Young Lady from Rwanda Journal - Week 1, by Miriam Hyman

Week 1

We begin the week of rehearsals by doing table work, reading through the play, discussing characters, and the play’s overall journey and purpose. It's difficult material because of a few reasons: it's based on true events, a horrible one at that, and inspired by real people. My goal for this week is to do a bunch of research about Rwanda itself, the people, their cultures, lifestyles and so on. At rehearsal, the dramaturg and director are kind enough to share several reading materials, such as What Is the What, Life Laid Bare, We Wish to Inform You that Tomorrow We Will Be Killed with Our Families, and Left to Tell, just to name a few. During this week I will also watch many films to give me precise images of the horrific disaster of genocide in Rwanda, such as Sometimes in April, Hotel Rwanda, Last King of Scotland and Ghosts of Rwanda. For me it is necessary to see what my character would have seen. I also observe these films to listen for dialect references and natural rhythms of speech. This is a busy week for me because, in addition to all this research, I must constantly learn lines, more lines, and more lines. Luckily, I began learning lines and doing research before I came to People’s Light to begin the rehearsal process for I Have Before Me a Remarkable Document Given to Me by a Young Lady from Rwanda. It is a tough process, but there is no place I would rather be and no other show that I would rather do than what’s in front of me. My mission is to do Juliette's (my character) story justice.

Young Lady from Rwanda Journal - An Introduction by Elizabeth Pool

From our Resident Dramaturg Elizabeth Pool:

This spring we are thrilled to be working on Sonja Linden’s play I Have Before Me a Remarkable Document Given to Me by a Young Lady from Rwanda. The piece explores the horrors of the Rwandan genocide and tells the story of Juliette, a young survivor struggling to find her story and her voice. Miriam Hyman plays Juliette and agreed to give us a glimpse at her process for creating this character and this play. Over the rehearsal period she will check in with us on a weekly basis to blog about her experience. We hope you will enjoy this peek into an actor’s world and will join us for I Have Before Me a Remarkable Document Given to Me by a Young Lady from Rwanda.

Getting Near to Baby Journal - 4/18/08

Opening Night with the cast of GETTING NEAR TO BABY

We were backstage with the young cast members of Getting Near to Baby on opening night. Here they share how they managed the nerves, jitters, and excitement:

Katie Johantgen (Liz Fingers): Opening night was glorious! My mom, dad, little sister, and her friend were there. The house was packed and really friendly so it made it a really fun and exciting show.

Claire Inie-Richards (Willa Jo): I didn’t want my family to be there on opening night because I knew I would be nervous and didn’t think I could handle the pressure. It was really fun though and I felt great about the show - that took a whole lot of the nerves away!

Maggie Fitzgerald (Little Sister): Opening night was thrilling. I had my mom and grandfather there to support me. Opening night always gives me goose bumps and makes me nervous, but I turn all my nervousness into energy!

Getting Near to Baby Podcast, with Willa Jo!

Click here to listen to a podcast interview with Claire Inie-Richards, who is playing Willa Jo in Getting Near to Baby. What would you have asked Claire if you had done the interview? Write us a comment and let us know!

Getting Near to Baby Journal - 3/10/08

Making It Work

The talented young actors in Getting Near to Baby balance quite a bit between school, rehearsals, and other activities. Here they let us in on how they make it all work.

Meg Rose (Cynthia Wainwright): Management of school, rehearsal, and the rest of my life has been surprisingly easy on some days and impossibly difficult others. One of the many things I have learned is to manage my time. Doing everything ahead of when it is due is the key to my easy nights. By everything, I mean memorizing lines and homework. I am in the 8th grade at Westtown School and everyone’s support is what helps me get through the two plus hours of homework after a five hour rehearsal.

Claire Inie-Richards (Willa Jo): I am home schooled, actually it is called cyber school. I do my schoolwork on a computer at home so it doesn’t really get in the way….thankfully!

Katie Johantgen (Liz Fingers): It’s tough! The most important thing is making sure I’m communicating with all of my teachers so they know my schedule and can work with me to keep me up to date with my homework. I also have to do my best to go to bed early so I get enough sleep, but that’s hard too. I would say it stinks being so busy, but I’m doing what I love to do so it’s fun.

Nathaniel Brastow (Isaac Fingers): I have to be very organized and I need to do things when I have time to do them. I have to think ahead.

Maggie Fitzgerald (Little Sister): It is certainly a challenge to balance school and rehearsal. I usually get all of my homework on Monday (our day off) and do it on Monday nights and on breaks during rehearsal. All of my teachers are very supportive of my career and help me keep up.

Getting Near to Baby Journal - 2/29/08

"Finding My Inner Meanie", by cast member Meg Rose, who plays Cynthia Wainwright in the production.

In Getting Near to Baby, the character of Cynthia is a cookie snatching, goodie-two shoes, know-it-all bully who no one likes. Everyone has a Cynthia in their life. In fact, let's admit, everyone has a Cynthia lurking inside. The initial joy I felt when I was cast soon turned to panic when I realized that audiences might hate me. But then I started to think about why she behaves the way she does and I started to feel sorry for her. I started to understand her meanness and hoped the audience would understand her too, so I didn't come off mean. Then I was told that onstage if you play your character as mean as you can you're doing a great job and if people tell you that you were really mean it's a compliment. I realized that Cynthia needs to be in the play, without her, there wouldn't be the "villain." But I hope I wouldn't be mean like Cynthia in real life. That would be rude and "without charm." Besides, my mother would kill me. Onstage it's different. You get to be bad without getting in trouble. But it's not as easy as you may think-- it's a challenge to let my inner meanie be seen in front of people. I don't want to be interpreted as mean, but it took a little while for the thought to sink in, the thought that the audience doesn't see me as mean, but they see Cynthia as mean. Honestly before it feels fun it feels hard. I have to focus on what Cynthia wants and not let any thoughts about what people think get in my way. Then it's pure pleasure.

As an added bonus for you guys, here are some pictures from the rehearsal:

Cast members Nathaniel Brastow, Katie Johantgen, Susan McKey and Meg Rose.

Maggie Fitzgerald and Nathaniel Brastow.

The very crowded rehearsal room!

The Getting Near to Baby Rehearsal Blog – Welcome!

Getting Near to Baby continues our initiative to bring award winning novels for young people to the stage. It tells the story of 12 year-old Willa Jo and Little Sister who, after the death of their baby sister, are whisked away from their mom to live temporarily with Aunt Patty, who has a million rules about everything. For this production we felt it was imperative to cast children in the roles and as a result we are excited to welcome five actors under the age of 16. We knew they would have a unique perspective on the process of bringing this story to life so we asked them to participate in this on-line blog. Twice a week we will receive an entry, written in their own words, of what is happening in the rehearsal room. We hope you will check back on the work of the young cast and join us in March and April for Getting Near to Baby.

What is Dramaturgy? By Elizabeth Pool

Elizabeth Pool, our Resident Dramaturg, clears it up for us.

At a recent talk back one of our inquisitive audience members asked the question I get asked quite often – what is a Resident Dramaturg? It’s a question I am used to answering from friends, family members, and perceptive audience members! I like to think of my job as making a play accessible to whoever comes in contact with it, everyone from actor to audience member. In rehearsal, I provide information to actors and directors that underscore the understanding of context – historical context, geographical context, and social context. For example, with a play like The Glass Menagerie, it might help the cast understand their characters place in the world by understanding a bit about life in St. Louis in the 1930s. I also hope to make the play accessible to the audience through tools like program notes and lobby displays. I try to ask the question: What information can be shared about the playwright or play that will make this piece more accessible to YOU, the audience member? I look forward to generating more conversation with you as the season unfolds.

Thoughts on a Quick Trip to Tucson, by Elizabeth Pool.

By Elizabeth Pool, Resident Dramaturg

In mid-January I had the opportunity to visit the University of Arizona and meet with their undergraduate and graduate candidates in dramaturgy. The idea was to talk for an hour with the students about the process of dramaturging adaptations as well as general discussions about launching a career as a dramaturg. The students were professional, enthusiastic, and creative. I was extremely impressed with the exuberance they brought to their work and the commitment they had to dramaturgy. Their portfolios were bursting with snapshots of lobby displays (so imaginative they bordered almost on installation art), extensive writing samples, and thorough research. Dramaturgy can be a fairly solitary pursuit and it was inspiring to be around such an engaged group of people. As I was flying home from Tucson, on a clear day and above some pretty spectacular mountains, my thoughts wandered to these students and their abundance of “Big Ideas.” They reminded me that theatre and the creation of art can be exuberant, intelligent, and graceful all at the same time.

Medieval times, juggling, and an orphan named Crispin.

This past Tuesday, People's Light held an invited dress rehearsal for our upcoming production for Crispin: The Cross of Lead (the second production of three in our Family Series program). The show officially opens tomorrow night. Crispin was adapted by Russell Davis, and is based on the novel by Avi.

Now, invited dresses are one of my favorite things. An invited dress is held the Tuesday before the opening performance of every production PLTC does. It's a necessary and educational event that is as much for the actors and stage crew as it is for the people who come to see it. And just who gets to be present at this special event, you ask? Well, it's usually reserved for PLTC staff and their family members, actors' families, and maybe a sponsor or two. However, this last one was different. We held a subscriber reception for those patrons who are new subscribers this season, so that we might meet them and give them the chance to ask us questions. We had a great turnout, and the house was filled to the brim with people eager to see what happens to our hero Crispin.

We've updated our picture section with some shots from the show. If you're intrigued by any of those photos of juggling, laughter and mishap, come join us for Crispin: The Cross of Lead, running from January 17th - February 24th!

-Shives