On Hope and Guidance

CONGRESS IN SESSION

To the Fair Assembly of this Great United States,

Two pivotal events occurred this week, one great and one small, but both endowing me with new vigor and belief.

First was the monumental election of Senator Barack Obama as the 44th president of the United States. I am an avid supporter of this dynamic gentleman and was thrilled to be on the streets of New York City amid cheers and honking when McCain’s concession was announced. This campaign was really something special. For the first election in my lifetime, there were ways for the everyday citizen to get involved other than just giving money (to go into the pockets of the television network giants).

It occurred to me, while watching Obama’s acceptance speech, that maybe this incredible national involvement will not end. Prior to now, I have assumed that the involvement of the typical US citizen in this representative democracy does not extend past voting and paying taxes. It has suddenly dawned on me that perhaps there is more. Perhaps we the people will play a role, should we accept it, beyond casting our ballot and be a part of the Great Change. I am 22 years old and this is the first time I have really felt proud, and excited, to be an American.

The second encouraging event of the week occurred last night, when Ryan Emmons (New Jersey-D) and I met our beloved teacher and mentor, Marie, for drinks and discussion. For four years, Marie guided, pushed, challenged, and encouraged us and I am so grateful that, though we have graduated, she is still just as much in our lives. With her usual no-nonsense insight, she has helped me see the path again in terms of our company, the current play, and reaching my dreams. Talking with her has reminded me how simple it all is. If something isn’t working, don’t keep slamming your head against it or looking around vaguely for an answer, just go to the source and find what caused it and fix that.

So thank you, Barack and Marie, for allowing me to see how to make the change we need.

Written by Julie Congress

Congress In Session

Thank you Mr. Chairman. I appreciate the opportunity to express a few views on the importance, and randomness, of inspiration.

Throughout school, an artist, of any discipline, is continually told to learn about all of the arts. As a director, it is important for me to have a solid grounding in music, dance, and visual art. That does not mean I have to have a proficiency in any of these subjects, but it is important to know about them. Why?

As I have argued previously, I believe theatre to be one of the highest art forms because it holds the potentiality to incorporate all of the other arts. Is a set not a painting? Is blocking not moving sculpture? Thus, if theatre includes other art forms, then one must know about them so as to have a bank to draw from.

Why else? You never know what is going to excite your imagination. A year ago, I saw some German Expressionist woodcuts. A few months later, Ryan Emmons, my colleague from New Jersey, and I decided to direct a high school production of Bat Boy: The Musical in the Expressionist style.

Currently, No. 11 Productions is creating an original play, entitled Claire and the Ornithological Shadow. At any early rehearsal, we gave Samantha Hooper-Hamersley (New Jersey – D) a wooden bird that happened to be in the apartment and told her to create a short scene with it. How could we know that this would so spur all of our imaginations? How could we know that birds (and ornithology) would become a central element to the piece? It is amazing to me how large a role luck and chance have in the creation of a work of art.

This is why an artist must be constantly observing, constantly noticing new things. An artist must surround him or herself with the unusual and creative and that goes for objects, people, and ideas.

I do not pretend to know where ideas come from. In my mind, they are rather magical. You cannot seek out inspiration or force it to happen, but you can follow what interests you and be a constant observer, detective, and student. Whenever Twyla Tharp starts a project, she just researches whatever interests her. She calls this “scratching.” As an artist, one must be constantly scratching. An artist must know about all of the arts, keep interesting company around, engage in stimulating conversation, and have new experiences. To put it plainly, an artist will be inspired creatively if they life to the fullest.

Written by Julie Congress

Ryan's Feelings

Halloween is in 4 days.  I’m counting.  It’s always been my favorite holiday for one reason or another.  Surely when I was younger it was because I knew there were pillowcases of candy coming my way.  A bit later in life it became an excellent excuse to throw a fun party, themed with the undead or homicidal hippies.  Then came the phase where I tried to create the most impressive Halloween display on the street complete with fog machine and strobe light (I know, it’s a bit much).  No matter when, what was always at the heart of it was an opportunity to be creative in an uninhibited way. 

Halloween, as it exists in America today, is an excuse for people to have fun and express themselves in a non-traditional way.  It’s a day people use to put on the costume of a hero or to dress like a sexy pirate.  As winter slowly approaches, it gives people one last hurrah before the deep freeze.  It’s also one of the only days of the year where we, as a society, create something and then walk around to display work.  Very few people I know simply buy a costume from a store, rather they invent and fashion themselves something that is unique.  Four days before Halloween, people are thinking creatively, asking themselves What am I going to be.  What is the best way to carve my pumpkin this year?  How can I add to the yard display?   

I don’t mean to suggest that these are consuming questions that everybody thinks about, let’s be real, there are lots of people who don’t think about Halloween at all.  I do suggest, however, that there is something in the air around Halloween that I find inspiring.  There is something amidst the leaves changing, the cool air and the hot sun that picks me up and urges me to enjoy.  To create something beautiful.  To be silly.  To embrace spooky.  To have fun.  Four days left and I still don’t know what I am going to be.                 

11 Be or Not 11 Be

As you know, we had our first reading of our reading series (11 Celebrates 10) on Monday!  The play was called Out To Lunch by Joseph Langham, and we read at Under St. Marks. 

Before I talk about the performance, which I will, I wanted to point out something else.  Something that I hope continues throughout our reading series.  It was truly inspiring and fun to work with other young theatre artists with similar aspirations and goals in creating theatre.  At our rehearsal for the reading there was energy and excitement about this relatively unknown play.  There was also a sense of play and silliness that I think can be lost in a world that often seems to be every theatre company for itself.  This reading went beyond that and was simply about people wishing to create theatre collaboratively.  Of course this project was low stakes and the artistic commitment was on a much smaller scale than attempting a full production.  When something becomes a larger commitment, that is when it seems people need to stay true to their own company.  That is when actors and directors and designers become territory that is not ready to be lent out like a library book.  I’m in no way condemning this, I act in a similar way…I just wonder if an inter-company loan system might benefit us all.   

The reading itself went well.  We had a good sized audience, the playwright was there we had a talk back that opened up the play in new ways and shed some light on theatre and art in this day and age.  The entire evening was very fun, again there was a lightness and an honesty to what everyone was doing that made this an enjoyable experience for all.  Even more exciting was that this became an opportunity for theatre artists to talk about the political nature of theatre, the power of theatre and what needs to be done in theatre as we move forward in our world today.  I felt like I was a student in a small café in France right before the revolution.  Certainly with our country, economy and lives where they are, an artistic revolution is necessary.  We are on the cusp of great change, for better or for worse, and we need to be prepared to reach out and also listen to the pulse of our country and then, like any good actor would do, react.

 

Written by Ryan Emmons

               

Direct Consequences

As a director, every production you tackle is a different. Currently, I am co-directing (with Ryan, the Kander to my Ebb) No.11 Productions’ original play Claire and the Ornithological Shadow. After last night’s lackluster rehearsal, I feel I need to remind myself what it means to be a good director. Here’s what I think (and please, feel free to comment or disagree or question this, I would love to make this a discussion).

A director…

• Is organized and creates a focused rehearsal atmosphere that fosters ideas, growth, and play.
• Determines blocking and provides the creative team with a sturdy structure.
• Is keeper of the vision, creates the world of the play.
• Inspires the actors and creative team to do their best and makes sure no one feels slighted.
• Ensures that all of the elements create a cohesive production.
• Is never afraid to try an idea.
• Asks questions and provokes the imagination of the creative team.
• Is confident in their ideas and vision (without being closed off to suggestions).
• Finds the means to create onstage what they imagine in their head.
• Pays attention to every detail.
• Does his/her homework and researches all aspects of a show.
• Does not impose superfluous ideas/devices on a play. Every artistic decision should bring out and enhance what lies in the script.
• Acts for the good of the production.

Claire and the Ornithological Shadow has been a very different directing experience for me. First off, there’s no script. We’re creating this from scratch through the rehearsal process. Previously as a director, the script was my measuring stick and my source of inspiration, now the “script” is an amorphous idea I have to discover. Secondly, there are two directors and two actors. That’s a very odd proportion for me. And we’re rehearsing in our apartments, not a studio. And we’re all really good friends. It’s a weird rehearsal atmosphere and one we haven’t fully adjusted to. Thirdly, and what needs to be addressed most urgently, I’m not sure if we’re all on the same page. The world of the play exists in my mind, but, without a script, it is very difficult to know if the rest of the team sees it the same way. As directors working without a script, Ryan and I have to be all the more eloquent and clear in painting the landscape on which our terrific actors will play.

Don’t fear we’ve got two months to work out the kinks before the play opens and I know it is going to be great when it does. I in no way am casting any disparity on the gang at No. 11, they are wonderful! I just know that personally, as an ever-growing artist, I’ve still got a lot to learn and discover about this powerful, delicate craft called directing.

Written by Julie Congress

11 Be or Not 11 Be

Last night, Mitch and I, the resident Night Owls of No. 11 Productions, were interviewed on the radio! Actor Paul Newport hosts a segment called “Acting Up” and last night, or, rather, this morning at around 2am, we were on live talking about our upcoming reading series (11 Celebrates 10), our company, and our upcoming original production: Claire and the Ornithological Shadow.

It was my first experience ‘going live on the air’ and I will say I was rather nervous about it. However, Paul Newport is a real swell fella and an excellent interviewer, and it was a very fun and exciting venture. Our segment was part of the Teddy Smith show on WPAT AM 930. They’re gonna send us a copy and we should have it uploaded onto our website soon (for our loyal fans who did not happen to stay up until 2am to listen to us).

Here at No. 11 Productions we are working hard to get this company moving and exciting events, such as this radio interview, are starting to bring us some legitimacy. We’ve got a very full, varied, and thoroughly awesome Winter Season planned. Here’s the Reader’s Digest version:

• 11 Celebrates 10 reading series – No. 11 Productions will be celebrating the 10 years of the Plays and Playwrights Series of Anthologies by reading 9 plays and 8 venues. See our homepage for details. And it’s FREE!
  
• Claire and the Ornithological Shadow – An original shadow play we’re creating at the very moment. Dec. 12, 13, 19, 20 @ 8pm and Dec. 14 @ 2pm. Venue: The Bushwick Starr.
  
• Jet of Blood or the Ball of Glass by Antonin Artaud – Our take on this unbelievable play by the father of Theatre of Cruelty. Presented as part of the FRIGID Festival in late February and early March.

So that’s our update. If you didn’t receive our newsletter and would like to, email us at no.11productions@gmail.com.

We’re going places!

Written by Julie Congress

A Beckett Full of Wine or Albee Alright in a Weill (formally Morning)

My day job is at a children’s arts enrichment facility.  The children I work with range from 6 months to five years old.  Children this young obviously have a very small vocabulary and communication is a challenge.  You can tell a group of 2 year olds to come sit down twenty times and they do not understand, but if you sing it once “everybody over here and sit right down” their heads turn and they understand what they need to do. 

 

A friend of mine told me the other day that if you hear a song and then 10 years later you hear the same song, most people will remember the music.  Even if you read a story or are told a story 10 times, it is very likely that you will not remember it in 10 years.  This is why I can watch re-runs of “CSI” or “Law and Order” and have no idea how they are going to end.  Music has the ability to go beyond the intellectual experience and physically move its listeners.  As musical notes and chords vibrate through our bones we are physically changed by that experience.  We understand.  We are forced to feel something.  A person cannot be physically shaken and remain apathetic to what they have been moved by. 

 

This is why I think the American Musical has a place beyond mere entertainment.  When I talk to people about musical theatre there is a stigma that suggests it is not real art or that it is simply entertainment.  But with the potential to have such a lasting and powerful effect, it is also an area of theatre that has the ability to create lasting change and hope.  That’s what a musical like Oklahoma! did.  It gave soldiers going off to war a reminder of the beautiful and incredible country they were fighting for.  It left them with a lasting image of hope, freedom and the life they were fighting to preserve.

 

Ride on the subway or sit in a doctor’s waiting room and listen.  Music is inherent in our world, it’s all around us.  Nature, machines, our bodies all make rhythms and sounds.  A musical should not be a weird land where people break out into song for no good reason, it should be a celebration of the world we live in.  When life takes a person to a point where they no longer can express themselves in words – that is when the musical form becomes necessary.  If that feeling can be transmitted with music, absorbed into an audiences bones, then it becomes more than theatre…it becomes an experience.  Suddenly the audience has literally felt the vibrations of despair or ecstasy.  They have shared a monumental moment with another human being.  This is the type of experience that can be unforgettable. 

 

This is not to suggest that I think most audiences have the intelligence of a 6 month old and therefore need music to understand a play.  But I do believe that there is something unbelievably powerful and lasting that can be experienced through musical theatre.                             

 

Written by:  Ryan Emmons