And they’ve never heard of love.

PRIDE AND PREJUDICE Director Amanda Dehnert reflects on the “ineffable something in the dance that develops between two people” and the ‘love songs’ that don’t serve love at all:

Love and Marriage, Love and Marriage
Go together like a horse and carriage…

So say Sammy Cahn and Jimmy Van Heusen, in their 1955 ode to love’s natural
conclusion. But, is it true? Has it ever been? And now that we are far past our horse and
carriage days, as a society — do we still believe that marriage and love are inextricably
intertwined, just like chickens and eggs? Which comes first — the marriage, or the love?
And why do we find ourselves using these familiar words — chase, catch, aim, hit, lost,
won — to describe coupling?

The purpose of a man is to love a woman
And the purpose of a woman is to love a man…

So say the Mindbenders (1965, with an assist from Carl Ballard, Jr.), when they sing of
‘The Game Of Love’. It’s slightly jarring (and awfully binary), to think of there being no other purpose behind one’s gender or identity than ‘to love’. Of course, even when we extend this idea to modern society — men certainly don’t have to love only women, and vice versa — still, must we all play? Must we all find some person, any person, to serve as our partner/competitor in a game that isn’t necessarily very fun, or even particularly winnable?

They say we’re crazy but I just don’t care
And if they keep on talking still they get nowhere
So I don’t mind if they don’t understand
When I look at you and you hold my hand
’Cos they don’t know about us
And they’ve never heard of love…

So says Kirsty Maccoll, in 1979, with her song, ‘They Don’t Know’. And, she’s right. Whether there’s marriage (or not), whether there’s a reason that anyone else can see (or not), there is an ineffable something in the dance that develops between two people. It’s not made up of public moments. It doesn’t require exchanges of volleys, or virtues, or vows. Best of all: nobody else need understand the why or wherefore. After all, what do they know, anyway?

They don’t know about us.

And they’ve never heard of love.

 

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PRIDE AND PREJUDICE
By Kate Hamill | Adapted from the novel by Jane Austen
Directed by Amanda Dehnert
Running June 10 – Sept 4, 2017
Rolling World Premiere
A Co-Production with Primary Stages

 

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WSJ: A Shakespeare Festival for the 21st Century

Originally Published in The Wall Street Journal
By Terry Teachout | July 6, 2017

With ‘Pride and Prejudice’ and ‘The Book of Will’ the Hudson Valley Shakespeare Festival broadens its once-sacrosanct repertory.

What does it mean to be a “Shakespeare festival” in the second decade of the 21st century? Like many such enterprises, the Hudson Valley Shakespeare Festival is in the process of broadening its once-sacrosanct repertory, so much so that two of its three current mainstage productions are premieres. One, however, is a play about Shakespeare, while the other is a new adaptation of a novel as classic—and familiar—as anything the Bard ever wrote. The biggest and best news, though, is that both plays are the stuff hits are made of, and Hudson Valley has brought off a first-class coup by launching them in the same season.

Kate Hamill, whose stage versions of “Sense and Sensibility” and “Vanity Fair” were deservedly successful, has now turned her hand to a second Jane Austen novel, “Pride and Prejudice.” You wouldn’t think she’d have anything fresh to say about a book that to date has been filmed a half-dozen times (not counting “Pride and Prejudice and Zombies”) and put on the stage at least as often. You’d be wrong, though, for the ever-ingenious Ms. Hamill has given us something completely and delightfully different, a smallish-cast period-dress “Pride and Prejudice” that she’s done over in the revved-up manner of a Hollywood screwball comedy. The language is traditional but the approach is thoroughly modern, with six of the eight actors playing multiple roles, several of them in drag. Cleverly compressed—one of the five Bennet sisters has vanished into the memory hole—and adapted with fizzy, festive freedom, Ms. Hamill’s “P&P” is full of “Bringing Up Baby”-style slapstick and the kind of barely controlled chaos that you’d expect to see in a five-door Feydeau farce.

Such a show demands worthy staging, and Amanda Dehnert, a prodigally gifted director whose work is not yet widely known on the East Coast, delivers the goods with gusto. Having previously seen her Oregon Shakespeare Festival productions of “Julius Caesar” and “My Fair Lady,” I wouldn’t have guessed that Ms. Dehnert also has a knack for pratfalls and spit takes, but her way with “P&P” is so adroit as to make me wonder what she’d do with a full-fledged farce like “Loot” or “Noises Off.” At the same time, she also makes sure to darken the mood just before intermission, reminding us that in the 19th century the finding of a husband was no laughing matter for unmonied women like the Bennet sisters.

Pride and Prejudice HVSF 6-17 142_by T. Charles Erickson

The cast of ‘Pride and Prejudice’ at the Hudson Valley Shakespeare Festival PHOTO: T CHARLES ERICKSON

In addition to having written the script, Ms. Hamill plays Lizzy Bennet with winning impishness, and Jason O’Connell, a well-known Hudson Valley face, is wonderfully, almost incapacitatingly shy as Mr. Darcy. Top comic honors, though, go to Mark Bedard, who doubles as the fathomlessly snooty Miss Bingley and the disgustingly obsequious Mr. Collins. Either one of his performances would have been noteworthy, but that the same person should be playing both parts (as well as that of Mr. Wickham) is a truly stupendous piece of quick-change clownery.

If you can’t make it to Hudson Valley, Ms. Dehnert’s production will be transferring to New York’s Primary Stages in November. I can’t imagine that it will stop there: Like “Vanity Fair” before it, Ms. Hamill’s “Pride and Prejudice” is the kind of show that would flourish in a small Broadway house. Should “P&P” fail to receive the commercial production it deserves, you can bet that it’ll be the toast of the regional-theater circuit.

The Book Of Will HVSF 6-17 219_Maryn Shaw, Sean McNall, Kurt Rhoads_by T. Charles Erickson

Maryn Shaw, Sean McNall, and Kurt Rhoads PHOTO: T. CHARLES ERICKSON

THE BOOK OF WILL

Lauren Gunderson’s “The Book of Will,” Hudson Valley’s second premiere, is a different sort of period piece, a play about the posthumous publication in 1623 of the First Folio, in which fully authentic texts of most of Shakespeare’s plays saw print for the very first time. If that sounds like dry-as-dust pedantry to you, fear not: Ms. Gunderson, whose plays are hugely popular outside New York but has yet to receive a major production in Manhattan, has given us a serious comedy, by turns charming and darkly poignant, in which a history lesson is embedded so gracefully that you’ll scarcely know you’ve been schooled.

Davis McCallum, Hudson Valley’s artistic director, has given “The Book of Will” a lively staging that’s as close to ideal as it’s possible to get, but the play is so soundly made that it would come off as well in a less deft production. “The Book of Will” is a cinch to be taken up by Shakespeare festivals all over America—as well it should be.

 

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PRIDE AND PREJUDICE
By Kate Hamill
Adapted from the novel by Jane Austen
Directed by Amanda Dehnert
A co-production with Primary Stages
Running June 10 – September 4, 2017

THE BOOK OF WILL
By Lauren Gunderson
Directed by Davis McCallum
Running June 9 – July 28, 2017

What They’re Saying: THE BOOK OF WILL

Longtime HVSF fans and dedicated Shakespeare lovers Fred and Sallyann were skeptical about our rolling world premiere of THE BOOK OF WILL, but they gave it a shot. Below, Fred reflects on an unforgettable evening under the Theater Tent: 

Fred & SallyannI don’t know if you read these things, but this one—I hope you do. We’ve bought tickets to all of HVSF’s shows every year for over five years, and it’s an ongoing sure bet. But last night’s performance of THE BOOK OF WILL was, maybe, the best experience ever. 

Two main characters so unalike and so closely connected. (The grieving scene was so moving!)

A mission that was daunting, perhaps impossible. And, yes, at times impossible.

A dramatis personae with neither white nor black hats but who were rather strugglers in a world of strugglers.

A crooked and winding path to the eventual, mostly successful outcome, a book rendered imperfect—a temporarily flawed success.

And, in the end, after all the struggle… the genius of an Elizabethan playwright is preserved—published, not vanished—for millions to enjoy forever. Playbills drifting from the rafters, ghosts of his players appearing in the background…

Thank you, Will!

Thank you, HVSF!

…Wanna put it on again next year?

Our strictly limited run of Lauren Gunderson’s THE BOOK OF WILL Directed by Davis McCallum ends July 28. Come see the show that has audiences abuzz!

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NYT’s Outdoor Stages: A Madcap ‘Pride & Prejudice’ in the Hudson Valley

Originally Published in The New York Times
By Mary Jo Murphy | June 29, 2017

Lizzy Bennet lives with Mr. Darcy in Queens.

This summer, however, the prickliest pair in fiction can be found most nights in their own D.I.Y. Pemberley, a tent in Garrison, N.Y., overlooking the Hudson River — and reminding audiences that the finest china in their beloved Jane Austen is as likely to be a chamber pot as a teacup.

Lizzy is Kate Hamill. Her stage adaptation of Jane Austen’s “Pride & Prejudice” had its premiere last Saturday at the Hudson Valley Shakespeare Festival there, where it will play in repertory until September before shifting to Primary Stages Off Broadway in November. And yes, Ms. Hamill acts opposite her nonfictional boyfriend, Jason O’Connell. It’s a first for the couple, although he played the future brother-in-law, Edward, to her Marianne Dashwood in Ms. Hamill’s previous Austen adaptation, “Sense & Sensibility,” a rollicking muslins-on-wheels affair (by the appropriately named theater company Bedlam) that had an acclaimed run Off Broadway last year.

Ms. Hamill, 33, says she plans to adapt all six Austen novels for the stage — probably in the order of their writing, the better to chart her own progress against Austen’s. “Northanger Abbey” may be next. (“There’s something I love about teenage vernacular,” she said in an interview last week.) Starting with “Sense & Sensibility” was perhaps wise: She could gauge the appetite for yet another Austen adaptation before adapting the most adapted — and cherished — of them all, “Pride & Prejudice.” “It’s the one everyone knows,” she said. “People have a serious attachment to it.”

“Sense” was such a hit that even a committed Janeite’s attachment might well withstand an irreverent “Pride.”

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Jason O’Connell and Kate Hamill, center, in “Pride & Prejudice” at the Hudson Valley Shakespeare Festival. Credit Nicole Fara Silver for The New York Times

And it is irreverent. Think men cast as Mary, the plain and prudish Bennet sister, and as the snobbish Miss Bingley. A lot of “intentional water spillage.” Mr. Bingley as near to being a puppy as a man can be without being on all fours.

“People might feel I have desecrated their idols, but, you know, at least I’ve tried to do something interesting,” she said, noting that she had not put zombies in it, and that “I haven’t set it on Mars.” She has discovered, however, that “Janeites” — and she counts herself as one — “are pretty open-minded people; they’re exceptionally generous. Because sometimes I’m taking liberties.”

Ms. Hamill doesn’t see the purpose in adapting a classic unless there is a clear point of view. She found hers for “Pride & Prejudice” in the exaggerated notion of courtship and marriage as a game with winners, losers, referees and exceptionally bad coaches. She applied her own “historical ambivalence about marriage” just as she was arriving at the age when her friends were pairing off around her. She concluded that matches happen between people “whose weirdnesses fit together.”

She looked to the Shakespeare canon for a model. “It’s a romantic comedy, and I was thinking, what romantic comedies do I not hate?” The answer was “Much Ado About Nothing.”

“I thought the big challenge going into it was, everyone knows who gets together,” she said. “I wanted to make a certain story uncertain. How do you make a ‘Much Ado’ where you’re really not sure if Benedick and Beatrice get together?”

She was not afraid to go broad and go silly. There are games galore in her production. (In researching games of the period, she said, she discovered one in which participants simply slap one another in the face. It’s not in her production.)

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Kate Hamill in her Elizabeth Bennet best for “Pride & Prejudice.” Credit Nicole Fara Silver for The New York Times

Bells ring throughout her play: wedding bells; alarm bells; the kind of bells that signal rounds in a prizefight; a chime that sounds, if only in your head, when you connect with your imperfect perfect match. (“It kind of annoys me when both Lizzy and Darcy are supermodels,” she said.)

The clanging insistence of bells became a critical device to her retelling of this classic story about the game of games: the marriage game.

Ms. Hamill grew up in a farmhouse in rural Lansing, N.Y., the fifth of six siblings. She knows how to milk a cow and collect eggs from hens, but she spent much of her time reading (“My parents didn’t believe in TV”), and she joined the theater program in her very small high school. That’s where she gained some sage advice. She was studying to be an actress, but the drama teacher told the girls that if they wanted work, they had to create it.

When she moved to New York, one of her jobs involved writing copy for catalogs. Hundreds of descriptions of jewelry. “You start to just amuse yourself: What else can I say about this pendant?” Early on, she said, “in my mind a serious writer was someone different from me,” and she remained committed to acting. But she wearied of auditions for “silent suffering girlfriend” and “girl in bikini.” That’s when she recalled her old instructor’s counsel. Three-quarters of all plays are written by men, and an overwhelming majority of parts are for men, she said, reeling off statistics she seemed to have learned the hard way. She began to think about creating “new classics.”

In addition to the two Austen novels, she has adapted Thackeray’s “Vanity Fair,” and is at work on Louisa May Alcott’s “Little Women” and — why not? — “The Odyssey,” for which she wrote a scene, she said, featuring a Cyclops singing to his sheep.

In the meantime, she is vastly amused to be doing a show with Mr. O’Connell in which they get to “bicker and hate each other for hours” — and nightly he must recite a proposal that was written by her.

 

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PRIDE AND PREJUDICE
By Kate Hamill
Adapted from the novel by Jane Austen
Directed by Amanda Dehnert
A co-production with Primary Stages
Running June 10 – September 4, 2017

Revolutionary & Hopped Up on Language: Davis McCallum on THE BOOK OF WILL

Blog-BOOK Davis HeadshotI never refer to Shakespeare as “The Bard.”

Here’s why: “The Bard” conjures for me an image of Shakespeare, a long time ago and
far far away, gazing out a gothic window at the Warwickshire countryside. As he strokes his mustache, his quill is ready to deliver his genius to the page. He’s untouchable, remote, more a literary demi-god than a man. This person is a stranger to me. And I’m not sure I like him.

At Hudson Valley Shakespeare Festival, our Will Shakespeare is a man of the theater — himself an actor and shareholder in The King’s Men, the theater company he founded with his friends and colleagues, and for whom he wrote every single one of his plays. This Shakespeare is unapologetically Elizabethan and yet utterly our contemporary — weird, bawdy, passionate, poetic, revolutionary, humane, hopped up on language, and bursting with the confidence that anything is possible in the theater when the power of the human imagination is unlocked by the right words in the care of a great actor. This Shakespeare belongs to everyone, and it’s his ability to capture our shared humanity that makes his plays resonate today.


“Our Will Shakespeare is utterly our contemporary – weird, bawdy, passionate, poetic, revolutionary, humane, hopped up on language, and bursting with the confidence that anything is possible…”


When I first read THE BOOK OF WILL, I found this same Shakespeare on every page of Lauren’s play. And I was so excited by the discovery that I called her that same day and
asked if we could produce the world premiere at HVSF.

Although the plot of the play concerns the making of the First Folio — one of the single most important and influential events in the history of publishing — it’s not a play about a book. It’s a play about a theater company. At the heart of the play is the friendship between two actors in the company, John Heminges and Henry Condell, who take upon themselves the task of saving their friend’s words from near-certain oblivion. And now, four hundred years later, those words have not only survived: they have given so many people so much joy, and solace, and courage. The simple fact that we are all together under this magnificent test is a testament to the life-force contained within them.

So, in the spirit of the play, I’d like to propose a toast…

Not “To The Bard,” but: “To Will!”

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THE BOOK OF WILL
By Lauren Gunderson | Directed by Davis McCallum
Previews June 9 – June 21, 2017
Running June 22 – July 28, 2017
Rolling World Premiere

this production is supported in part by
THE NATIONAL ENDOWMENT FOR THE ARTS

First Look: 2017 Rehearsals Begin

Long before the Theater Tent is erected on the edge of the Hudson, our acting company gathers in New York City to begin the rehearsal process — memorizing lines, developing their characters, reviewing sets and costumes with designers, meeting staff and supporters, and more. Go behind the scenes with our 2017 company! Photos by Ashley Garrett.

HVSF Meet & Greet 2017-21

Longtime fan favorites Jason O’Connell and Kurt Rhoads

HVSF Meet & Greet 2017-29

THE BOOK OF WILL Playwright Lauren Gunderson joins in from the West Coast

HVSF Meet & Greet 2017-3

Company members Kimberly Chatterjee and Sean McNall with HVSF supporter Siew Thye Stinson

Previews of TWELFTH NIGHT, THE BOOK OF WILL, and PRIDE AND PREJUDICE begin June 8. Meet the cast under the Theater Tent this summer!

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The Birthright of All Americans

When the National Endowment for the Arts (NEA) was first established by President Johnson over five decades ago, it was built upon many of the same principles that guide our work at the Hudson Valley Shakespeare Festival – the celebration of a rich and diverse cultural heritage, the support of arts learning, and a commitment to equal access to the arts for all Americans.

The Hudson Valley has been a home to art and artists since before the founding of the Republic, and it continues to be a major creative hub. We are lucky to have such cultural richness at our doorstep. And yet, as the largest performing arts organization in the region, HVSF serves a wide geographic radius, including many communities with limited access to the transformational experience that truly great art can provide.

The NEA has long been a key supporter of HVSF’s mission to reach the widest possible audience. An NEA grant helped establish HVSF’s Revelers program, which brings many young people to the theater for the first time. The NEA also supports our in-school education tours and residencies through its Shakespeare in American Communities program, reaching over 50,000 students and educators every year. Additionally, the NEA funds state agencies like the New York State Council on the Arts, which makes possible our annual summer season under the tent at Boscobel.

As you may know, the President’s 2018 budget proposal includes the elimination of the NEA. This is deeply concerning, not only for the future of HVSF and our impact on the cultural life of the Hudson Valley, but also for the broader implications about the place of art and culture in our society. As President Kennedy famously said, “this country cannot afford to be materially rich and spiritually poor.”


“This country cannot afford to be materially rich and spiritually poor.”
– President John F. Kennedy


At HVSF, we believe that access to great art is the birthright of all Americans. Art teaches us the skills that make us good parents, neighbors, friends, and citizens: empathy, generosity, courage, and imagination. Great art reminds us of what we have in common, and binds us together as a community. At HVSF, we see this happen every summer under our tent, and all year round in the classrooms served by our Teaching Artists.

And so this week, on the heels of National Arts Advocacy Day, we are adding our voices to those of our friends and colleagues in support of the NEA. And we are asking YOU to join us.

If you value the role of the Arts in our society, and the role of HVSF in your community, now is the time to speak out. The budgeting process is long, and the public has a key role to play. Please contact your elected officials and let your voice be heard regarding these proposed cuts. You can also visit the Americans for the Arts website for more information about how to join the national movement in support of the simple but powerful idea that a great nation deserves great art.

Yours,

Davis McCallum, Artistic Director
Kate Liberman, Managing Director

#SAVEtheNEA #LOVEtheNEA #ArtsAdvocacy #NEAmatters #NEHmatters #NYSCAsupported #ShakespeareInAmericanCommunities #NEA

Kate Hamill’s Top 7 ‘Musts’ for an Ideal Mr. Darcy

When considering Jane Austen’s aloof, hard-headed Mr. Fitzwilliam Darcy, which devilishly handsome leading man comes to mind? If you’re like anyone with access to BBC or A&E in the mid-’90s, Colin Firth may be your go-to embodiment of this unlikely romantic hero, having appeared in 1995’s made-for-television Pride & Prejudice directed by Simon Langton.

“Women being attracted to [Mr. Darcy] took me by surprise,” Firth recently told The Daily Mail. “When I took on the role it seemed to me that he was imperious and stiff and forbidding, and I didn’t know what there was to play apart from him scowling all the time. I thought it would be quite fun and liberating to play someone who was completely and utterly dislikeable, unsympathetic, judgmental and snobbish.”

Darcy may find a foe in Firth, but a friend in playwright Kate Hamill. Hamill’s playful adaptation of PRIDE AND PREJUDICE makes its debut under the HVSF Theater Tent this summer, and not without the weirdo women (and men) who’ve become signature players in a Hamill adaptation.

“I’m so disinterested in beautiful, perfect people,” beamed Hamill. “Lizzy Bennet’s a total weirdo and should be treated as such. She and Darcy are both odd ducks… odd ducks that swim together.”

So how will Hamill’s Odd Duck Darcy shape up this summer? Here are her top seven must-haves in an ideal leading man:

  1. Righteous: “He tries to do the right thing all the time”
  2. Smart: “He’s capable of being quite nerdy.”
  3. Stubborn: “That’s a big one!”
  4. Principled: “He has to be someone with a lot of integrity.”
  5. Funny: “Intentionally and unintentionally, for sure.”
  6. Magnetic: “Someone you feel a deep connection with.”
  7. But, above all: “HUMAN! There’s just no other way to put it.”

PRIDE AND PREJUDICE is in previews June 10 – June 23, 2017 and runs June 24 – September 4, 2017. Are you between the ages of 16 and 35? Consider joining our Revelers or Teen Revelers program for exclusive discounts, events, and more.

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Cold Reading: Tech to the Future

The following is part of our ongoing series
Cold Reading: Winter insights on the upcoming season from Artistic Director Davis McCallum


Hi, Friends.

We’re about to start tech rehearsal for Lauren Gunderson’s THE BOOK OF WILL here at the Denver Center for the Performing Arts on Friday. This is the part of the production process when the show’s team of Designers (Scenic, Lighting, Sound, Costume, and Props) appears together in the rehearsal room. Of course, the Denver Center’s brilliant Stage Managers have been keeping them looped in on the many day-to-day decisions we’ve been making, but once we’re able to have our creative team in the room in person, all sorts of new ideas surface and new possibilities emerge.


tech rehearsal, noun /tek/rəˈhərsəl/

A rehearsal that focuses more on the technological aspects of the performance, such as lighting and sound cues, than on acting.


We’ve been working on a production that includes some cheeky moments of anachronism, with elements of our theater culture today sprinkled in with what we imagine it might have been like for Shakespeare’s company in the early 17th century. We can all imagine what it might feel like for a group of actors to go out to the bar after a performance – in fact, you may have even spotted HVSF’s own company members patronizing the watering holes on Cold Spring’s Main Street during the summer months – but how would the actors in Shakespeare’s company take their drinks? In pewter steins? Bottles? Ceramic jugs? Would their post-show haunt include a tap? Might there even be a dart board in the corner?

Would a Stage Manager in Shakespeare’s time use a clipboard? Of course not. But in the world that we’re creating onstage, perhaps he could. How about a stopwatch? Is it possible there’s a ghost light on the empty stage at the Globe in this play, even though electricity won’t truly be harnessed for several centuries?


ghost light, noun /ɡōst/līt/

An electric light that is left energized on the stage of a theater when the theater is unoccupied (‘dark’), for improved safety – and superstition.


This, of course, relates to the vocabulary of the music and the clothes and the set. Our goal with THE BOOK OF WILL is to create a world that’s not at all concerned with historical authenticity, but somehow still feels realer than real, and captures the playful spirit of Lauren’s writing. The play has been exhaustively researched and has woven into it a significant amount of detail from what we know about the printing of the First Folio, but the show’s spirit is irreverent. I keep thinking that the creation of ‘the book’ in the Jaggard Print House in THE BOOK OF WILL should be about as authentic as Doc. Brown’s DeLorean time machine in Back to the Future. In other words, we’re making the play with more emphasis on engaging the audience’s imagination, than on conforming to what we think we know about the past.

I look forward to heading into tech with Lauren and this remarkable team and figuring out how all of these pieces fit together. See you on the other side!

election_davissig

THE BOOK OF WILL is in previews June 9 – June 21, 2017 and runs June 22 – July 28, 2017. Season tickets go on sale to the public in March, but members of our Saints & Poets Society and Festival Circles have early access. Are you between the ages of 16 and 35? Consider joining our Revelers or Teen Revelers program for exclusive discounts, events, and more.

Cold Reading: Davis Goes to Denver

The following is the first in our ongoing series
Cold Reading: Winter insights on the upcoming season from Artistic Director Davis McCallum


Dear Friends,

I’m writing you from Denver, where I’m at the end of the first week of rehearsal for THE BOOK OF WILL by Lauren Gunderson. We’ll be mounting the show here at the Denver Center Theater Company at the Denver Center for the Performing Arts in January, then again at the Hudson Valley Shakespeare Festival Theater Tent this summer. The play tells the unlikely story of two actors in Shakespeare’s company, who take it upon themselves to ensure the survival of his plays by collecting and publishing them as the First Folio (The Collected Works of William Shakespeare) in 1623 [read more]. It’s funny and heartbreaking and full of lip-smackingly juicy parts for actors. I love it and am having loads of fun rehearsing it. I’m especially looking forward to seeing how it changes and grows over two productions, in two very different spaces.

We started on Tuesday with a big meet and greet and design presentation. It was very inspiring to hear Lauren talk about how and why she started writing the play. We share a strong conviction that Shakespeare belongs to everyone, and the 36 plays contained in the First Folio reflect the full range of what it means to be human. The more I work on the play, the more I am convinced that it’s really a story of a theater company more than it is the story of the creation of a famous book. And that’s something that I relate very strongly to HVSF.

We have a brilliant dramaturge on the show here in Denver, Doug Langworthy. He’s an old friend of mine from Oregon Shakespeare Festival, and he’s been at the Denver Center for the last decade or so. His role is to be an advocate for the play, and to help the playwright and director in making a show that expresses as fully as possible the play’s potential. In this context, he’s provided myself and the cast with an exhaustively researched packet full of information about the First Folio, Shakespeare’s theater company, Jacobean society, clothes, manners, money, publishing, copyright, etcetera… anything that might have bearing on the events of the play. It’s great fun to have him in rehearsal because he knows so much about the world of the play, and can be a great resource to the rest of the team as we make all the different choices that go into a production.

We’ve had six days of rehearsal, and we spent the first few around the table reading the play to each other. And then for the last couple of days, we’ve been up on our feet, making the first feeble stabs at staging the various scenes. The company here is wonderful and we’re all excited about the direction that it’s going.

Denver is lovely, but I miss my family and the Hudson Highlands. Wishing everyone there a great start to the holiday season!

More next week…

Warmly,

election_davissig

 

 

THE BOOK OF WILL is in previews June 9 – June 21, 2017 and runs June 22 – July 28, 2017. Season tickets go on sale to the public in March, but members of our Saints & Poets Society and Festival Circles have early access. Are you between the ages of 16 and 35? Consider joining our Revelers or Teen Revelers program for exclusive discounts, events, and more.