Berkeley Rep Blog
Category archive: Our shows
The puzzlers in the play
posted by Amy Bobeda on Thu, Feb 2, 2012
in Backstage buzz , Our shows
I can’t remember the last time someone asked me if I wanted to do a puzzle. Oh wait. I can. I was 8, and it was a 3-D puzzle of the Titanic that I destroyed with my fist within hours of deep frustration. From this, one could deduce that I’m really not keen on puzzles -- sure real-life puzzles are the bomb, but if it’s got "jigsaw" in the name, you better me handing me an actual jigsaw.
Point being, the one thing about folks who devote their life the physical production of plays, be it board ops, deck crew, or actors, it's guaranteed that they love their work because of the precision and concentration. Similarly, both are also skills that required in puzzle construction along with, you guessed it: copious amounts of free time!
Some shows are more puzzle-crazy than others. This season, the puzzle love was strong with the folks on Bill Cain’s How to Write a New Book for the Bible (still running at Seattle Rep for those reading from the PNW) but nothing rivals the puzzle love among the cast and crew of Ghost Light. I place the blame on child star Tyler James Myers, who apparently loves to do puzzles in his free time. His studio teacher, Victora, legally required to be backstage at all times Tyler is working, also has an affinity for putting together the most mind-boggling puzzles. The Virgo of the Ghostlightians is Mr. Ted Deasy -- who has been known to rearrange the chair setup for docent presentations while still wearing his spandex ghost costume just because he can’t handle the disorder--is perhaps the most serious among us.
Mind you, when I say they love puzzles, I mean they love puzzles more than TMZ loves catching a nip slip on camera. These folks are averaging about three puzzles a week, and these are not your grandma’s puzzles. We are talking 1,200-piece minimum, impressionist painting that paints your retina, hard-ass (pardon my French) puzzles. Last week, they were finishing a 1970s smorgasbord of chocolates, pizza, and veggies puzzle, and now they have moved on to a 3-D Irish castle. They are so engrossed in puzzles that now everyone gathers around to watch the last five pieces go into place, and we have to let the finished product sit out for a few days for passersby to admire.
Perhaps the worst part of their puzzle obsession is that fact that I, a gung-ho puzzle hater, can now say I have contributed pieces to a puzzle in the last 48 hours. I am seeking help from a support group currently, and soon the Ghostlightians will move on and someone else will come in, again with an affinity for puzzles.
So ladies out there, if you are under the age of 18 and think the world of Tyler James Myers, forgo the fan mail and send a puzzle his way. You’ll thank me later.
Xoxo,
Amy the Antipuzzler
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Lightning speed: From one Moscone to another
posted by Amy Bobeda on Thu, Jan 26, 2012
in Costume shop , Our shows
Dressers think a lot of stupid things are funny. Like the way a single hanger can travel from location to location throughout the show. Or naming ensemble characters with ridiculous names. (In Ghost Light, Peter Macon’s character in the film sequence is named Baboo, and Danforth Comin’s “Man 1” has become Keith-Bobby. Hell, we even think it's funny when George Moscone’s shirt magnetizes itself to the refrigerator backstage.)
One of our favorite things to bide our time thinking about is the realism of quick changes. Last season, fellow dresser Alex Zeek and I spent much of our time obsessing over the fact that, in Three Sisters, Natasha had a quick change that occurred in real time of the play, so there should not have been two dressers changing her — in the reality of their Chekovian world, poor Natasha would have had only the help of one little woman, Anfisa, and I’m guessing it wouldn’t all go down in a minute and a half.
But that, my friends, is the reality and magic, of living breathing theatre, which takes me to the root of our story, the rise in our action, and the quick change that rocks the world. Yes, folks, you guessed right: I am talking about the transformation of Mr. Bill Geisslinger from seedy prison guard to the honorable Mayor Moscone.
Bill Geisslinger as Mayor Moscone in the background with Tyler James Myer; Christopher Liam Moore in the foreground. Photo by kevinberne.com
Quick changes such as this are choreographed with the grace and beauty of Olympic-level synchronized swimming. Alex and I arrive in the stage right quick-change room about six minutes before the Prison Guard exits his last scene. We prep the room: chair in the center, pants pooled on the floor, shoes out of the way, pre-tied necktie on my arm, and magnetic shirt in my hands — all awaiting the arrival of Bill and his arms.
After the gunshots and dreamworld transition music, the auditions begin with Reggie van Huuson. Our cue “It’s Van HOOOOOOOsen” is the moment Bill arrives, sliding his arms into his shirt like a snake darting at the neck of a small child. Standing behind him, I slide the tie over his head while the shirt magnetizes itself closed. Alex unzips his gnarly boots while Bill drops his pants and sits in the chair. Alex then puts his legs through the pant legs, and slides on his shoes, while Bill and I apply the Moscone wig to his head. I glue down the sideburns and hold them as Bill stands up, buckles his pants and belt, and turns toward the mirror. I continue to apply pressure while Alex helps him into his glasses and wedding band. I clip the toupee clips that hold the back of the wig to his own hair as Bill perfects the infamous Moscone curl at his forhead. Alex runs to page the curtain for his entrance, while I help Bill into his suit coat. And by the time the Puppeteers and Ghost puppet are done with their audition piece, Bill has left my sight, like a ghost, vanishing into the depths of backstage blackness.
I am left to clean up my brush and adhesive, and scram so that Barbara Blair can change Louise into her last show look.
I grab my wig block and walk the stairs back to the wig room, knowing that I will do nearly the same thing again tomorrow, in a job that is monotonous, but never mundane.
Sarita Ocon, the Moscone wig, and I wait in the green room for our next cues in act two.
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Mike Daisey's big news
posted by Karen McKevitt on Thu, Jan 26, 2012
in News , Our shows
It's hard to believe that a whole year has gone by since Mike Daisey performed The Agony and The Ecstasy of Steve Jobs on our Thrust Stage. Even then it was clear: for Mike, this wasn't just about creating a successful theatre piece -- it was about changing the values of one of the largest, most popular American corporations.
Or, perhaps, "American and Chinese corporations."
Because, as the Twitterverse pointed out recently, for all its billions, Apple has $0 in American manufacturing. (Again, that's from Twitter. Debate at will.) (Also from the Twitterverse: "People, we're also responsible b/c of our lust for the products.")
The waves that started here in Berkeley have reached epic proportions in New York, where Agony enjoyed a terrific run at The Public -- and returns there on January 31.
In the meantime, the largest tidal wave came in the form of a special episode of This American Life featuring a portion of Daisey's monologue followed by a rigorous discussion and debate. It aired the weekend of January 6. Mike Daisey reports that it's the most downloaded episode in This American Life's history. Listen to it. I heard part of it in the car and was mesmerized -- thankfully, I wasn't the one driving.
And yesterday, the New York Times posted this article, which has since moved up the front page of its site and garnered over 1,000 comments.
Earlier this week, Mike emailed "Some Big News" to Berkeley Rep, among many others. I had seen a version of this email on his Facebook wall, and I'll excerpt it here. After all, Mike can say it so much better:
"That same week [as the TAL airing] news broke that hundreds of Foxconn workers had a stand-off that lasted two days, where they were all threatening mass suicide by throwing themselves off the roof of the plant over their working conditions.
http://tinyurl.com/7tbtoo8
"This is at Foxconn, a company which Apple's own 2011 Supplier Responsibility Report said was completely up to code, and which Apple applauded for their efforts. This is the company about which Steve Jobs said the employees enjoyed a virtual paradise of movie theaters, swimming pools, and luxury.
"A week after our show was broadcast, Apple made an abrupt announcement. After years of stonewalling and silence, they released the full list of their suppliers, and agreed to outside, independent monitoring of working conditions in the factories they use. It is not everything, but it is a small step down the right road.
http://tinyurl.com/6ojorxx
"Many news outlets are crediting THE AGONY AND THE ECSTASY OF STEVE JOBS for being a large factor in Apple's decision. I've received a number of emails from Apple employees who have told me they believe that hearing this story on THIS AMERICAN LIFE, a program many Apple employees listen to with their families and their children, created "a morale situation" that finally compelled Apple to begin to do the right thing.
"I would like to thank everyone who has heard this story and then told it on to the next person. In theater we sometimes doubt that we can effect change—I think we all doubt it, sometimes. The truth is that telling stories, person to person, is the best way we have ever had of connecting to the human—and whatever this show may or may not have achieved, it has come out of the conversations happening night after night after night."
And thank you, Mike, for telling the story first.
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Myth busted: The prison guard's hair
posted by Amy Bobeda on Fri, Jan 20, 2012
in Costume shop , Our shows
At the opening night reception for Ghost Light, actor Bill Geisslinger and I encountered two things: tiny cups of wine and audience disbelief. It went a little something like this:
Kyle from Marketing: Congrats!
Me (sipping tiny wine cup): Thanks Kyle, it’s so nice to finally be open!
Kyle: So I have to know, in real life, Bill Geisslinger has very light gray hair, but as the prison guard it's black…
Me: (Sip second tiny cup of wine in preparation for the following:)
Well Kyle, and other curious Berkeley Rep patrons, I am so glad I am here to demystify the quizzical hair situation of my good friend Billy G. (That is the rap name I bequeathed him, but don’t tell, he doesn’t know yet.)
Bill Geisslinger haunts Christopher Liam Moore in Ghost Light. Photo by kevinberne.com
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See "The Memory Be Green," plus more TV coverage
posted by Karen McKevitt on Tue, Jan 17, 2012
in News , Our shows
Tune in to KQED at 7:30 tonight for The Memory Be Green, a documentary by KQED and Dave Iverson that combines the creation of Ghost Light with "reflections on George Moscone and the times he lived in."
And, if you missed last week's press conference, check out the coverage on CBS and NBC-11 -- plus, read about that and opening night on Broadway World. Want more? Check out all the buzz!
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I would walk 500 miles
posted by Amy Bobeda on Fri, Jan 13, 2012
in Costume shop , Our shows
I’ve always enjoyed The Proclaimers "I’m Gonna Be" (aka "500 Miles") from the Benny & Joon soundtrack, but I’ve never really considered the commitment required to walk 500 miles just to be with someone. That is, until now.
On December 31, we had our first day of tech rehearsal for Ghost Light, and through a moment of divine inspiration, I threw on a pedometer just to see how many miles I would walk that day for director Jon Moscone. In less than eight hours, I logged 8.5 miles while finishing the shopping for the show — laundry detergent, magnets for the magical George Moscone quick change, and a trendy wallet for the character Jon. Eight and a half miles for one day seemed a little high, so on Sunday I tried again.
I realize most people have no clue what the fancy-shmancy term “tech rehearsal” means. So imagine this: you are locked in the theatre for 10 out of 12 hours, going from light cue to light cue, sound cue to sound cue, taking an hour to work though a 45-second transition, and crying when the corn-based snacks that production management provides run out. That, in a nutshell, is tech.
But, back to the mileage at hand. Sunday marked another 8.5 miles. At this point, my competitive instincts kicked in and I actually wanted to beat the previous days’ records. On day three, people began to ask how many miles I had logged. On day four, I lost my pedometer*, but not before I noted that I had logged 42 miles.
FORTY TWO FREAKIN’ MILES. And, that was only in four days of tech.
So, I suppose the point to my story is this: every day a group of folks dress up in black and walk well before the audience arrives. They set the ghostlight. They check the sound levels and video feeds. They preset the clothes and restyle the wigs. Together they walk 500 miles for Jon, and George, and most importantly, you.
So, next time you rewatch Benny & Joon, and "I’m Gonna Be" plays, enjoy the fact that a whole group of folks walked 500 miles, just for you.
Johnny Depp and Mary Stuart Masterson in Benny & Joon
*Today, I found my pedometer under my desk at Harrison St. I don’t think I need it anymore.
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Snapshot from the "Ghost Light" press conference
posted by Karen McKevitt on Wed, Jan 11, 2012
in News , Our shows
All the major networks descended on the Roda Theatre today: ABC, CBS, Fox, and NBC. Why? A special press conference for Ghost Light, which officially opens in a mere few hours. But be sure to watch the news tonight -- Tony Taccone and Jonathan Moscone both had profound, even moving, comments.
(Yeah, the photo's a little dark. I didn't want to disturb everyone with a flash.)
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Great Performances: "Let Me Down Easy" airs Friday!
posted by Karen McKevitt on Mon, Jan 9, 2012
in Our shows
It's a super-busy and exciting week here at Berkeley Rep: The Wild Bride is selling like crazy and continuing to earn standing ovations, and the much-anticipated world-premiere production of Ghost Light opens Wednesday.
And here's another event to add to your calendar: PBS's Great Performances airs Anna Deavere Smith's Let Me Down Easy on Friday. It was recorded at Areana Stage last February -- several months before it came to Berkeley Rep, where it enjoyed a phenomenal run (and encore!) that smashed box office records. If you missed that run and want to enjoy it again, check it out!
Watch Let Me Down Easy on PBS. See more from Great Performances.
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"Ghost Light" materializes tonight!
posted by Karen McKevitt on Fri, Jan 6, 2012
in News , Our shows
Ghost Light, the much-anticipated world-premiere production, begins previews tonight. In this haunting show, Artistic Director (and playwright) Tony Taccone conjures an imaginary world based on the historic assassination of Mayor George Moscone. The play is helmed by none other than Jonathan Moscone.
Robynn Rodriguez and Christopher Liam Moore in Ghost Light. Photo by Jenny Graham
Both Tony and Jonathan were guests this morning on NPR’s Forum with Dave Iverson. Miss it? Listen to it now!
Catch a PBS documentary on the creation of Ghost Light! KQED airs The Memory Be Green starting January 17. Watch a screening at Berkeley Rep! Our free Page to Stage event on January 23 features the documentary followed by a conversation with Resident Dramaturg Madeleine Oldham with writer Tony Taccone and documentary-maker Dave Iverson.
Richard Dodds of the Bay Area Reporter filed “Moscone memories,” an insightful article that traces the creation of Ghost Light back to the release of the film Milk.
The San Francisco Chronicle and Mercury News both tapped the play as one to watch for in the new year, and the SF Examiner published a preview piece just today. Pretty cool!
Hope to see you at Ghost Light!
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Beginning 2012 with a look back at 2011's best
posted by Kyle Sircus on Wed, Jan 4, 2012
in News , Our shows
Happy New Year, blog readers! January offers all of us a time to commit to resolutions and reflect back on the year that was. In our case at Berkeley Rep, it was certainly a busy one filled with a whole slate of shows, some of which were lucky enough to receive some "best of 2011" nods from theatre critics around the country. In case you missed it, here's a rundown:
- The Agony and the Ecstasy of Steve Jobs, Mike Daisey's controversial new monologue, appeared on critics' lists in the New York Times, Washington Post, Wall Street Journal for its New York and Washington, D.C. runs, respectively. The production made lists in both the Seattle Times and Seattle Weekly, too. Closer to home, Bay Area News Group, Huffington Post, and the SF Bay Guardian all named it as one of their top picks for the year.
- Anna Deavere Smith's Let Me Down Easy earned the engaging performer the Barrymore Award for Best Leading Actress in a Play. This knockout performance landed in the Top 10 lists in the San Francisco Chronicle, Bay Area News Group, and Los Angeles Times.
- In addition to his Drama Desk and Outer Critics Circle Awards for Outstanding Solo Performance, John Leguizamo's Ghetto Klown was awarded the Biggest Laugh of 2011 by Eric Grode in the New York Times.
- Our co-production of Ruined made lists in the San Francisco Chronicle, Idiolect, and the Boston Globe.
- Les Waters' staging of Three Sisters made Karen D'Souza's Top 10 list in the Mercury News, Oakland Tribune, and Contra Costa Times.
- Speaking of Les, Charles Isherwood of the New York Times recently wrote about the year’s “most promising out of town development: The appointment of the director Les Waters to head Actors Theater of Louisville, which hosts the annual Humana Festival of New American Plays.” After eight years as Berkeley Rep’s associate artistic director, Les will be dearly missed in the Bay Area – but everyone wishes him well with his new adventure!
To close out this post, we are so excited that our current production of The Wild Bride was named the "high point of the year" in Robert Hurwitt's San Francisco Chronicle list. The show's been extended until January 22. If you haven't seen it yet, why not add that to your list of resolutions?
