Berkeley Rep Blog
Category archive: Our shows
REDuce and reuse
posted by Kyle Sircus on Thu, Mar 22, 2012
in Our shows
We're jazzed to be opening Les Waters' production of Red tonight. What's really exciting to us here is that the show isn't just for art lovers. Sure, it's a play about Mark Rothko and his new apprentice as the famed artist begins work on the Seagram mural commission, but it's so much more than an art-history lesson. At its core, this is a sizzling play about the relationships between mentors and their students. You can hear playwright John Logan and director Les Waters talk about these themes and more in our video introduction to the play. And if you haven't reserved your seats for the show yet, we'd recommend doing that soon -- this show is one red hot ticket! (We're a really punny staff...)
To celebrate these tropes in Red, and to keep our commitment to being a green leader in our field, we'll be supporting East Bay artists and teachers by donating any art supplies you bring to Berkeley Rep to the East Bay Depot for Creative Reuse. It's a great organization that can repurpose and resell all kinds of new and used supplies; you can check out its website.
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The fate of the Red canvases
posted by Karen McKevitt on Tue, Mar 20, 2012
in Our shows , Prop shop , Scene shop
Red previews have only just begun, and already people are buzzing about the paintings onstage. What will happen to those canvases? What will happen to the fabric the actors are stretching and priming?
The canvases are the handiwork of the scenic art shop. Preview audience members have suggested that we auction off the canvases (signed by the actors) at the end of the run, which would be really fun. But -- bummer -- we’re required by contract to destroy the Rothko-like work after the show closes.
David Chandler (right) as Rothko, along with John Brummer. Photo by kevinberne.com
But the fabric is another story. The prop shop preps a week’s worth every Monday, and by the end of the run -- 53 performances -- we’ll have used 190 yards of 144-inch fabric. But don’t worry, it’s not ending up in a landfill. We’ll be donating it to local artists. And leftover paint will go to the Museum of Children’s Art in Oakland.
Want to get involved and donate art supplies to local artists and teachers? Bring those items to the show! We have a bin in the lobby all set up for the East Bay Depot for Creative Reuse.
You can read more about how the scenic art and prop shops tackled the challenge of creating Rothko-like canvases in our Red program -- and we'll be giving you more behind-the-scenes peeks in future posts.
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How to view a Rothko?
posted by Karen McKevitt on Fri, Mar 16, 2012
in General theatre talk , Our shows
On the occasion of Red's first performance tonight, our Literary Associate Julie McCormick offers some thoughts on viewing Rothko's work:
One thing that postmodernism taught us (along with the fact that it’s possible to wear lobster claw shoes and meat dresses in public) is that the conditions in which we encounter something — whether it is a person, an idea, or a work of art — are as important to our understanding of the subject as the subject itself. Watching a film in a darkened theater is a drastically different experience than watching the same movie on your i-whatever or on the treadmill at the gym. A play performed in 2,000-seat proscenium with a well-curated program on your lap can evoke an entirely different response from the same play performed in a black box theatre, or as a site-specific work in some edgy warehouse. The same goes for a painting. How do you first approach it? Is it crowded, salon style, on a wall with dozens of other pieces of every shape, size, and genre? Or does it command an entire wall, like the Mona Lisa? What else can you see? Other paintings, sculptures, a view of the outdoors?
Rothko was excruciatingly specific in how his work was to be displayed, giving galleries headaches and detailed instructions on how high off the ground his paintings needed to go and how much space there had to be in between his canvases and those belonging to other artists. This is at least in part because Rothko viewed his works less as paintings and more as experiences. If a viewer was preoccupied with the painting as a painting, they would miss the deeper spiritual essence the artist sought to convey.
Some concerns, such as the amount of light in a gallery, are practical as well as aesthetic. Works on paper like watercolors, pen-and-ink sketches, and prints are usually placed in dimly lit rooms to protect the sensitive paper and ink. Art museums often have large collections of these fragile works that they rotate periodically so that no one piece gets too much exposure. (A little known fact: these print collections are often available to the public via appointment.) Paints are made of a variety of organic and inorganic substances that decay over time. Many of the pigments that painters use are extremely volatile, changing and fading over time. Van Gogh’s famous Bedroom in Arles, for example, with its iconic blue walls, was actually most likely a lilac color at the time it was painted. True to his agenda of elevating content over form, Rothko was not particularly concerned with the physical integrity of his canvases. He knocked together low-quality wood in rickety frames, haphazardly stapled on canvas, and smeared them with a noxious witches’ brew of glue, egg yolks, pigments, and other mysterious ingredients. Much to the consternation of art conservationists, many of his paintings have already started to decay and must be kept in dark storage. What to do with paintings that have altered over time is a question that won’t be answered anytime soon, but some have come up with intriguing alternatives.
If you really want to look at a Rothko, ignore the poster hanging over the cooler at work or the thumbnail on Google. Head over to SFMOMA and go up to the second floor. Rothko’s No. 14 will be waiting for you, a vivid red rectangle stacked on top of a deep blue, hovering over a dark plum field. Look at it from across the room, then move closer and let its edges overwhelm you. Blur your eyes, focus on the brush stokes visible at the edge, let the shapes start to vibrate and buzz. Take some time out of your busy life to just observe and experience. More difficult than it seems, but well worth the effort.
Here’s more about viewing a Rothko.
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Meet the directing fellow
posted by Karen McKevitt on Fri, Mar 9, 2012
in General theatre talk , Our shows
By Brandon Weinbrenner
2 actors. 3 stage managers. 1 director. 1 dramaturg. Me. Small, simple, fascinating. Red.
As the Bret C. Harte directing fellow, I have been given the opportunity to be the assistant director on our newest production, Red. While I can't say that I am actually directing the show, I get to do something more valuable to me at this stage of my fellowship. I get to observe. Watching director Les Waters sink his teeth into John Logan's script is liking watching quiet, brooding genius at work. Oftentimes Les says nothing at all, but watches, fully open and fully committed to the process. The actors discuss their takes on the play's complex themes and countless art theories while Les listens and provides carefully selected feedback. His directing process seems so effortless that my observation of him inspires me to "Keep it simple, stupid."
So often I feel like we can overcomplicate theatre by worrying about political correctness, appealing to a select demographic, or over-philosophizing the subject matter. At the core of good theatre is sheer entertainment. It's the question of what entertains us as viewers that shapes a unique piece of theatre. Red is about the relationship between Mark Rothko and his assistant, Ken. Together they discuss art, ethics, and basic humanity. We watch them work and paint, fight and yell, and ultimately define themselves. It's such a simple structure that it's easy to let the script speak for itself and allow the actors to run rampant. I have to say, I truly believe that Les is the perfect director to keep Red as simple and effective as its meant to be.
I feel so lucky to have this fellowship. I not only get to observe a fantastic staff run a giant theatre, but also get to apply what I'm learning to mentoring the teens at the School of Theatre. As the teens put on their own one-acts, I have to ask myself how I would approach directing their material before I can give worthwhile advice to the young directors. This is when you realize how much you've learned. I have more than a year left in my fellowship and as I get to assistant direct more shows, attend more staff meetings, help put on additional events, and basically deepen my experience in the Bay Area's theatre scene, I hope that I grab on to every kernel of knowledge out there for me to discover. By the end of this, I want to be able to lead a production to as great success as I think Les is ultimately leading Berkeley Rep's latest production, Red.
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Moliere and the Mafia — Yale grad students design "Doctor"
posted by Amy Bobeda on Thu, Feb 23, 2012
in Backstage buzz , Costume shop , Our shows
Our studious audience members likely got their postgraduate degrees in "normal" subjects — psychology, anthropology, any-other-ology, so it is only natural that many who work with Berkeley Rep got theirs in theatre. This season, we are fortunate that our Doctor in Spite of Himself coproduction with Yale Repertory Theatre has not only brought us 90 minutes of slapstick comedy, but also a handful of talented student designers. For this piece, I concentrated on two disciplines (my favorites), sound and costumes, sitting down with both Ken Goodwin and Kristin Fiebig to hear a little bit about the paths that lead them to the prestigious Yale School of Drama program, what they see in their futures, and why they’ve loved studying theatre.
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Doctor's big night/OUT
posted by Cari Turley on Wed, Feb 22, 2012
in At the theatre , Events , Our shows
February 16 was our final night/OUT of the year, and what better show to close us out than A Doctor in Spite of Himself. That show is bananas! And so was the party, thanks to our generous sponsors: Picante, Triple Rock Brewery, Raymond Vineyards, Tres Agaves Tequila, and of course our friends at the San Francisco Bay Guardian.
But most of all, thanks to the fabulous people who came out to the event on Thursday, including the cast and crew of Doctor. Only at Berkeley Rep can you chat with Steven Epp over a keg while the DJ plays "(I've Had) The Time Of My Life" at full volume. I love my job.
Party streamers in the Roda Theatre
DJ G* of the Hella Gay Oakland Dance Party, rocking the house
The classiest disco ball in the world
Party people! From L-R: Brandon Weinbrenner (Bret C. Harte Directing Fellow), Wendi Gross (former development fellow) and her friend Brendan, Jacob Ming-Trent (Valère/Cherub), and Mary Kay Hickox (graphics fellow)
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Will dance for free theatre tickets
posted by Karen McKevitt on Fri, Feb 17, 2012
in Our shows
Do you like to dance? Do you also like free theatre? Well, here is your chance to show us your stuff, and see a free show. We need "dancing ushers" for A Doctor in Spite of Himself!
- No experience necessary. Just energy and enthusiasm!
- We need two dancers per performance.
- Dance to our all-time favorite song, “Lime in the Coconut,” in the theatre orchestra aisles just before curtain -- that’s it. No other duties!
- Wear a white shirt and a black bottom.
You’ll get a free ticket for that performance!
We're taking sign-ups from now until Friday, March 2, 3pm. Please email Katrena Jackson at [email protected] with three dates from the below list.
Wednesday February 22nd 6:30pm call time
Thursday February 23rd 1:30pm call time
Thursday February 23rd 7:30pm call time
Sunday February 26th 1:30pm call time
Tuesday February 28th 7:30pm call time
Wednesday February 29th 6:30pm call time
Thursday March 1st 7:30pm call time
Friday March 2nd 7:30pm call time
Saturday March 3rd 1:30pm call time
Saturday March 3rd 7:30pm call time
Sunday March 4th 1:30pm call time
Sunday March 4th 6:30pm call time
Tuesday March 6th 7:30pm call time
Wednesday March 7th 6:30pm call time
Thursday March 8th 11:30am call time
Thursday March 8th 7:30pm call time
Friday March 9th 7:30pm call time
Saturday March 10th 1:30pm call time
Saturday March 10th 7:30pm call time
Sunday March 11th 1:30pm call time
Sunday March 11th 6:30pm call time
Tuesday March 13th 7:30pm call time
Wednesday March 14th 6:30pm call time
Thursday March 15th 7:30pm call time
Friday March 16th 7:30pm call time
Saturday March 17th 1:30pm call time
Saturday March 17th 6:30pm call time
Sunday March 18th 1:30pm call time
Sunday March 18th 6:30pm call time
Tuesday March 20th 7:30pm call time
Wednesday March 21st 6:30pm call time
Thursday March 22nd 1:30pm call time
Thursday March 22nd 7:30pm call time
Saturday March 24th 1:30pm call time
Saturday March 24th 7:30pm call time
Sunday March 25th 1:30pm call time
Sunday March 25th 6:30pm call time
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In the lobby: drinks, music, imposters
posted by Karen McKevitt on Wed, Feb 15, 2012
in Our shows
Ready for a wild, zany ride of bawdy silliness? Then let us prescribe A Doctor in Spite of Himself, opening tonight at our Roda Theatre!
Steven Epp and Julie Briskman. Photo by kevinberne.com
As you know, at Berkeley Rep we strive to give you a total theatrical experience from the moment you walk into the lobby. It’s all planned out – the specialty drinks, the lobby display, the pre-show music. So, what’s in store for you this time? Let’s start with an energetic playlist curated by Christopher Bayes and Aaron Halva.
Pre-show music:
“Bad Case of Lovin’ You (Doctor, Doctor)” – Robert Palmer
“S.O.S.” – ABBA
“Calling Dr. Love” – KISS
“Listening To You / See Me, Feel Me” – The Who
“Dear Doctor” – Rolling Stones
“Good Lovin’” – Grateful Dead
“Sexual Healing” – Marvin Gaye
“I Don’t Need No Doctor” – Ray Charles
“A Shot In The Arm” – Wilco
Be sure you’re in the Theatre for the last pre-show song:
“Coconut” – Harry Nilsson
And the post-show song (in the Theatre only), naturally:
“I Got You (I Feel Good)” – James Brown
As you’re bopping to these tunes, check out the clever lobby display, featuring a number of famous
imposters. There’s Frank Abagnale, Ferdinand Demara, Victor Lustig, False Dmitry, David Hampton - even Milli Vanilli and Princess Caraboo. Test your knowledge of these fakes and more with our trivia game. And then, enjoy the show!
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A Valentine's Day treat
posted by Kyle Sircus on Mon, Feb 13, 2012
in Our shows
Our audiences can't get enough of the character of George Moscone singing along to "I Left My Heart in San Francisco" during the second act of Ghost Light. Frankly, we're sad that we won't have an opportunity to watch that scene over and over once the show closes this Sunday. In the meantime, though, the city's forming a new tradition with this song.
Tony Bennett, the crooner who made this song famous, will be back in San Francisco tomorrow. To celebrate his visit, several musical groups in the city are joining forces for a flash mob. In case you can't be at the City Hall celebration, though, sing along to our favorite ditty on local radio stations at noon local time. You can find out more about the special Valentine's Day event online. It may not be as spot on as Bill Geisslinger's performance, but it's a nice homage nonetheless.
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TJM, homeschooled child star
posted by Amy Bobeda on Wed, Feb 8, 2012
in Backstage buzz , Our shows
Much like the notion of child stardom, homeschooling is romanticized. No shock that the two go hand in hand like doing geometry in your pj's right before Teen Bop comes by to write a cover story about how you have the world’s best hair. Clearly, I am now romanticizing the homeschooling and stardom of my future husband, Justin Bieber.
The homeschooled child star isn’t at the forefront of many Reptile’s minds these days: The Pillowman and Brundibar are far behind us, but once in a while we find a gem of a kid, and voila! A homeschooled child star is born.
For those who have yet to catch my drift, I am talking about the Tyler James Myers (featured on the cover of last month’s issue of American Theatre magazine) who portrays the character of Boy in the Tony Taccone/Jon Moscone love child entitled Ghost Light (running on the Thrust Stage through February 19).