m u s i n g s
Opening of Androcles and the Lion (redux): with dear hearts Jennifer Boris, PSM; Melissa Wanke, SM and David Suppe, TD and Lighting Design ( 'Suppe Puppy') 10/01. Below right: Stuart Coakley in his fat suit in the dressing room for 'Androcles and the Lion' redux. Stuart's portrayal of Pantelone was superb -- this fine fellow has it, inside out.
Just read this poem in my datebook and loved it. Thought you guys would enjoy it too...Love, M
OLD WOMAN SPEAKS by Tami Kent, 1999
Tell me what do you know
of the depths of your sea
have you swam shore to shore
and returned breathless to the sand
have you climbed mountains
made music, created fire
have you done something dangerous
from which you might not return
have you stood naked in front of a mirror and said, "Hmmm, I do look good." and then danced around to get a better look
have you pressed your lips against those of another and lost track of where you ended and they began
have you loved known loss, let go, held on surrendered to something
have you been scared
lost, confused, truly sad
have you felt joy at your very core
and laughed like a crazy woman
have you told stories
heard stories, made stories, shared stories
have you come face to face with a wild thing and listened deeply to what the earth has to say
have you walked in the path of another
or slept under an open sky
do you know what I am saying
have you lived tell me.
"The older one gets in this profession, the more people there are with whom one would never work again."
|Received the most incredible email 11/29/01:
|From 'A Blessing for Comedies' by Elizabeth Barrette
'When trouble turns in our direction, May you throw a banana peel in its path;
When you see the other gods Measuring the days of our lives, May it please you to fudge the numbers in our favor.
When you hear them plotting to squash us all, May you tell them bad jokes Until they die laughing And leave us alone."
|Bill Pullman backstage 3/21/02
"The hallmark of the good director is his ability to challenge the actor to connect to the material in a subtle and soulful way, to engage the actor so that he wants to get at the larger truth. The problem with many directors," Pullman continues, "is that they have a failure of nerve. They believe the most obvious themes in the play are the most important. They go for the lowest common denominator. We need to see more risk on stage
Maggie Smith - backstage 3/8/02
On 'seeing her acting as effortless.' "If it's anything I've achieved, I'm very glad, because that's what you want to achieve--to make it look easy, as if you're at ease onstage. But I don't know if it's as simple as that. I think it's quite frightening to be onstage. Certainly at the beginning of the run you're very, very nervous. It's terrifying. You don't know what can happen. When you start off in the theatre you think that's all there is to it -- you just learn your lines and go on and it will all be simple. But it's not at all like that, and the more you go on, the more complicated it becomes." A bit of those complications stems from having a reputation to uphold, she admitted. "But basically it's a question of, Are you going to remember the lines and are you not going to fall over."
She has heard how serious auditions are in the States and is cautious about offering advice. "To start off with, any audition I went to I always failed. Thank God that's not happening anymore, because I don't think I would get parts if I had to audition." Now roles come to her, but, she said, she need not make many decisions because not that many are offered. "The roles that come to me, I do, on the whole," she admitted.