media designer and an ASU MFA graduate. Tyler’s past work includes productions with Arizona Theatre Company, Straycat, Childsplay, Actors Youth Theatre and other theatres outside of Arizona.

Ian Christiansen, who will perform as Alex in THE BOOK CLUB PLAY and Richard in THE COTTAGE:

Ian feels ecstatic about joining Actors Theatre and this marvelous group of artists.

Previously he played Frank in Body Awareness and Dorian in OPUS. Other appearances in other companies include Love's Labour's Lost (Southwest Shakespeare), Sons of the Prophet (Stray Cat Theatre), The Light in the Piazza (Phoenix Theatre).  Ian holds a BFA in Acting from Carnegie Mellon University's School of Drama and participates as a proud member in Actor's Equity Association.

Purchase your tickets for Actors Theatre of Phoenix Summer Season at http://actorstheatrephx.org/

And be sure to follow us on Facebook and Twitter for schedules, promotions and show news. 

Last Week for GOOD PEOPLE!

One more week to catch GOOD PEOPLE. Don't miss David Lindsay-Abaire's critically acclaimed "dark comedy" in Phoenix. Get your tickets for TALK-PROVOKING theatre here.

Show times:

Wednesday, May 7, 7:00 p.m.

Thursday, May 8, 7:00 p.m.

Friday, May 9, 8:00 p.m.

Saturday, May 10, 8:00 p.m. 

LAST SHOW: Sunday, May 11, 2:00 p.m. 

Praise for GOOD PEOPLE

Thanks to all who have attended GOOD PEOPLE so far and for the positive response from both friends and followers on our Facebook Page! 

We appreciate the POWERFUL support from my community. 

GOOD PEOPLE is running at the AZ Opera Center now until May 11 - get your tickets today! 



Here's what the audience is saying about this Actors Theatre of Phoenix production:

"Adding my enthusiastic support for Good People at Actors Theatre of Phoenix. What a strong cast- moving performances. Everyone was great but a special nod to Katie McFadzen! (In addition, Tom gives a big thumbs up to the comfortable chairs and leg room!!)" 
- Janet Arnold


"Oh my Lord! Actors theatre "Good people" is such a great show! I was on the edge of my seat! So engaging and superbly performed! No flaws! Just brilliance! What a fabulous night of theatre!" 
- Lillie Richardson

"Adding my enthusiastic support for Good People at Actors Theatre of Phoenix. What a strong cast- moving performances. Everyone was great but a special nod to Katie McFadzen! (In addition, Tom gives a big thumbs up to the comfortable chairs and leg room!!)" 
- Matthew Wiener

"Break a leg to the cast of Actors Theatre of Phoenix's "Good People" opening tonight. Great preview last night with Katie McFadzen, Maria Amorocho Weisbrod, Rusty Ferracane and Cathy Dresbach in the AZ Opera space. Interesting script and outstanding cast!" 
- Brenda Edwards

"Good People is great theatre with some very talented theatre artists at the top of their game. Special shoutout to Katie McFadzen. So proud."

- Dwayne Hartford

Thanks to the Phoenix community for coming out and supporting Actors Theatre - let your friends know about GOOD PEOPLE and feel free to come again! 

Good People at the Arizona Opera Center

Actors Theatre of Phoenix presents GOOD PEOPLE -
April 25 - May 11.

Welcome to Southie, a Boston neighborhood where a night on the town means a few rounds of bingo, where this month’s paycheck covers last month’s bill, and where Margie Walsh has just been let go from her job at the Dollar Store. Facing eviction and scrambling to catch a break, Margie thinks an old flame who’s made it out of Southie might be her ticket to a new start. With his signature humorous glow, David Lindsay-Abaire explores the struggles, shifting loyalties and unshakable hope that come with having next to nothing in America.

GOOD PEOPLE will run at the Arizona Opera Center now through May 11 - have you purchased your tickets yet?




 Read the latest review of the GOOD PEOPLE production here.

"A play title like "Good People" just has to be ironic — because what could be more boring than characters without flaws? — and Actors Theatre's latest dark comedy does not disappoint." - Kerry Lengel, The Arizona Republic

4000 MILES First Audience Review

Catch 4000 MILES now through January 26 at the Helen K. Mason Performing Arts Center in Phoenix. Get your tickets  at actorstheatrephx.org

4000 MILES is Closer than You Think

Join us for the Actors Theatre of Phoenix production of 4000 MILES, opening January 11 at The Black Theatre Troupe/Helen K. Mason Performing Arts Center in Phoenix.

At the end of his cross-country bike trip, 21-year old Leo arrives unannounced at the Greenwich Village apartment of his 91-year old Jewish grandmother, Vera. As an overnight couch-surf turns into an extended stay, this compassionate and unsentimental play explores the funny, frustrating, and ultimately life-changing relationship between a grandson learning to face his life and a grandmother who is starting to forget hers.

Finalist 2013 Pulitzer Prize for Drama

Winner 2012 Obie Award, Best New Play

Winner 2012 New York Times Outstanding Playwright Award

Winner Time Magazine's #1 Play or Musical of 2012

Behind the Scenes of 4000 Miles with Courtney Weir

Courtney Weir as Bec in 4000 MILES

Hello blog readers! My name is Courtney Weir, and I am playing Bec in 4000 MILES, here at Actors Theatre. We are currently in rehearsal. And

by currently I mean LITERALLY we are rehearsing right this minute. Seriously. It's happening now. How lucky are you to be experiencing it with me! Would you like a cupcake? There are cupcakes. But, no, don't have the cupcakes. I want the cupcakes. And I'm the one writing.

Currently I'm watching a scene being rehearsed that I'm not in. It's a scene between the lead guy, Leo, played by the amazing mister Devon Nickel, and Amanda, played by the incredibly talented (and young!) Keilani Akagi (pronounced "kay-lah-nee ah-kah-gee," but the "gee" has a hard "g" as in "got" or "green" or "gallbladder"). Keilani is the youngest in our cast, at the ripe ol' age of 19. Man, when I think of my 19 year old self, I was NOT at the level she is, performance wise. The girl sings, dances, acts, goes to school, often has adorable shoes and

sports a pink and white polka dot phone case. She's kind of the deal.

So in this scene, a lot happens. Most of which I'm not gonna go into here, because I'm not going to reveal spoilers, people! However I can say, there are many laughs created by these two actors. There's talk of sex, alcohol, communism, death, and teeth (weird but believe me it all

makes sense). And more stuff too, but hey, you will have to wait and see!

Side note, I just realized I forgot to put mascara on today and now I'm wondering what else I've forgotten... which doesn't totally pertain to rehearsal, except to say IN rehearsals, we all generally look pretty grubby (with the exception of Keilani's shoes). We wear sweats and old

t-shirts, that sort of thing. Because we gotta be comfortable to move around and figure out what human beings do with their bodies and that sort of thing. And more importantly, so that when we eat cupcakes, we can get crumbs on ourselves and not worry. Which reminds me, there's a

cupcake I'm gonna go eat. It has tiny Christmas tree sprinkles. Farewell until next time, people who read this! 

4000 MILES in Rehersal

Join us for our production of the award-winning play, 4000 MILES, opening January 11, 2014.

At the end of his cross-country bike trip, 21-year old Leo arrives unannounced at the Greenwich Village apartment of his 91-year old Jewish grandmother, Vera. As an overnight couch-surf turns into an extended stay, this compassionate and unsentimental play explores the funny, frustrating, and ultimately life-changing relationship between a grandson learning to face his life and a grandmother who is starting to forget hers. 

A STEADY RAIN - Opening Weekend

Joseph Kremer in A STEADY RAIN

“Opening Weekend” is always a fun few days in the theatre world. It’s filled with exhaustion, weird energy,

rehearsal line flubs, and beer in the dressing room. I’ll explain the booze in the dressing room at the end.

Opening Weekend is the name for the days of Preview, Opening Night, and the Sunday Matinee. The Preview (first performance in front of an audience) is always fun, but extremely nerve-racking. However, when the audience gave what felt like a 5 minute standing ovation to Matthew Wiener (Producing Artistic Director) and Erica Black (Managing Director) before their curtain speech, any trepidation Chris and I felt suddenly went away. That was a pretty magical moment to experience backstage.

Opening Night was especially incredible since this was the first show for Actors Theatre since their triumphant return. There was a feeling in the air as if we were all experiencing a very special moment together at the same time. Sure, I was a little tired and I messed up a couple of lines, but it didn’t matter. The warm compliments I received after the show made me forget all about it and that’s all that’s really important.

In fact, Opening Night was so busy that they actually had to refill the beer …which was being stored in the storage space in our dressing room. So to recap, there was beer within close proximity, great audiences, and an “unpaused” theatre company. What a great weekend.

A STEADY RAIN - blog #3

TECH.

In case you don’t know: “Tech” is what we in the theatre biz affectionately call the span of 5 days before the opening night. These days are usually full of stress, jokes, aggravation, and weariness as the lighting designer, sound designer, director, and stage manager all sit in the house and create the picture of what the show will look like. But what do the actors do? Well the actors run through the show and of course have their lines and emotional moments carefully choreographed and perfected in order to facilitate the process.

LOL.

Ok, the truth is, as an actor I have a pretty good idea of what I’m going to do. But I can’t tell you how many times I’ve stepped into the performance space and my character or emotional beats change quite a bit because of the change in environment.

Did you hear that sound? That was the sound of Anthony (our director) ripping his gorgeous hair out of his head.

Don’t worry Anthony, it doesn’t change THAT much.  In fact, you probably won’t even notice it. But it’s definitely something that registers inside of me. The acoustics in the space are usually the first thing that has an effect on me. Most rehearsal spaces are small, enclosed rooms with low ceilings and tile floors, which are absolutely NOTHING like the actual performance space. If the acoustics aren’t great your volume has to go up so the back seats can hear you, which can have a profound effect on what sort of emotion you’re trying to portray. It’s frustrating, but challenging. And sometimes…SOMETIMES it actually helps change things for the better.

A STEADY RAIN - blog #1

Hi, I’m Chris Haines. I’m playing “Joey” in Actors Theatre’s upcoming production of A STEADY RAIN by Keith Huff running Oct. 25-Nov. 10 at the Playhouse on the Park in the Viad Building. I thought for my blog I would sort of take you through the rehearsal process, what goes on and my take on acting and rehearsals.

So our first week of rehearsal is behind us, and we’re into week 2 of A STEADY RAIN rehearsal. Last week was mostly table work and some initial blocking of the first part of the show. So what’s table work? As it sounds, the actors and the director are at a table, reading from the script. This is a time for close, detailed examination of the text, asking questions, understanding meaning/intentions/motivations. Table work is not necessarily reading through the full script, but breaking it down in manageable chunks which transitions into blocking. Where you take those chunks and begin to put them on their feet. This can be the most frustrating period of time for the actor. The actors are still “on book”—reading from their scripts—trying to take that clarity and understanding that came from the table work and bring that to life in what we are saying and move about onstage. Sort of like patting your head, rubbing your belly and tapping your foot at the same time. At this point our scripts are a crutch; as actors we feel they are holding us back. While frustrating, it is, to me, a vital and necessary part of the process. Being reliant on our scripts forces us to slow down, to not rush through the moments and to find the reality and the truth that is there on the pages of those damn scripts.

Next blog, I’ll share with you my own personal process and how I approach a character.