Pittsburgh Stars Go Hollywood In David Mamet's Comedy Speed-The-Plow
.Pittsburgh-bred talent takes the stage January 3 through February 10 when the Pittsburgh Public Theater presents SpeedThe-Plow, David Mamet's smash-hit Broadway comedy about dog-eat-dog Hollywood. Directed by Tony and Obie Award winner Mel Shapiro, the former Head of Carnegie Mellon Drama, Speed-The-Plow will star Robinson Township native David Butler, widely considered one of the city's finest actors; James Anthony Shanta, a native of McKees Rocks who starred in the Public's critically acclaimed production of Orphans, and Ming-Na Wen, who hails from Mt. Lebanon and currently portrays Lien Hughes on As The World Turns. Shanta and Wen were classmates at Carnegie Mellon when Shapiro chaired the program in the early and mid-eighties.
A phenomenal hit on Broadway that starred Madonna, Joe Mantegna and Ron Silver, Speed-The-Plowgarnered three Tony nominations, including Best Play, and won Silver a Tony for Best Actor. By turns hilarious and chilling, Speed-The-Plow tells the story of Hollywood sharpies Bobby Gould and Charlie Fox, who started out in the mailroom together and now, "in the HighestTradition of the Motion Picture Industry" have an opportunity to co-produce a film. Gould has just been named Head of Production for a major movie studio and, as such, has the power to "greenlight" one film for production. Fox, still a struggling producer, has miraculously secured a 24-hour option on just the project- a "buddy picture" starring the latest Tom Cruise type that's sure to make them both millionaires. But enter trouble in the form of Gould's craftily innocent temporary secretary Karen, who tests the men's loyalty, cunning, and the extremes to which they'll go to cut the deal.
No stranger to Hollywood's ways, Mamet, the author of the Pulitzer Prize and Tony Award-winning Glengarry Glen Ross and the Obie Award winners American Buffalo and Sexual Perversity In Chicago, also wrote • the screenplays for The Postman Always Rings Twice, The Verdict, (Oscar nomination), The Untouchables, and House Of Games, which he also directed. "SpeedThe-Plow is the culmination of Mamet's work to date," said Frank Rich in his New York Times review of the Broadway production. "Even as Mr. Mamet savages the Hollywood he called 'a sinkhole of slime and depravity,' he pitilessly implicates the society whose own fantasies about power and money keep the dream factory in business.''
Bobby Gould's and Charlie Fox's lines, like their lives in the Hollywood fast lane, fly back and forth at break-neck speed, requiring actors with inexhaustible agility and energy to play them at their utmost comic and frenetic potential. Portraying the soughtafter Gould is David Butler, who didn't even audition for the part. Shapiro cast him on the strength of his tour-de-force performance as Pale in last season's Burn This at the Public. Butler, a Mamet veteran, won critical and popular praise for his starring appearances in Mamet's American Buffalo and Glengarry Glen Ross at City Theater. This summer, he performed in The Closerand Connemara
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here with Robert Jason in
, Jay also won praise for his performances in the Public's
Censorship is a concern that South African playwright Athol Fugard has been struggling with his entire career. That struggle has helped produce some of the most provocative and groundbreaking work in the theater: Sizwe Bansi Is Dead, The Blood Knot(which marked the first time black and white actors appeared side by side on a South African stage) and "MASTER HAROLD" and the boys (all produced at the Public). The Pittsburgh premiere of My Children! My Africa!, which begins February 21 and runs through March 31, will make Fugard the most produced contemporary playwright in Public Theater history.
My Children! My Africa! is an impassioned indictment of the education of blacks in South Africa. It pits a black teacher, Mr. M, and two prize pupils- Thami, a black male, and Isabel, a white female - against the destructive realities of apartheid. Eventually, Mr. M's belief in education and the power of dialogue is challenged by Thami's rebellion against Western values and the slow pace of change in his country. Isabel, friend to them both, struggles to understand the passion and rage which drives each to seek, so differently, the same result.
Athol Fugard first found what he calls his
"own voice" nearly thirty years ago when he wrote The Blood Knot. Until that historic moment he'd only produced two apprentice works, not yet aware of the power in his words. The Blood Knot led to his work with the Serpent Players, a group of blacks who came to Fugard asking his assistance to help form a theater company. The experience of working with people "who had been silenced and gagged - who had endured throttles of every conceivable form, legal and physical, from prison cells and banning orders to legislation on statute books" and who had discovered their voices through the theater, forever marked his creative work: "Whatever morality I have finally acquired, whatever responsibility informs my work in theater, comes from the realization that we were at the center of a historical event of extraordinary importance." The Blood Knotwas written in 1961, before apartheid became the rigidly defined social and political structure that is being slowly and often savagely dismantled in the 1990's. As apartheid developed, with Fugard's work alongside it, his literary language became an integral part of the art that allowed people who had been silenced for decades to finally speak - to shout if necessary.
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If you mention the "Pittsburgh Public Theater" when you complete your order with Master Travel , the Public receives a percentage of their commissioi::i.
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Speed-The-Plow Scenic and Costume Designer Karl Eigsti and D~rec!or Mel Shapiro also collaborated on PPT's Orphans and Eleanor. Says E1gst1 about his riveting, sculpture-like set for Speed-The-Plow: "It's my vi~ion of Los Angeles, a fast-food society always in transition, so obsessed with the now that an unfinished building reflects the lifestyle more accurately than a completed one does.''
Speed-The-Plow
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Dreaming at the Carnegie Mellon Showcase of New Plays A graduate of Montour High School, Butler earned his BA in acting from Point Park College where he has also taught.
James Anthony Shanta, a native of McKees Rocks and 1986 graduate of Carnegie Mellon Drama, plays the mercilessly ambitious, power and money-hungry
Charlie Fox Shapiro's teaming with Shanta for Speed-The-Plow began in the summer of '89 when Shanta brought a scene from the play into Shapiro's acting workshop in Los Angeles - an advanced scene study class for professional actors. (One third of the actors who annually enroll in Shapiro's L.A. workshop are Carnegie alums.) "When it was agreed I would direct Speed-ThePlow, I kept hearing the lines as Jimmy said them in my head and during auditions nobody did them quite like he did," says Shapiro. "Both David and Jimmy know how to play Mamet's lines. They both have a very contemporary sound, and an urban survivor feel that fits a David Mamet character."
Shanta owes his Carnegie Mellon degree to Shapiro, who convinced Shanta to return to CM U when Shanta had decided to quit after his freshman year due to financial reasons and the overwhelming pressures of the intense drama program (Only 17 of the 48 actors who were freshmen with Shanta and
Wen graduated with them in 1986.) "I was spending the summer working on a show at Busch Gardens and I got a, call from Mel who asked me what I was doing and where I planned to go after the summer. I told him I was going to New York and he said, 'Without training? Come back and learn.' It was Mel's vote of confidence that really turned me around."
The challenge of casting Bobby Gould's office temp Karen was finding an actress who could serve as the play's catalyst and yet maintain a naive idealism opposite the sawy and manipulative Gould and Fox. "I wanted the character to have total innocence,'' says Shapiro. ''And that's very hard to get. She can't be manipulative at all. She can't have a hidden agenda She cannot appear to be ambitious and she has to be attractive." Shapiro found that mix of qualities in Ming-Na Wen. Wen, a native of Macao, China, immigrated with her family to New York in 1970 and to Pittsburgh in 1975 where she graduated from Mt. Lebanon High School in '81 and Carnegie Mellon, with James Shanta, in '86. Speed-The-Plow marks Wen's professional debut directed by Shapiro. "It's a dream situation, returning to my hometown to star in a Mamet play (I'm a fan) in a meaty role opposite an old classmate and directed by Mel Shapiro."
Di Paolo
Elvira
Join our new Public Theater Association
Volunteer now to assist with the Public Theater's special events on an ongoing basis.
If you are interested in b ecoming a p ar t of the Publi c's family, p lease call Marie Mueller, Develop me nt Director, at 32 3-8200 and tell her what role (leader, organizer, committee member, other) you would like to play
Athol Fugard
Cor:itinued from page 1
The road from The Blood Knot to My Children! My Africa! included much shouting from Fugard, his supporters and his opponents. Fugard's ideas, and his method of relating them, drew sharp criticism and eventually resulted in his passport being taken away and his traveling privileges revoked. Fugard believed this was the government's way of forcing him to leave South Africa permanently. The consequences of his writing became clearer, and he was forced to confront a problem more dangerous than the South African government: self-censorship. Says Fugard, "I became aware that I was watching the hand that was putting down the words, and that sometimes that hand paused I also realized, thank God, that if I ever allowed that moment of hesitation to lead to the self-censoring of a thought or an idea, then, as a writer, I would be as good as dead." From that moment, Fugard went to extremes to keep his work intact and went so far as to have he and his actors completely memorize Sizwe Bansi Is Dead(produced at the Public in 1977) so that when the government asked for a script, apparently to censor or stop any performance, there was none to give them.
My Children! once again brought that feeling to light, but in a much different way than any of Fugard's previous works. Because My Children! concerns two different views on the process of South African reform, Fugard feared that instead of offend-
ing the government, he might offend "The Struggle'' - the radical left which has so often applauded his work The fear proved ungrounded and "ultimately, there has been a very powerful response from my peoplewhite, black, brown - to My Children! My Africa! I know how it has spoken to my people.''
"I ' ve never had reactions to my work like I've had to this play," Fugard says about My Children!, his now internationally reknowned "literary manifesto," which has spoken its powerful ideas to audiences at the New York Theatre Workshop, La Jolla Playhouse in California and the Royal National Theatre in London, where the play made its European debut in September. When reviewing the New York production of My Children! that starred Courtney B. Vance (who portrayed Cory in the Broadway production of Fences and is currently appearing in John Guare's Six Degrees Of Separation) as Thami, Clive Barnes of the New York Post wrote, "As I left the theater I found myself, ironically and almost irrelevantly, wondering what kind of society do I myself live in that can enable Mr. Vance, a graduate of both Harvard and Yale, to identify himself so fiercely with the sins of apartheid. Attention must be paid to plays that provoke any such reaction." And attention will be paid at the Public, from February 21 through March 31 Kym Helbig
Public Theater contributors and co-founder Joan Apt are honored at Annual Donor Party
Last October's Annual Donor Party included a Backstage Tour of the Public where guests enjoyed learning about the rehearsal process, costume design, set design and production. Joining the donors were the Public's Board of Directors, actors from the cast of The Night Of The Iguana and other Public family members. A highlight of the evening was the presentation of the CN G VITA (Volunteer in the Arts) Award from WQED-FM to Joan Apt, co-founder and board member of the Public.
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Individuals contributing $150 or more and corporations and foundations who contribute$ 500 or more by August 31, 1991 are invited to the next Annual Donor Party
Fences Star John Henry Redwood Returns As Award-Winning Playwright
WQED-FM's Ceci Sommers presents the CNG VITA Award to JoanApt.
The Public's Producing Director Bill Gardner (center) with donors Peg and Edwin Harmon
Before or after the show, treat your clients to a dinner or party at the Public! ,:.
Take your cue from Westinghouse Credit Corporation, who, before a performance of last Spring's Eleanor, held a successful and memorable dinner for their employees and clients using a "Presidential Inaugural Picnic " theme from the play. If your organization is interested in a theme dinner or party at the Public, please call Marie Mueller, Development Director, at 323-8200.
Mel Shapiro's The Lay Of The Land Wins Kesselring Playwriting Prize
The Lay Of The Land, the new comedy by Mel Shapiro which will receive its world premiere at the Pittsburgh Public Theater April 11 through May 19, has won the prestigious 1990 Kesselring Prize for Playwriting. Established by National Arts Club member Joseph Otto Kesselring, who is best known as the author of the widely successful Broadway play Arsenic And Old Lace, the $10,000 Kesselring Prize is the single largest cash award for American playwrights
"We are proud to introduce this promising new work to the American theater " commented Pittsburgh Public Theater Producing Director Bill Gardner, who nominated the play for the Kesselring Prize in April. "The Prize is generating a great deal of excitement in the national theater community about our upcoming world premiere of The Lay Of The Land that should increase its exposure and the Public's growing image as a starting place for new plays."
The judges for this year's Kesselring Prize were playwrights John Guare, author of the current Lincoln Center hit Six Degrees Of Separation, Lincoln Center dramaturg Anne Cattaneo and theater critic John Lahr.
A humorous and honest look at the lives of a middle-aged couple as their 25-year marriage falters and both go into therapy, The Lay Of The Land received a reading at the Pittsburgh Public Theater last winter with Linda Lavin and Tom Atkins, and a subsequent reading in August at The Players Club in New York with Anita Gillette and Brian Murray.
The former head of Carnegie Mellon Drama and a long-time Pittsburgh resident, Shapiro has recently taken a one-year leave of absence from Carnegie Mellon to head the Graduate Acting Program at UCLA. He directed last season's hit musical Eleanor at the Public, and returned recently to direct David Mamet's hit comedy Speed-ThePlow, which runs from January 3 through February 10.
Elvira Di Paolo
Consider the elements of a good theater piece: (1) interesting characters that you care about, each individual carefully drawn; (2) quick-paced, thought provoking plot with conflict - seemingly unresolvable, and it must be unpredictable; and (3) crisp language - clear and poetic.
Add a socially relevant theme, and these are the components that John Henry Redwood has put together in his poignant new drama, A Sunbeam. Winner of the 1988 McDonald's Literary Achievement Award, Sunbeam chronicles the struggle of an aging husband and wife to stay together as they anguish over the future of their 39-yearold mentally handicapped son.
This play reflects an ever increasing social concern today: that of aging parents with mentally retarded children. Many parents of retarded children never expected to face the worry of getting care for their children once the parents are too old to provide it. But unlike a generation ago, today's mentally retarded, because of improved living conditions and medical advance, will most likely outlive their parents.
In a recent feature article in The New York Times titled ''When the Retarded Grow Old," it was reported that the advances in longevity have been especially dramatic to r those with Down's Syndrome, the leading known cause of retardation. Except for those so profoundly retarded that they cannot walk or feed themselves, most of the retarded now live close to normal lifespans. For every one developmentally disabled person who
is older and getting services, there will be three or four needing those services in fifteen years. For many families, planning for permanent care of a retarded adult is emotionally draining, forcing them to confront their own mortality and to place trust in our social service system
In A Sunbeam, Sol Gilchrist is a 39-yearold man who is mentally retarded. He has been living in a mental health institution for the past four years. Now his mother, Celia, who has been weakened by a heart condition and conflict with her husband over their son's future, wants to bring Sol home to live. It's a story of great love and devotion, sometimes tragic, sometimes poetically beautiful. And most important, it is told with great love for the characters It is especially rewarding to welcome back John Redwood, an actor who was part of our extended family here at the Public for two of our more resounding successes: Fences and Joe Turner's Come And Gone. While he was here, he made sure that everyone in the administrative offices read the script he was working on And now, after completing an extended stint on Broadway as Avery, the preacher in August Wilson's The Piano Lesson and one more run as Troy Maxson in Missouri Rep's production of Fences, he returns to take up residence in Pittsburgh once again for rehearsals, but this time as the playwright. Back to direct and collaborate on this award-winning world premiere is Claude Purdy.
Rob Zellers
Your chance to support the John Henry Redwood Residency
The John Henry Redwood Residency will be launched at the Public next May, coinciding with the world premiere of his new play A Sunbeam. (See related article on this page.)
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This special Residency will provide housing, a stipend and transportation for Redwood during the rehearsal and preview period of his award-winning play.
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Close collaboration between the director and playwright during rehearsals and previews is always needed to bring a new · play's characters to life. By supporting the John Henry Redwood Residency, the Public, its friends and family will ensure the development and success of A Sunbeam.
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Currently, more than 150 individuals and organizations are recognized in the Public's program magazine - and will be listed along with new contributors, on a prominent lobby display during the run ofA Sunbeam -for their support of the Residency
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Mel Shapiro
To assist the Residency, send your gift payable to: Pittsburgh Public Theater, and mail to: Committee For Dramatic And Artistic Leadership, Pittsburgh Public Theater, Pittsburgh, PA 15212-5349.
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2. By mail. Enclose payment, note performance desired. Include name , address, telephone number and a stamped, selfaddressed envelope. Mail to: Pittsburgh Public Theater Box Office, Allegheny Square, Pittsburgh, PA 15212-5349.
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Can't Make It? Too Late to Exchange? Take a Tax Deduction! If you find you are unable to attend a performance and cannot exchange your tickets, you may take a tax deduction for the amount paid for each ticket not used. Just release your tickets for resale by calling the Tax Deduction Line (412) 3219807 as soon as possible, but as late as curtain time on the day of performance
Contributors assist the Public Theater through direct and in-kind giving. Thanks to a Specified Gifts Grant from the Arcadia Foundation , the Public was able to purchase a personnel lift (operated here by PPT carpenter Adolf Hundertmark), a plotter for drafting scenery and an industrial sewing machine.
Artistic expenses account for a whopping 60 % of the Public Theater 's annual budget of which 38 % is contributed revenue from corporations, foundations and individuals.
The car phone's for you!
New contributors and those increasing their previous gifts will be eligible to win a free cellular car phone. Advanced Telecomm Inc. has provided 18 phones for a drawing to be held at the end of our annual giving campaign in September, 1991. •
Pittsburgh-bred talent takes the Public Theater stage January 3 through February 10 in David Mamet's Broadway hit comedy Speed-The-Plow about Hollywood's movie biz hustle. Co-starring, from left, are James Anthony Shanta, a McKees Rocks native who starred in the Public's hit Orphans; Ming-Na Wen, former Mt. Lebanon resident, who is featured on As The World Turns, and Robinson Township native David Butler, who won raves in the Public's Burn This. Story on page 1.
January• February 1991
Pittsburgh Public Theater Allegheny Square Pittsburgh, Pennsylvania 15212-5349
WilliamT.Gardner Producing Director
Dan Fallon Managing Director
Editor: Rosalind Ruch
Design: Michael Neill
Contributors : David Bender, Elvira DiPaolo,
Kym Helbig, Marie Mueller, Ramone Segree, Rob Zellers