Meet Mark. He’s the new director of development!

Hello CTC friends and supporters!

I’d officially like to introduce myself. My name is Mark Jacobson and, in addition to being a proud member of Coeurage, I’m the new Director of Development for the company.

Mark Jacobson

Mark Jacobson

As my role on the staff is a new position for Coeurage, my job responsibilities are being created as we move forward. Traditionally speaking, Development for a theatre company pertains to grant writing and, while that is a necessary pursuit, my goals are a little wider reaching. I joined Coeurage because I love the company’s mission – to make great theatre accessible to everyone regardless of cost – and spreading that message to our new neighbors is my chief priority. With our new performance space, we have an opportunity to connect with local businesses and develop partnerships, expanding our reach, our fanbase, and our message. I aim to find donors, large and small, who believe in Coeurage as a company not simply because they’re connected to our amazing artists, but because a theatre that provides for a community in such a selfless manner should be supported by those who are able.

In reaching out to donors, I plan to think out of the box, asking not just for financial support, but for goods and other services that may help to offset production costs. For those of you attending the opening night celebration of The Trouble with Words, I invite you to partake in my first success as Director of Development – the evening’s beer, which will be provided for us by the good people at Stone Brewery. If you or anyone you know would be interested in offering services, goods, or financial contributions to Coeurage, I’d love to speak with you further, as we offer a number of incentives to show our gratitude, including advertising space in programs, social media, and live events. Those donations would also be completely tax deductible under our 501-c3 non-profit status.

Also be on the lookout for a few other initiatives I hope to spearhead, including an outreach program that we aim to take to schools and post-show programming for those of you who aren’t satisfied with only 4 Coeurage shows to enjoy per season.

Please don’t hesitate to contact me if you have any ideas or leads as we develop this Development division (alliteration!) and I look forward to meeting all of you at the wonderful events we’ve got planned.

Best,
Mark Jacobson
Director of Development, Coeurage Theatre Company
Mark@Coeurage.org

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Director’s Notes for “The Fourth Graders Present…”

Directing The 4th Graders Present an Unnamed Love-Suicide has been a wonderful, artistically satisfying experience. Doing justice to Sean Graney’s script has been no easy task, however. I played the lead role in several years ago with The Hypocrites, a Chicago theatre company that consistently produces some of the best theatre in the city, and I felt a lot of pressure to put together a production that was up to their standards. I honestly believe we’ve achieved that.

The script, despite its brevity and young characters, is extremely complex. It’s a lot of things at once… funny, sweet, disturbing, violent, and fundamentally sad. While I have not seen a production outside of the original, I imagine it is a play that could easily be misunderstood.

It is utterly unique. Nothing that I’ve seen comes close to it. What other show combines elements of Chikamatsu, Beckett, and Charles M. Schultz? (Nada.)

For me, finding the appropriate tone was akin to figuring out a Rubik’s Cube. I knew what it was supposed to look like, but didn’t quite know how get there. Then, eventually, after a lot of mistakes and backtracking, everything finally lined up. Side note: Sean Graney has the uncanny ability to solve Rubik’s Cubes in a minute. No joke. The man is intimidating.

I was obviously lucky to have been in the Chicago production directed by the talented Jimmy McDermott, from whom I shamelessly stole some of my favorite moments. I was also lucky to be in contact with the playwright, as there were also many moments/concepts that I wanted to put my own stamp on, and he was extremely open and gracious. Tim Simons, who played the Mike Rice in the New York production, very kindly came in during tech week and gave a lot of invaluable notes.

Director Joseph V. Calarco

Joe giving notes to the cast

On the Coeurage end, I had an embarrassment of riches with composer Greg Nabours, who took a playlist of songs that I felt reflected the right tone for the show, and effortlessly composed exactly what I wanted. Laura Nicole Harrison came in and created choreography more beautiful and nuanced than I could have possibly hoped for. Valorie Curry, despite the fact that she was in the middle of preparing a move to New York to star in a TV show, designed an awesomely evocative set that made the most out of out of our wee space. Michelle Stann, aside from dealing with being a great light designer, was instrumental in realizing the set during the build. Costume designer Karen Fix Curry was wonderful to work with as usual, and made one of my favorite moments of the show possible. Dramaturg Malika Williams brought in fantastic research that had a direct impact on the show. TJ Marchbank came in like a superhero, tied up all the loose ends, and made a gigantic bucket of gore like a champ.

Then there’s Ryan Wagner. He not only stage managed, but also acted as the movement coach. His Viewpoints sessions were a huge part of what made it so artistically satisfying for both the cast and myself, and the show would have suffered without his talent and leadership. Top that off with a ridiculously talented, kind, hard working group of actors… it’s just been beyond a pleasure. I can’t articulate that strongly enough.

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Living A Dream

This post is by TJ Marchbank. Fight Choreographer and Tybalt in Romeo and Juliet, and a brand new Coeurage company member!

As we move into closing weekend of Romeo & Juliet I’ve finally had a chance to sit down, take a deep breath and ask myself the same question friends have asked me, “How the hell did you do it?” Only this time, I finally have the perfect answer to a simple yet extremely difficult question.

TJ Marchbank (R) rehearsing with Deven Simonson (L)

From the moment Jeremy asked me to play Tybalt, along with doing the fight choreography, numerous wheels in my head began to go rapid. The acting wheels began turning in a way they have been waiting to turn for almost 13 years. I FINALLY get the chance to play Tybalt. A role that I have been longing to play since I was 13. A role that I have pretty much been off book for since I was 16. A role that has been in my grasp so many times, and yet each time the production had failed to happen. So you can imagine my excitement, and maybe even a little doubt, that this time it was real. Knowing the ups and downs of this character for over a decade obviously kept me prepared from day one. However, at times there was difficulty in letting go of who I thought Tybalt was for so many years and allowing myself to make new discoveries. I think, in a way, my anticipation hindered me from making full choices and living inside the character. I would look at other cast members finding so many good moments, whether they be big or small, and it almost made be jealous. Jealous or not, seeing all that beautiful work coming from my fellow actors was inspiring. It opened my eyes and let me see how great this production was going to be, and it drove me to be better. So, I cleared my head and my slate and started fresh. I allowed every line, every movement, every moment be what IT wanted to be. I found more value and growth within Tybalt than I ever had before, by simply being inspired by the people I was sharing the stage with. Listening to the cast was the best research to have, although watching Michael York didn’t hurt either.

The second set of wheels turning in my head were my fight wheels. I get to fulfill a dream role, GREAT, but I also get to choreograph the fights?! Um….YES! I don’t want to speak for all fight choreographers out there, but I think it’s safe to say that “R&J” is on the top of everyone’s “to do” list. At least top five. It’s number three for me, right behind Henry IV, who is second only to Cyrano de Bergerac. As you can imagine I had so many ideas. So many stunning moves that would put everyone on the edge of their seat! Then we began rehearsals, and most of that changed. I didn’t just want to “wow” people. I wanted to create fights based off of the characters. Mercutio doesn’t fight like Tybalt, and Paris doesn’t fight like Romeo. They all came from different backgrounds. Every fight then became about each individual fighting style and they fit together pretty well. First challenge, accepted and conquered.

The next was a little harder. Not all my fighters had training, so along with teaching them the choreography, I had to teach them how to fight in general. At first this worried me, as it would worry anybody, but then week, after week, after week, everyone was improving! Those men, went home every night and worked and worked and worked, and it showed! In 4 weeks time every single one of them was a fighter. They not only knew the choreography, but the specific targets, footwork, they knew how to correct a mistake within the fight without stopping and starting over.

The last challenge was the space. Take it being extremely small already and then add in a few extra small set pieces, and you’ll get a fight choreographers nightmare. Especially, when staging them in my head, the space seemed a lot bigger. However, I didn’t want the fights to lose out on being great and I especially didn’t want everyone’s hard work to go to waste. So I stood there, looking at the space and instead of asking, “What can I do in this space?”, I began making what I wanted out of these fights fit. Come hell or high water, they were going to fit! There were some slight adjustments, but only for the better and at the end of the day they all fit. We created some really great fights, that were completely safe for actors and audience, despite the tiny space. I say “we” because none of that would have been possible without the amazing, hard working fighters in the cast. They were patient, driven, and the best team of fighters anyone could have asked for.

Long story (stories) short, none of this amazing experience would have been possible without the amazing cast I have been privileged to share the stage with and nothing would have even happened if it weren’t for the amazing vision and direction of our fearless leader, Jeremy Lelliot. It will be sad to say goodbye to this show after Sunday’s performance, but I look forward to sharing this experience with my fellow cast mates these three final times, and will always remember the amazing journey we all took part in to create such a phenomenal piece of art. So, how the hell did I do it? With the help and inspiration from my fellow players.

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The Voices Behind The Characters

This post by J.P. Giuliotti. He plays Frank in Balm in Gilead and has created a fabulous series of short interviews with the cast.

JP Giuliotti as Frank

As Balm In Gilead heads into the final two weeks of the run, I had an opportunity to record the thoughts of some of the BiG actors with my iPod Touch. I thought it would be cool to share with the audience to give some insight into what the actors and their characters are all about.

In the spirit of the play’s rather bleak setting (Frank’s all night greasy spoon diner) these gritty and grainy vignettes were captured on the fly under the dim lighting of backstage, the greenroom and the alley next to the theatre. What you get are glimpses of the characters and the fine actors who play them. I had fun meeting with my fellow cast mates and hopes you will enjoy getting to know them, their process, and their characters as much as I did!

Click Here to Watch the Videos
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There Are No Small Parts

This guest post is by Jessica Blair, playing the role of Rust in Balm in Gilead. The show is sometimes referred to by its initials, “BiG”.

“There are no small parts. Only small actors.” I’m not sure whose quote this is. But I know I’ve been hearing it ever since I began doing theatre almost 14 years ago. I’ve always agreed with this sentiment wholeheartedly. My experience in rehearsing and performing in Balm in Gilead has heightened and confirmed that belief.

Jessica Blair as Rust in Balm in Gilead

In 2011, I was blessed to perform in so many wonderful productions…one of which was a dream role: Medea Redux in Neil LaBute’s bash: latterday plays. This was my first role with and introduction to Coeurage Theatre Company. In fact, all of the plays that I did last year had no more than 4 actors in each show. I had very large parts in each production. By “large” I simply mean the number of scripted words that were assigned to my character.

When I was offered a role in Balm in Gilead, there was no way I was going to turn down an opportunity to work with Coeurage again, or to work on another Lanford Wilson piece. However my Actress Ego wasn’t quite sure if SHE wanted to accept the role. (I deliberately refer to the Actress Ego as SHE: A separate entity from my everyday, normal, pleasant actor self who is prone to fits of rage, self-entitlement and all around diva-esque behavior.) Mind you, this confrontation with Ms. Actress Ego was extremely short-lived. It was an entirely internal experience that never once kept me from this experience.

So I made my way to the first read, table reads and rehearsals to follow. And I was bombarded with TALENT. Holy &*(^*&%. An explosion of talent, grace, tenacity, generosity and BALLS in my fellow cast mates. I was humbled and actually embarrassed by own internal hesitation at the start of this journey. Humbled and spat out on the other side of my Actress Ego to discover the life that exists inside Frank’s Diner (the setting for BiG.) I quickly learned how I needed each and every one of these beautiful actors to create a starkly realistic and raw environment. Mr. Wilson requires each character to improvise and create dialogue on the spot…when you aren’t saying your scripted lines this is what you are doing…maintaining that very real life in the diner. The truth and realism that is created in these moments of “real life improv” onstage are nothing short of exhilarating.

In short, I am one of those strangely introverted actress types. I have social anxiety and I tend to avoid parties. Every read, rehearsal and performance of BiG has catapulted my social anxiety ridden, Actress Ego butt into a party every night. A party at Frank’s Diner filled with excitement, confrontation, danger and laughs. I thank Coeurage Theatre Company once again for inviting me to confront myself…this time in ways that were unexpected. Thank you for reminding me to NEVER be a small actor.

“To be on either side, on the stage or in the audience, for that moment in the theater when something happens that we all know, which we’re addicted to or in search of all the time. Which is that moment when a quorum of people on the planet are in one room and they actually, as a unit, are experiencing life together. It’s something that is a transcendent thing that theater can offer. And when it actually happens, when it happens to you, you are in search of it the rest of your life. If I can do it well, I want to be a part of what that is, because there’s nothing better than that.”
-Philip Seymour Hoffman

To really get to the point: come on out to see Balm In Gilead and get YOUR butt catapulted into this world of 1968 NYC.

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Whose Line is it Anyway?

This post is by Keiko Suda, playing the role of Judy in Balm in Gilead. This post contains strong language, but so does the play.

Keiko Suda“Shit, that was me.” I lost count of how many times I uttered that phrase during the rehearsal process for Balm in Gilead. The scene would be cracking, life onstage would be vibrant, then everything in the café would grind to a halt. Silence. Then, “shit, that was me.” The realization that the screeching on the record player was caused by my dropped line made me feel embarrassed at first, and for a perpetual over-analyzer like myself it would have been easy for me to get all up in my head about it, feeling like I was less prepared than everyone else, letting folks down, slowing down the process, etc. But a) Mr. Wilson, like his characters, just doesn’t have time for that kind of overindulgence, and b) five seconds later, the “shit, that was me” is coming out of someone else’s mouth too. Why is this relevant? Because the technical demands of this play are extraordinarily rigorous. In fact, daunting. The first time I read the play before rehearsals started, my confusion was so uncomfortable and disorienting that I had to put the play down half way through. I had no idea who was talking to whom or what they were even talking about. Mr. Wilson had turned me into an idiot. But really, that can be quite a good thing. I’m not used to entering a rehearsal process with no choices, let alone no fucking idea who I am even talking to. But welcoming, allowing, humoring, and working through that disorientation allowed for an unexpected fecundity (I love that word, it’s so sexy and dirty at the same time, like fucking someone on your period). Let me explain.

The pace, rhythm and musicality of the text are so exacting that a missed cue or an overindulgent pause can throw off the rhythm of the play, and with 23 people on stage, that can be magnified in a horrifying way. The mental focus required of the actor simply to execute the technical requirements of this play is enormous. But at the same time, Mr. Wilson created this vast canvas for improvisation. He might offer one line as insight into a two-hour conversation. These types of lines pepper the script. “Spices and things.” “She can just kiss it.” “Who you calling a whore?” On first inspection the written text is full of disjointed, undeveloped conversations. But in rehearsal these statements become invitations, captivating invitations, to explore the territory between two characters. Improvisation in the context and service of a scripted story.

At first, I would utter “shit that was me” because my cues were so baffling, but later, as we were deeper into rehearsal, I found that it would come because I was so caught up in the organic improvisation happening in the moment, that I would simply miss a cue. And finally, as the ensemble because more proficient at balancing the technical demands and the creative possibilities inherent in the play, we never heard it again. It is this integrated whole created as an ensemble that we hope to present to our audiences.

Be sure to buy your tickets for Balm in Gilead to hear Wilson’s complex language in action.

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Happy New Year/Website!

It was just a year ago that I launched and blogged about version 2 of the website. Welcome to V3 for Season 3. I’m very excited for this season. The shows, of course, but much more, including the website. I thought I’d give you an intro to this redesign, why I did the things I did, and a few more fun details for my fellow web/tech geeks out there.

My mother recently asked me why I decided to redesign the Coeurage website. “Because I knew I could do better,” I replied. Web design has never been my full time job, but I’ve been doing it here and there for friends and personal projects for over 10 years now. Each time I make something, it’s a learning experience. I realize how to do new things, quicker ways to accomplish old things. This time I think I learned even more than I had in the past.

The same can be said for how the company has evolved over the past 2 years. Most of us came together to form a company without much producing or business experience. Just a desire to move forward. So we did. And each year we’ve evolved. We’re proud of our past accomplishments but the quality of our shows improve because we know we can do better now.

No good makeover is complete without some before and after pics, so here they are!

BEFORE:
Coeurage Website Before

AFTER:
Coeurage Website After

Some of my goals were to clear up the clutter, unify styles, and make it much easier to navigate. Each element on the page is separated and there aren’t too many. Not too many fonts or different colors to confuse you. You should always be able to find how to buy tickets, no matter which page you’re on. The pages should also load much faster too.

As I said before I’m constantly learning more, but this past year I did a lot of learning not only about design, but usability. Making sure that anyone can figure out how to use the site. Accessibility is in our mission statement and I wanted to make sure that didn’t just apply to our pricing model.

I wanted to make the site more fun to visit. You’ll a big red top navigation bar at the top for our media items. Blog, pictures, newsletter info. Things to read, look at, interact with. There are couple more things on the way — my work is far from over, so stay tuned for what comes next — they’ll be awesome.

I’ve also asked Jeremy to not let me make a new site next year. I’ll constantly be tweaking to make the site better, but I made sure to set things up in a way that I wouldn’t have to start from scratch next time. This one was a lot of work and I really like the way it turned out.

Do you have any feedback? Please let me know if you have trouble or find something that looks wrong or doesn’t work, just leave a comment. Thanks!

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A View from the Booth

As we are about to open our third season at the end of this month with the play Balm in Gilead by Lanford Wilson, I am finding myself busier than ever with Coeurage Theatre Company, but also finding my groove and having a great but crazy time.

Working as the stage manager for Balm in Gilead, is a full time job. We have a cast of 23, plus understudies and a full production team. With this show we are extending our collaboration with Coeurage staff and the entire company. To make this show great, every resource available must be used and I, happily, am in the middle of the coordination. Collaboration and creativity allows a small company like Coeurage to present incredible works of theater. We are especially proud of our success while maintaining our “Pay what you want “ ticket prices.

Personally I love stage managing because it offers the most complete view of putting on a production from start to finish.  The stage manager is part of the creative team, but also responsible for each of the many nuts and bolts that hold a show together. 

When people ask me how a show is going during pre-production, I don’t like to answer because I know so many details that I might come off as being overly negative or positive depending on the crisis of the day. But I also have enough experience to know that by opening night every nut and bolt will be tight and the audience will just experience magic. But until that day, there are so many elements to bring together, and that is the thrill. So instead of writing more it’s back to rehearsing, rehearsal reports, production meetings, searching for set pieces and props, working with designers so they can perfect their design, and all the other items in my production book. But patience, nothing will be ready until opening night and even after that, each performance carries it’s unique dynamic signature. It’s not over until closing night!

So as I write this blog, I can’t tell you exactly how everything is going to end up, because we are still in the midst of creation. But I do know that we have an amazing cast and creative team and when we open in three weeks, this will be a show that you won’t want to miss!!

I hope to see you at the theatre!

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Life On The Road

This post is by company member Rebecca Mason-Wygal. She still lives with her mother and is currently on tour.

I still live with my mother. This is not something that I normally advertise. But I usually find that saying something extremely embarrassing about one’s self serves as a good icebreaker.


I’ve been a proud member of Coeurage Theatre Company for about a year and a half now, and have been fortunate to have appeared in two productions with them (understudying a role in Under Milk Wood’s extended run, and collaborating our original piece, Hats, Nudes & Immortality). But sadly, I haven’t been home long enough this year to substantially work on any of the myriad of successful projects they’ve launched in this, our second season. In 2011, I have been home (home meaning the room I’ve occupied since I was 5, with a closet full of stuffed animals, and walls I painted pepto-pink in the 5th grade) a grand total of 20 days. This has been a struggle for me, personally, as I have a warring duality of a nomadic spirit, and a heart fiercely loyal to the ones I love – however, my friends, especially those at Coeurage, have been astonishingly supportive. Sometimes I have to be reminded that I’m ‘living the dream’. And the dream for me has never been the big stuff – I adore those personalities that want nothing less than the whole enchilada, whose 5-year plan involves Broadway and Oscars and sitcoms with their name in the title, but that’s just not in my chemistry. If I’m working hard, I’m happy. And I’ve been working my ass off, so I can’t complain. 2011 started off with booking my first national tour out of New York City. It was a 1-hour play about the holocaust intended for 4th-8th graders, but this was it! This was the height for me. This was EXACTLY what Alfred Lunt and Lynne Fontanne dedicated their LIVES to. And, yes, perhaps they were performing Shakespeare, and Coward, and I was doing educational theatre, but STILL. THEY performed with makeshift sets in high school gymnasiums when they weren’t playing lavish opera houses, and they LOVED it. And so did I. I got to follow the super-shiny, state of the art Van Wezel Performing Arts Center in Sarasota, FL (who’s schedule that week included Harry Connick Jr., Kathy Griffin, Gladys Knight, Englbert Humperdink, and us) with a high school gym in Ocean Township, NJ. After playing to noisy kids and fire drill bells in Wasau, IL, we got to work on the palatial stage of the Rialto Square Theatre, who’s elaborate proscenium and crystal-chandeliered lobby reminded one more of Versailles than of Joliet, IL.


My favorite part, however, was the travel. If you visit enough AMPMs, you’re going to start waxing poetic about the trucker fare – self-heating ‘foodstuffs’, whose big draw is the advertisement of its ‘3-YEAR SHELF LIFE!’. And stumbling into a Days Inn after driving 13 hours from Pennsylvania to Wisconson, or getting snowed in at a Super 8 in upstate New York, I’d never been closer to the ‘rock star’ ideal in my life. I got to tread the same boards as Liza Minnelli, Rufus Wainwright, Jerry Seinfeld, Brian Setzer, Randy Newman – my biggest heroes, people who exist to me only as legends, figments of reality. It was thrilling. But in the back of my mind I was worried. I was worried that being away from my friends and our company for so long would put me out of their mind, and make them question my dedication to what we were creating at Coeurage.


In April, I had a week off. I scraped together some money and flew home (back to my dog, and my brother, and my family that I am half a person without). But at the top of my agenda was seeing bash: latter day plays, the current offering at Coeurage Theatre Co. I went with the purpose of seeing my friends, of catching up on what I had missed. I ended up with way more than I bargained for. I know our company is talented. Our actors, our designers, our management. But watching our (still very young) company tear their hearts open that night invigorated me with a renewed passion for what we were doing. Every time I see a Coeurage production, I am reminded that what we do has value. That taking risks is the only way to find those rare moments of transcendence. That, when you surround yourself with talented, creative people, then sheer positivity and unrelenting optimism is enough to keep you in business. And my own personal work ethic – which I pride myself on; please recall earlier when I said that nothing satisfies me more than working my ass off – is put to shame by the dedication and work I see our members putting into this company. My cumulative life’s efforts are nothing compared to what our board and company members have done to get Coeurage Theatre off the ground and keep it running, and I am honored to count myself among their ranks.


So, as you can imagine, returning to New York to finish that contract was rather difficult. I wanted nothing more than to stay in Los Angeles with palm trees, and sun, and Coeurage Theatre, creating NEW and POWERFUL art. But this is what I signed up for. When I decided to go into theatre, I wanted it to make me travel. So I took what I had gotten from my friends at Coeurage, the idea that whether you’re playing to a black box of 30 adults, or to a 3-tiered balcony of 1500 people, the point is the same. The point is to make visceral, engaging theatre that has an effect on your audience. I accepted my little student comment cards appreciatively (“My opinion about the play is I think it’s the best in the world and I am so happy I got to see it.” they read). I swooned at the antique Opera Houses with centuries of history within their walls, and thought of Lunt & Fontanne whenever we played a school cafeteria (what I would have given to have seen them play Design for Living in a high school gym in Whitwell, TN). But my aim remained constant – to produce affective theatre.


I just hope my friends and family are proud of me. That competitive spark they say is inherent in this profession is definitely there, but not in that clichéd All About Eve way. It comes to me more like, when I see my friends create something beautiful, I am overwhelmed with pride at their accomplishment, and only want to do something to make them feel the same towards me.


So, yes, I live with my mom. I am a quarter century old, and all my stuff is at my mom’s house. And someday (soon) I hope to have a bookshelf in an apartment of my own, where I can make my bed as infrequently as I do at home. But my ‘hotel year’ has been pretty fun, and I’m gonna work on keeping it going. And if that means that I keep living out of suitcases, so be it. I’m working hard and I’m happy.

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Double Falsehood: A Double Challenge

Post by Artistic Director Jeremy Lelliott, currently appearing as Henriquez in Double Falsehood.

When I selected the hotly debated DOUBLE FALSEHOOD for our second season, I knew it was going to be a challenge for our small company to market. Shakespeare is already difficult to sell in Los Angeles, this is a play that few have ever heard of, and the extent of Shakespeare’s hand in it is seriously questioned.

Jeremy Lelliott

Jeremy Lelliott in Double Falsehood

The history of the piece, though, from the authorship question to the collaboration between Shakespeare and his successor John Fletcher to the fact that this is one of the earliest existing tragi-comedies was too fascinating for me to resist. We prepared more for this production than we ever had before. Our multifaceted marketing campaign saw us check every idea we’d ever come up with for advertising off of our to do list. On the creative end, I spent over a year and half researching and developing the play with director Kirsten Kuiken. We hoped that the quality of the work would catapult us over the obvious challenges we would face finding an audience for our little show that could. DOUBLE FALSEHOOD is a flawed, challenging play to mount, and I could not be prouder of the production we are putting up every weekend.

I feel we have staged the most artistically successful production of the play to date. Yet, audiences have been hard to come by. Even coming off our company’s biggest hit, THE TROUBLE WITH WORDS, and even with the added efforts we’ve made to support a production we believe in, our houses have only been about 15-20 people a night. This week, LA Weekly gave us a “GO” and Backstage named us a “Critic’s Pick.” Hopefully, the critical acclaim will encourage people to come out and see this rare piece. We will forge ahead, as always, hoping to share our work with as many people as possible.

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