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2F — Tuesday, September 3, 2013

The Michigan Daily — michigandaily.com

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Daily — michigandaily.com

Thursday, December 6, 2012 — 3B The Michigan Daily — michigandaily.com

GOSSIP COLUMN

America loves the royals I

TERESA MATHEW/Daily

ion and challenge gender roles, director Malcolm Tulip cast many of the actors in cross-gender roles.

MER 1B

y off the tongue

ese non-traditional sic script remains ly true to the origig to the cast, being Shakespeare play ghtly different proof a contemporary

work with Shakehave to come to it open mind, because any ways to inters said. he play view their in Shakespeare as cle and an exciting

are is challenging o foreign to a lot of &D senior Jon Manplays Demetrius, r lovers. “(It) is deflt — at least for me my mouth around, asier in many ways ot a rhythm to it.” llins, an MT&D mphasized the difrking with Shakept. guage is tough,” “It’s in verse, and speak that way in order to begin

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Hermia. Tulip explained the reasoning behind cross-gender casting as entwined in logistical and historical roots. “One (reason) is that it’s practical, because then we don’t restrict students to roles in Shakespeare,” he said. “(The play) was originally done for Elizabeth I, and she never married. There’s this idea that she was a man-woman. She had to be a king even though she was a queen. There’s that gender-role mixing in her role as queen, and I thought that would be an interesting reflection, knowing that the play was maybe even commissioned for her.” He added that cross-gender parts illuminate modern-day gender issues. “In the 21st century, who gets to marry who is a big issue,” Tulip said. “If it’s a play about marriage, why not find a way to echo (that) in the current arguments?” Actors find Tulip’s gender switching appropriate for the play. “Part of the reason why the show still lives and breathes today is because of all the issues (Shakespeare) wrote about (that) are still current,” Collins said. For Collins, playing a crossgender character was a completely new experience — one

in modern society. “The essence of a person isn’t indicative of their gender,” he said. “It’s who they are. It’s not because they’re a man or a woman. It’s because of their emotion and their background and where they come from.” Playing dress up The cross-gender casting also affected the costume design. For Myers, designing cross-gender costumes was a matter of fashioning outfits that would suit the production’s carnival tone and enhance the audience’s grasp of the play’s message. “We didn’t want to get into a world where it was drag queens,” she said. “I feel like my job is to forward the production, so is (the audience) going to notice some of the clothes? Sure. Three of them are lighting up like Christmas trees,” she added. “But I don’t want the (audience) to notice (the fairies) because they’re lighting up. I want them to notice because (the fairies) are supporting the concepts of the show.” For the cross-gender costumes, Myers incorporated tactics that helped actors better understand their characters, as well as propose answers to the challenges that gender switching creates.

moves,” he said. Whereas Collins originally began his acting process using a high-pitched voice, he now understands more about his cross-gender role. “I wanted to acclimate my voice to how I thought a woman should sound, so I originally upped my pitch quite dramatically,” he said. “I think what I’ve learned now, especially with my costume that I have, is that women carry themselves because their weight is distributed differently than mine.” Collins added that he now believes his acting has incorporated the core perspective of a woman, rather than a stereotypical female viewpoint. “It’s about playing the essence of that being,” he said. “I don’t think that gender roles are assumed in this show.” For actors, involvement in “A Midsummer Night’s Dream” has drastically altered perspectives on Shakespeare and the world around them. For the cast and crew, the play has involved many changes, including adjustments in stage direction and costume throughout the entire rehearsal process. Tulip explained this constantly evolving nature of the play as an essential part of his direction. “It’s like being an archeologist,” Tulip said. “You have to

was in the midst of royalty. and fortune — with political power but no direct political I could feel their presence issues affecting us. They’re our on the sidewalks of KensBrad-and-Angelina-mixed-withington Gardens, outside Buckingham Palace and as their faces Barack-and-Michelle across the Atlantic, minus the fiscal cliff. — plastered Like with most Hollywood on tea cups, celebrities, we celebrate in their mugs and joys. Kate Middleton’s pregshot glasses nancy announcement is sweep— stared ing the Hollywood gossip scene, down at me even trumping the latest story in tourist on People about Lindsay Lohan’s shops. I had latest fisticuffs in a club. And, we to skim each HALEY can’t forget to find the drama. book I came GOLDBERG Kate’s recent hospitalization for across chronmorning sickness is gracing the icling “The front pages of many gossip magWedding,” soaking in hundreds of identical azines. The “Guess the Baby’s Name” game has already begun, photos of them on the balcony In order to waving questionto and challengeand gender roles,even director Malcolm People compiled a Tulip gal- cast many of the actors in cross-gender roles. at Buckingham the lery of past royalty’s maternity people below, and the infamous fashion,Hermia. begging the question: booty shot of Pippa, the bridesin modern society. MIDSUMMER Will KateTulip borrow the tunicthe flapmaid. I was that girl. The one in explained reasoning “The essence of a person From Pagethe1Bwinding per dress the Duchess of Yorkcasting as isn’t indicative of their gender,” London, scouring behind cross-gender wore inentwined 1926? streets for any sign of the Duke in logistical and his- he said. “It’s who they are. It’s these sites aren’t bringand Duchess of Cambridge, the roots. not because they’re a man or Trippingly off the tongue And torical politics when they royal couple: Prince William and ing in the“One (reason) is that it’s prac- a woman. It’s because of their discusstical, the royals. The photo Kate Middleton. because then we don’t emotion and their background Despite these non-traditional galleries examine the couple Anyhues, woman with perfectly restrict students to roles in and where they come from.” the basic script remains under aShakespeare,” different lens, focusing blown-out brunette hair, nude he said. “(The almost entirely true to the origion styleplay) and appearance. This isdone for heels and bright trench coatcast, being was originally Playing dress up nal.aAccording to the different from POTUS could be Kate. A in slightly baldI, andand sheFLOnever marinvolved a Shakespeare play Elizabeth the time, we’re ing, tallrequires man in aa well-fitted suit? TUS. ried.ofThere’s this idea that she The cross-gender casting also slightly different pro- Most seeing President Obama’s face Princecess William. was a man-woman. She had to affected the costume design. For than that of a contemporary on CNN with thethough chattershe was a Myers, designing cross-gender bealong a king even play. of political analysts, notthat a photo queen. There’s gender-role costumes was a matter of fash“When you work with Shakegallery dissecting his role everyas queen, and ioning outfits that would suit the in her speare, you have to come to it mixing blazer. I thought that would be an inter- production’s carnival tone and with a really open mind, because The esting royal couple has a special reflection, knowing that enhance the audience’s grasp of there’s so many ways to interplace inthe theplay hearts of Americans, was maybe even com- the play’s message. pret it,” Myers said. and themissioned royal bun for in the oven her.” “We didn’t want to get into Actors in the play view their will make his or her cross-gender mark added that a world where it was drag performance in Shakespeare assurelyHe as well.parts And maybe, this celebrailluminate modern-day queens,” she said. “I feel like my both an obstacle and an exciting tion of gender royals isissues. steeped in tradijob is to forward the producopportunity. tion just like itself. There’s“Shakespeare something about “Inthe themonarchy 21st century, who gets tion, so is (the audience) going to is challenging Royals have always beenisthe America’s deep it’s fascination with marry who a big issue,” notice some of the clothes? Sure. because so foreign to a lot of to focus ofTulip gossipsaid. and “If admiration, the royal and I’m a prime it’s a play about Three of them are lighting up us,”family, said MT&D senior Jon Manbut today’s societywhy is creating example of that phenomenon. marriage, not finda a way to like Christmas trees,” she added. ganello, who plays Demetrius, them. Even trying write column echoaround (that) in the With current argu“But I don’t want the (audione oftothe fourthis lovers. “(It) isfan def-culture of Twitter, Facebook has meinitely stopping every five ments?” ence) to notice (the fairies) difficult — atminleast forthe meadvent and the always E! Net- gender because they’re lighting up. I utes to— scan gal- around, Actorsgossiping find Tulip’s justthrough to wrapphoto my mouth work, we have more access to for the want them to notice because leries Ibut come of thein royal switching appropriate it’sacross also easier many ways the lives of the royals than ever couple because (and yes,it’s Kate’s play. (the fairies) are supporting the got astyle rhythm to it.” before. “Part of the reason why the concepts of the show.” keeps getting better and better). Kevin Collins, an MT&D And show maybe still that’slives why Iand breathes When I talked toemphasized Londoners the difFor the cross-gender cosfreshman, sought today them out in London. about their view the royal is because of all the issues tumes, Myers incorporated tacficulty of of working with ShakeIt would be like going wrote to Hol-about (that) tics that helped actors better couple,spearean however,script. they didn’t (Shakespeare) lywoodare andstill keeping an eye out said. have the same current,” Collins understand their characters, as “The fascination. language Many is tough,” Spears. To most of a cross- well as propose answers to the talked Collins about how they didn’t said. “It’s in verse, for andBritney For Collins, playing the gender royals are celebrities, not a com- challenges that gender switchfeel thepeople need fordon’t a royal family,that us, speak way character was leaderspletely of a nation. has — one ing creates. addinganymore. that the royals So inserved orderasto begin newAmerica experience

The most awaited baby since Blue Ivy.

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TERESA MATHEW/Daily

moves,” he said. Whereas Collins originally began his acting process using a high-pitched voice, he now understands more about his cross-gender role. “I wanted to acclimate my voice to how I thought a woman should sound, so I originally upped my pitch quite dramatically,” he said. “I think what I’ve learned now, especially with my costume that I have, is that women carry themselves because their weight is distributed differently than mine.” Collins added that he now believes his acting has incorporated the core perspective of a woman, rather than a stereotypical female viewpoint. “It’s about playing the essence of that being,” he said. “I don’t think that gender roles are assumed in this show.” For actors, involvement in “A Midsummer Night’s Dream” has drastically altered perspectives on Shakespeare and the world around them. For the cast and crew, the play has involved many changes, including adjustments in stage direction and costume throughout the entire rehearsal process. Tulip explained this constantly evolving nature of the play as an essential part of his direction. “It’s like being an archeologist,” Tulip said. “You have to

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