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.

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.

Just in time for election season, Coeurage Theatre Company presents a bold production of Stephen Sondheim’s Assassins, the polarizing musical about men and women who have attempted to assassinate United States presidents throughout American history.

Originally produced in 1991, the show only grows more relevant as the country progresses toward an uncertain future. From the events of September 11th, which delayed the piece’s scheduled Broadway debut, to the wars sparked by the failed assassination attempts on George H.W. Bush by Saddam Hussein and on Bill Clinton by Osama bin Laden, Assassins continues to hold a staggering topicality.

Some critics have accused the musical of humanizing the assassins portrayed in the show, but director Julianne Donelle was careful not to glorify their actions: “Assassins is told through the eyes of the ‘bad guy.’ But just because we hear their stories doesn’t mean we empathize with the horrific crimes they commit. A great way to prevent is to understand.”

Donelle has harbored a passion to direct the musical since appearing in a production several years ago: “It is surprisingly funny and tragic at the same time. There is no composer and lyricist who takes more risks than Sondheim. His spirit of adventure always inspires me to be more creative and innovative as an artist.”

Donelle has expanded the roles of the ensemble, making them active participants in the telling of the story. She’s also changed the gender of their leader, the Proprietor. Making the enterprising character a woman enhances the female presence of the testosterone-filled cast, and adds a dimension of sexuality to her manipulation of the characters.

Assassins is the fourth production in Coeurage Theatre Company’s third season, following hit productions of Balm in Gilead, Romeo and Juliet, and Is He Dead?

For interviews, photos, press tickets, or more info, please contact Sammi Smith at sammi@coeurage.org or (949) 232-4368.

###
EDITORS, PLEASE NOTE: CALENDAR LISTING

What: Assassins

Who: Music and lyrics by Stephen Sondheim
Book by John Weidman
Directed by Julianne Donelle

Starring: Jonas Barranca, Jesse Bradley, Gedaly Guberek, Mark Jacobson, Aimee Karlin, Jason Peter Kennedy, Graham Kurtz, Gary Lamb, Jeremy Lelliott, Nicole Monet, Kim Reed, Nick Rocz, Christopher Roque, Christine Sinacore, Sammi Smith, Ryan Wagner

Music Director & Arrangements: Gregory Nabours
Scenic Design: Brooke Baldwin
Lighting Design: Michelle Stann
Sound Design: Bryan Williams
Costume Design: Kara McLeod

When: Thursday, August 2, 9:00pm (PREVIEW)
Friday, August 3, 8:00pm (OPENING NIGHT/GALA)
Saturday, August 4, 8:00pm
Sunday, August 5, 7:00pm
Friday, August 10, 8:00pm
Saturday, August 11, 8:00pm
Sunday, August 12, 7:00pm
Friday, August 17, 8:00pm
Saturday, August 18, 8:00pm
Sunday, August 19, 7:00pm
Friday, August 24, 8:00pm
Saturday, August 25, 8:00pm
Sunday, August 26, 7:00pm
Friday, August 31, 8:00pm
Saturday, September 1, 8:00pm
Sunday, September 2, 7:00pm
Friday, September 7, 8:00pm
Saturday, September 8, 8:00pm
Sunday, September 9, 7:00pm

Where: Actors Circle Theatre
7313 Santa Monica Blvd.
West Hollywood, CA 90046

How: Tickets available at http://www.coeurage.org/plays/2012-season/assassins

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)

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.

Coeurage presents
Is He Dead?

What do you get when you combine Mark Twain and David Ives? “An elaborate madcap comedy
that registers high on the mirth meter and reaches especially giddy comic heights!” – David
Rooney, Variety. Coeurage Theatre Company brings the Twain-penned, Ives-adapted farce Is He
Dead? to the stage right in time for the 3rd Hollywood Fringe Festival.
Twain’s play was never produced in his time, largely due to a fire that destroyed London’s
Lyceum theatre in 1898. Over a century later, the play was discovered in UC Berkeley’s
archives, revamped by Ives, and debuted on Broadway – ironically at the Lyceum Theatre.
Coeurage looks to build on a third season that has already seen hit productions of Balm in Gilead
and Romeo and Juliet, also featuring ambitious mountings with large ensemble casts. Associate
Artistic Director Ryan Wagner returns after directing their acclaimed production of Dylan
Thomas’ Under Milk Wood.
Is He Dead? tells the story of Jean-Francois Millet, a painter deeply in debt and in love who
receives this ultimatum from his creditor: pay the rent, hand over the woman he loves, or go to
debtor’s prison. Instead, Millet hatches a wild scheme: fake his own death, watch the value of his
paintings skyrocket, and live as his fictitious sister, the Widow Tillou.
Is He Dead? runs June 9 – July 15, Fridays & Saturdays at 8pm and Sundays at 7pm.
For interviews, press tickets, or more info please contact Julianne Donelle at
julianne@coeurage.org or (559) 779-8683.

EDITORS, PLEASE NOTE: CALENDAR LISTING
What:
Is He Dead? by Mark Twain, adapted by David Ives Who:
Directed by Ryan Wagner
Starring: Tina Van Bercklelaer, Gedaly Guberek, Ruby Hanger, Collin Hurst, Jean Kauffman, Gregory Marcel, TJ Marchbank, Kurt Quinn, Sara Perry, Larry Peters, Deven Simonson
Stage Manager: Rebecca Eisenberg Assistant Director: Peter Weidman Assistant Stage Manager: Mason Reynolds Technical Director: Ric Perez-Selsky
Set Design: Ryan Wagner
Sound Design: Joe Calarco
Lighting Design: Michelle Stann Costume Design: Bradley Allen Lock Prop Master: Jonathan Castanien Hair/Wig Designer: Erik McEwen Master Carpenter: Turner Jennings Casting Director: Noah Gillett
When:
Friday, June 8th, 8:00pm (PREVIEW)
Saturday, June 9th, 8:00pm (OPENING NIGHT) Sunday, June 10th, 7:00pm
Friday, June 15th, 8:00pm
Saturday, June 16th, 8:00pm
Sunday, June 17th, 7:00pm
Friday, June 22nd, 8:00pm
Saturday, June 23rd, 8:00pm
Sunday, June 24th, 7:00pm
Friday, June 29th, 8:00pm
Saturday, June 30th, 8:00pm
Sunday, July 1st, 7:00pm
Friday, July 6th, 8:00pm
Saturday, July 7th, 8:00pm Sunday, July 8th, 7:00pm Friday, July 13th, 8:00pm Saturday, July 14th, 8:00pm Friday, July 15th, 7:00pm
Where:
Actors Circle Theatre
7313 Santa Monica Blvd. West Hollywood, CA 90046
How:
Tickets available at http://www.coeurage.org/plays/2012-season/is-he-dead ###

FOR IMMEDIATE RELEASE


MEDIA ALERT FOR THEATRE EDITORS, REVIEWERS, AND CALENDAR LISTINGS


March 21, 2012

An instant classic: Coeurage’s Romeo and Juliet

Coeurage Theatre Company is presenting a spirited production of Romeo and Juliet that breathes new life into the notion of “traditional” Shakespeare. 18 actors and a live lutenist perform the classic tragedy in authentic Italian Renaissance dress. The script they use preserves the most famous lines of the first quarto, but borrows some cuts from the second quarto to honor the suggested “two hours traffic of our stage.”

The production is directed by Artistic Director Jeremy Lelliott, who says, “I wanted to create an experience for our audiences that one doesn’t find easily in Los Angeles: traditional, exciting Shakespeare with sword fights, renaissance costumes, and a company of trained actors speaking at the speed of thought.” While the cast is large, Coeurage’s space at the Actors Circle Theatre in West Hollywood is relatively small. For Lelliott, working in the 47-seat theatre is a plus, “It’s like we’re doing a whole production just for the groundlings.” 

Romeo and Juliet is the second production in Coeurage Theatre Company’s third full season. As LA’s only Pay What You Want theatre, Coeurage lets each patron determine the price of their ticket to every performance. Veteran actress Lynn Ann Leveridge , who plays the Nurse, is excited to be working with the fast-rising company, “As an actor who’se been in the business for over 40 years it is so invigorating to be surrounded by this talented young company playing one of the greatest roles ever written for an older woman!

Sammi Smith takes on the role of Juliet. “It’s been a pleasure to be a part of a production that focuses on telling the story simply and with passion,” she says. Cast member Kristopher Lee Bicknell adds, “The great thing about this production is that there are no gimmicks. It’s just good theatre.”

Romeo and Juliet runs April 14 – May 20, Fridays & Saturdays at 8pm and Sundays at 7pm.

For interviews, photos, press tickets, or more info please contact Julianne Donelle at
julianne@coeurage.org or (559) 779-8683.

###

EDITORS, PLEASE NOTE: CALENDAR LISTING



What:
William Shakespeare’s Romeo and Juliet

Who:

Directed by Jeremy Lelliott
Starring: Jonas Barranca, Kristopher Lee Bicknell, Joseph DeSoto, Noah Gillett, Gedaly Guberek, Aimee Karlin, Mary Jo Kirwan, John Klopping, Graham Kurtz, Lynne Ann Leveridge, TJ Marchbank, Jeffrey Masters, Ryan Miller, Lawrence Peters, Franc Ross, Deven Simonson, Sammi Smith, M Jennings Turner

Assistant Director: Laura Crow
Technical Director: Ric Perez-Selsky
Lighting Design: Michelle Stann
Costume Design: Karen Curry
Stage Manager: Emily Page
Fight Choreographer: TJ Marchbank
Music Director: Ryan Ayers


When: 
Friday, April 13th, 8:00pm (PREVIEW)
Saturday, April 14th, 8:00pm (OPENING NIGHT)
Sunday, April 15th, 7:00pm
Friday, April 20th, 8:00pm

Saturday, April 21st, 8:00pm
Sunday, April 22nd, 7:00pm
Friday, April 27th, 8:00pm
Saturday, April 28th, 8:00pm
Sunday, April 29th, 7:00pm

Friday, May 4th, 8:00pm

Saturday, May 5th, 8:00pm
Sunday, May 6th, 7:00pm

Friday, May 11th, 8:00pm

Saturday, May 12th, 8:00pm
Sunday, May 13th, 7:00pm
Friday, May 18th, 8:00pm

Saturday, May 19th, 8:00pm
Friday, May 20th, 7:00pm



Where:
 Actors Circle Theatre

    7313 Santa Monica Blvd.

    West Hollywood, CA 90046



How:
Tickets available at http://www.coeurage.org/plays/2012-season/romeo-and-juliet

Presented by Coeurage Theatre Company and produced by A Perfect World Productions

Starring Ilia Volok
Directed by Eugene Lazarev

July 19 – 8:30PM

Tickets: $15
Running Time: 80 Minutes

Diary of a Madman centers on the life of Poprishchin, a low-ranking
civil servant who yearns to be noticed by a beautiful woman, the
daughter of a senior official, with whom he has fallen in love. His
diary records his gradual slide into insanity. The story portrays the
average man’s quest for individuality in a seemingly indifferent,
urban city.

Produced by Ani Avetyan

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!

Buy Tickets Can’t attend? Donate!

What: A Fundraiser for Coeurage Theatre Company
You are invited to an evening of jazz music, dancing, food, alcohol and beautiful people! Your $25 dollar ticket will get you admission, 1 drink ticket, food, entertainment and 1 free raffle ticket (Prizes to be raffled off include: 2 tickets to the Opening Night Gala of Romeo and Juliet, an at home, 3 course dinner prepared by one of our incredibly talented members and a brand new Coach Wallet!) Please wear your finest attire and enjoy an evening hosted by a Coeurageous theatre company.

When: Thursday, March 29th at 9 PM
Where: Our current home: The Actors Circle Theatre
7313 Santa Monica Blvd
Hollywood, CA 90046

Why: Coeurage Theatre Company is becoming Non-Profit!!! This evening is about raising money so Coeurage can afford to file the 501(c)(3) paperwork and become the Non-Profit Theatre we always wanted to be! The benefits from becoming Non-Profit are endless, but the biggest perk is that we will now be able to get grants from the government! We need this money to get our very own theatre and eventually start an educational outreach program! We also are raising money to get a liquor license, so we can keep providing you with the intermission refreshments you love!

Bring your dancing shoes. See you there!

“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.

About the Play: Does reality create our beliefs or do our beliefs create our reality? Looking beyond scientific understanding of the placebo effect, the play Chewed Bread imagines a world in which our reactions to life spring from a belief (or lack thereof) in placebos. Loosey and Box are sisters, daughters of a Turkish immigrant who fed them a worldview of equal parts old world mysticism and modern empiricism (alongside their breakfasts of apple-feta sandwiches.) In the aftermath of their father’s death, the sisters try to sort out their differences and what they mean about the man who shaped them. Told through a fragmented account of science, belief, and sibling rivalry, the play invokes the tricks of the brain as the two sisters try to piece together an adult relationship. Through song, dance, and excel spreadsheets, Chewed Bread explores that niggling suspicion that each of us is really the family misfit.

Author bio:
NISA ARI and PAZ PARDO began working together while at Stanford University in 2004. Both grew up in eerily similar, bi-cultural households, with one sister apiece, more than likely contributing to their mutual fondness for identity crises and men with accents. Trained in classical theater, Shakespeare, musical theater, clowning, and improvisation they are committed to physicalized activations of poetic language and cultural memory. Both NISA and PAZ currently live in New York City, where this piece was created. NISA is the Associate Director of the Studio Program at the Elizabeth Foundation for the Arts as well as a frequent musical theater, jazz, and theater performer both in NYC and Colorado. PAZ is the resident dramaturg with The TEAM (Theatre of the Emerging American Movement) in NYC, and has performed in New York, London, and San Francisco. They are thrilled to have this collaboration with the Coeurage Theatre Company.