Stageview Winter 2015

DEC 2014 - FEB 2015

SYRACUSE STAGE: |1| HAIRSPRAY |5| IN THE NEXT ROOM SYRACUSE UNIVERSITY DRAMA: |7| LIPS TOGETHER TEETH APART David Lowenstein as Edna Turnblad

a chance to sing like a broadway AN INTERVIEW WITH DAVID LOWENSTEIN Interviewed by Joseph Whelan David Lowenstein portrays Edna Turnblad in the Syracuse Stage/SU Drama production of Hairspray.

It’s the role originated by Divine in the John Waters film. Harvey Fierstein won a Tony Award for his portrayal of Edna in the Broadway musical, and John Travolta played the role in the musical film.

Lowenstein is a graduate of the Drama Department’s Musical Theatre program (1983) where he is currently an adjunct faculty member. He has appeared on Broadway in such shows as The Frogs, Seussical (which he directed for the Drama Department last season), 1776, On the Town, King David, Jerome Robbins’ Broadway, and A Christmas Carol.

He has also appeared in the national tours of Company, 42nd Street, and On Your Toes, and has numerous off-Broadway and regional theatre credits. In addition he has worked as a director and choreographer off-Broadway and at regional theatres.

PHOTOS:

David Lowenstein as Edna Turnblad PHOTOGRAPHY:

Brenna Merritt WIG & MAKEUP:

Al Annotto

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Leading Lady JW: As an alumus, what are your thoughts about not only teaching in the Drama Department but performing such an important role at Syracuse Stage? I know you’ve been in A Christmas Carol here (2006), but this is different, yes?

DL: My thoughts stem from a profound sense of gratitude.

I still catch myself on my way to teach walking the same halls I walked as a student and shake my head in amazement that I am back here. I am so lucky, after making the choice to leave New York City to raise our kids, that I am still able to make a living working in the theatre. And to get to play Edna at this level of production is beyond dreamy!

JW: Have you been a fan of the musical?

DL: The truth is I have never seen the Broadway production. I go back to the original material, the original John Waters/Divine movie, which I loved. I just think it was so brilliant of him to have the progression of his work lead up to a more mainstream version of his storytelling. But I love the fact that he still held onto the edge from his previous movies.

JW: Edna is a drag role but not in the tradition of let’s say British drag roles.

DL: No. Bill (Fennelly, director) and I were talking about this. I don’t see it as a drag role. I see it as a woman, a mother, a wife.

I love Bill’s take on it, which takes it one step further and that it is really of another thing--not male or female, it is another thing that is deserving of equal acceptance.

It’s so beautiful, and so daunting in terms of approaching it. I don’t see Edna as a guy in drag.

JW: You’ve really just started rehearsal. What are your preliminary thoughts about her?

What words are you using to describe her to yourself?

DL: Like I said she is a wife and a mother, and she is struggling with her own insecurities, and, as we meet her in the beginning, really projecting those onto her child. Then she takes the risk of letting go of that, and she really reaps the benefit. But be careful what you wish for, because then your child ends up in jail.

I’m also trying to connect to the agoraphobic aspect of her because as she says, she hasn’t been out of the apartment since “Mamie Eisenhower rolled her hose and bobbed her bangs”.

The shame that she must feel in terms of her personage, and then allowing her daughter, who is the light of her life, to break her out of that.

JW: What is she in the play?

The head? The heart? The soul?

DL: I think that she is the catalyst through which Tracy grabs the courage to do what she wants.

If she can get her mother to embrace the 60s, then the rest of the world will come along.

That’s one way I look at it.

JW: What about her and Wilbur?

DL: Oh, well, there’s a love that was made in heaven. Imagine.

I think we all have those times in our lives when we think, “I’m never going to meet that person.”

And then Wilbur comes along, and he just falls in love with her.

And he is able in their intimacy to wipe away all of those insecurities and all of those fears. Imagine the kind of love she feels for him because of that. It’s beyond.

JW: It’s interesting that despite her agoraphobia, she’s thrilled by life.

DL: Right. She’s thrilled by life.

In the beginning she’s thrilled by life within the confines of her safe domain, and she has Wilbur there, who is just a bubble of energy and humor and love and fun to, in a sense, be her life. And then, there’s Tracy, too, who is this bubble of energy and life. She’s satisfied in the beginning with that microcosm of life.

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JW: What are you doing to prepare—besides taking good care of your feet?

DL: Yeah, my feet and my voice, all of it. Like any actor approaching a role, I’m trying to bring my life experience to her given circumstances. I’m a parent. I’ve been in a long term relationship going on 33 years. My husband and I have been married two years, but we’ve been together almost 33.

So I have a lot to draw on. Now the task is to channel that experience into her circumstances. I’m not agoraphobic. I’m not someone who is afraid to be who they are. I have to find that part of Edna, and allow that to inform how she travels the journey of the show.

JW: Where does she end?

DL: Well, she ends out and loud and proud. She literally bursts out of the hairspray can in this amazing costume. She also sings in a way

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SPONSORS

and performs in a way in “You Can’t Stop the Beat” that is indicative of her acceptance of herself, her newfound fearlessness and courage, all bestowed upon her by the gift of her daughter.

JW: Do you think it’s mostly Edna’s journey?

DL: I think it’s both. I think it’s parallel—Tracy and Edna. I think it’s a parallel journey: one from a naïve place and one from experience, and perhaps even more fear. With experience comes fear. Without experience you don’t know to be afraid. That’s where Tracy is. She sees what she wants. She recognizes the injustices in the world and she doesn’t really question why it can’t be different. Edna is coming from a time of the 50s, and being closed off, and not being able to really be just who she is. There’s a lot of fear and shame. It’s a parallel journey from two very different perspectives.

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JW: What do you like about the music?

DL: Oh, it’s so much fun. It’s so indicative of the period, and at the same time, it’s so Broadway. And playing this role allows you sing in a kind of Broadway leading lady manner that is usually reserved for the Broadway leading ladies. So, it’s really fun in that way. Also, Harvey Fierstein was the original and he has a very deep voice with a very crackle-y, raspy sound. And my natural singing voice is also very deep, so I’m able to really enjoy the singing of this role in these keys and in the same register and to be able to find the musicality in this role at a place in my voice that I’m very comfortable.

JW: Anything you’d like to add?

DL: I’m just so thrilled to be given this opportunity. It’s crazy. I never imagined.

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A FEW QUESTIONS, JUST FOR EDNA

NOV. 28 - JAN. 4 fri. NOV 28

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wed. DEC 3 7:30 pm p thur. DEC 4 7:30 pm p fri. DEC 5 8 pm op sat. DEC 6 3 pm, 8 pm sun. DEC 7 2 pm pl wed. DEC 10 7:30 pm thur. DEC 11 7:30 pm h fri. DEC 12 8 pm sat. DEC 13 3 pm pl,s, 8 pm sun. DEC 14 2 pm tues. DEC 16 7:30 pm wed. DEC 17 7:30 pm thur. DEC 18 7:30 pm pl fri. DEC 19 8 pm sat. DEC 20 3 pm ad, 8 pm sun. DEC 21 2 pm o mon. DEC 22 7:30 pm

JW: What’s your favorite food?

ET: What food isn’t my favorite! I can tell you the food I don’t like. It’s a shorter list. I don’t like lima beans and I’m not crazy about cooked cabbage. Other than that we’re good.

JW: If you weren’t doing laundry, what would you be doing?

ET: I would be designing clothes. That was my dream to be a designer not a laundress, but you know, life throws things at you and you gotta do what you gotta do. Especially when you have a child.

JW: If not Baltimore, where?

ET: Probably up North because Wilbur and I, we don’t quite fit in in Baltimore, and it’s a little bit on the cusp of the South, and that doesn’t really work either. So probably in New York, or maybe Detroit, because our baby loves that music.

JW: Finally, tough question, if not Wilbur, who would be the dream man?

ET: Oh, well, sometimes—and don’t tell Wilbur—sometimes I close my eyes and I see a little Eddie Fisher.

tues. DEC 23 2 pm o fri. DEC 26 8 pm sat. DEC 27 3 pm, 8 pm d sun. DEC 28 2 pm, 7 pm mon. DEC 29 7:30 pm tues. DEC 30 7:30 pm wed. DEC 31 4:00 pm

PHOTOS FROM LEFT TO RIGHT:

fri. JAN 2 8 pm sat. JAN 3 3 pm, 8 pm sun. JAN 4 2 pm p = preview op = opening d = discussion s = ASL interpreted o = open captioning ad = audio described h = happy hour pl = prologue w = Wed@1

John Waters Actor, director, and screenwriter.

Divine (aka Harris Glenn Milstead) and Jerry Stiller in the 1988 film Hairspray.

Buddy Deane

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or the vibrator play

Exploring Marriage, Relationships, and Emotional Intimacy

L

ate in Sarah Ruhl’s play In the Next Room,

Dr. Givings and his wife Catherine have a tense exchange. Ostensibly the subject is electric current.

“Do you favor alternating or direct?” the doctor asks.

Catherine’s succinct answer is illuminating on two levels. On the dramatic level, her response identifies what she feels has been missing in their relationship.

On the dramaturgical, or literary level, her response illuminates the central concern of the playwright.

In his famous short story “What We Talk About When We Talk About Love”, Raymond Carver presents a cardiologist who may know a great deal of the heart as vital organ, but lacks understanding of the heart as wellspring of love and affection. So, too, with Ruhl’s Dr. Givings. He is a gynecologist with a practice in a well-to-do spa town in New York (think Saratoga Springs) in the 1880s, the dawn of the age of electricity.

Part of his practice involves using the newly invented electric vibrator to induce “paroxysms” in women (and

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at least one man) suffering from any variety of psychological ailment labeled “hysteria”. While his clinical treatments succeed terrifically with patients Sabrina Daldry and Leo Irving, Catherine languishes. The intimacy she aches for with her husband is unfulfilled, and she is distressed that she cannot sufficiently nurse her infant daughter, a situation that prompts Dr. Givings to hire a wet nurse. In one room a woman— a loving wife and mother—is worried and alone, while in the next room her husband administers clinical treatments to make his patients “feel better”.

On stage, Ruhl mines a great deal of comedy from these treatments, but her intent is not prurient nor is it condescending to Victorian medical practices.

In fact Ruhl referenced Rachel P. Maines’* 1998 book The Technology of Orgasm: “Hysteria”, the Vibrator, and Women’s Sexual Satisfaction for accurate clinical information about the treatments. Accuracy was important to her.

“The play is set in the 19th century, so there are some details I want to get right,” Ruhl explained in an interview with the Lincoln Center Theatre Blog.

“I want to have a firm sense of where and how these characters might have lived.”

At the same time, it was equally important that the focus remain true to her intent, as she explained in an interview with Metro London: “I didn’t want it to be sensationalist and I was always very clear that all the naughty things you might want to see take place under a sheet because that doesn’t really interest me – what interests me is questions about intimacy and marriage, the relationship between bodies and minds, how you separate them and bring them together.”

The 19 century world of In the Next Room is evoked in Ruhl’s language and especially in the buttoned-up and corseted gowns of the women. While the language is economical, almost spare as is typical of Ruhl’s work, it contains a touch formality, a politeness that distinguishes it from contemporary speech. “I’m not interested in the way people talk in the contemporary world,” Ruhl once noted.

“I find it boring and not emotionally forthcoming.” th

The gowns of course speak to the repression the women endure in a society that seems not to understand and fears sexuality, especially women’s sexuality. Again, though, Rulh’s tone is not condescending or indicting.

“In terms of sexuality, I was aiming for less self-consciousness than for a kind of innocence. In some ways, people then were innocent of sexuality compared to the biological knowledge we’ve acquired about the subject since.

I didn’t want the play to be knowing,” she said in the Lincoln Center interview.

Ruhl is clear that although the play is set more than 100 years ago, and that she “was thinking of Chekhov and Ibsen and the notion of the 19th century interior; both the interiors of rooms and the interior of personhood and femininity,” she cannot help but include the present in her writing.

“I think it’s actually impossible to write about the past and not write about the present, because I’m in the present, so I’m always commenting from a distance,” she told Time Out New York. “Even if I set out to write a play purely about the 19th century, I’m actually writing about myself living in New York in this moment in time. In a way, I feel like sexuality’s been flipped: In the past, they compartmentalized and were so repressed, but today pornography has taken over the language of our sex lives and made it so public that it actually splits our bodies off from our emotions. We have no privacy. Selling jeans is pornography, everything’s pornographic, so what does that do to our intimate private lives?

“Ultimately the play is about intimacy. And I think in the age we live in, raw emotional intimacy is far more radical than physical intimacy or selling sex, which we see on every block. We see radical emotional intimacy far less frequently.”

Joseph Whelan *Rachel P. Maines is the scheduled guest speaker for the Wed@1 lecture on February 4, 2015, at 1 pm in the Sutton Pavilion. Ms. Maines is currently a visiting scientist in the Cornell University School of Electrical and Computer Engineering.

In the Next Room, or the vibrator play wed. JAN 28 7:30 pm p thur. JAN 29 7:30 pm p fri. JAN 30 8 pm op sat. JAN 31 3 pm, 8 pm sun. FEB 1 2 pm pl wed. FEB 4

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July 4, 1991 - October 28, 2014 Here are quotes from two pieces that appeared in the New York Times on Tuesday, October 28. The first is from an op-ed article written

by Elton John. “. . . 30 years after the AIDS epidemic began, rates of infection in the United States are still at unacceptable levels. One in eight gay men is H.I.V.-positive, and yet the majority of gay and bisexual men say they are ‘not concerned’ about H.I.V., according to new research from the Kaiser Family Foundation.”

The second is from the paper’s lead editorial.

“With good reason, Americans are deeply confused about the risks of Ebola. It is a frightening disease, made more so by dueling theories about how to best to deal with people arriving from West Africa . . .”

spending the July 4th weekend at a beach house that once belonged to Sally’s brother David, who has recently died of AIDS. David has left the house to Sally, and she and Sam are there to investigate. Chloe is Sam’s sister.

McNally establishes early on that this waterfront paradise is rife with serpents, from the literal snake Sam finds below the house to less tangible though no less poisonous vipers such as infidelity and bigotry.

Sam refers to their weekend neighbors as “faggots”, and of Aaron, David’s partner, he remarks: “He’s black, y’know . . . Black, black. Very African, that kind of black. Nothing white about him.”

Sitting at my kitchen table, I couldn’t help but think that Terrence McNally’s 1991 play Lips Together, Teeth Apart suddenly seemed extremely relevant.

McNally’s play is set in a gay enclave of Fire Island during the AIDS crisis. Two straight couples— Sam and Sally Truman, and Chloe and John Haddock—are Playwright Terrence McNally

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In addition, serpents of another sort infect body and mind. Cancer has commenced its insidious assault on one character, and while they all profess to reject the idea that AIDS can be transmitted through the water in the swimming pool, no one dares dive in. Fear of the virus, of the uncertainty, of the unknown, infects them all.

“I think these are terrible times to be a parent in,” says Chloe, mother of three.

“I think these are terrible times to be anything in,” responds Sally.

Terrible though they may be, McNally wraps the times and his imperfect characters in a great deal of humor and infuses the dialogue with infectious wit. In this “comedy that hurts”, as Frank Rich described the New York premiere in 1991, the playwright not only exposes the characters’ flaws, he revels in them in ways that allow the comedic and the serious to ebb and flow seamlessly throughout, sometimes changing in an instant. McNally is unsentimental and not afraid to present complex individuals, at once flawed and forgivable, foolish enough to make us laugh and anguished enough to make us stop.

THE MOST IMPORTANT THING A WRITER CAN DO An interviewer for Parade recently asked playwright Terrence McNally: “Why is there still prejudice against gay people?”

Much like the plays of Anton Chekhov, Lips Together, Teeth Apart is not driven by plot concerns.

McNally’s concern, first and foremost, is with his characters and the great gulf that can exist between people who stand, or even sleep, side by side. He shows clearly that what they hide, or think they hide, from each other serves only to isolate them further. However hard they may try to be cheerful, what they dare not say makes hollow what they do say. “Why do people have to speak to one another?” says Sally in a moment of sad recognition. “Why can’t we just be?”

McNally offers no answers, no sunburst of insight and inspiration.

Try as they may to make the most of their holiday weekend, the characters feel besieged. As John says, “there are . . . malevolent forces at work on God’s miraculous planet.” Some we can control or contain, others not.

“Hope and fight,” says Chloe. It is the only choice when intimations of mortality are everywhere, tempered only by the recognition that going it alone makes the fight that much tougher.

Back in my kitchen, I’ve turned my attention to an article about the battle for Kobani, while on the Diane Rehm Show a debate about quarantining health care workers returning from Ebola affected areas grows heated.

Joseph Whelan

McNally responded: “I don’t think anyone quite understands why. Maybe people have to feel superior to something. But God loves all his creatures equally.

The new Pope said, ‘Who am I to judge?’ If we all could just start with that simple message, and then look to our own life and ask, ‘How can I improve it?’

Fortunately, there are a lot of writers, like myself, who are slowly changing people’s minds by changing their hearts first. To me, the most significant thing a writer can do is reach someone emotionally. Theatre is an emotional medium and [through it] we’ve expanded people’s acceptance of our fellow man.”

RED-HOT MCNALLY It would be difficult to find a playwright having a better year on stage than Terrence McNally. Currently, the star-studded revival of his It’s Only a Play is the hottest ticket on Broadway. The cast features Matthew Broderick, Nathan Lane, F. Murray Abraham, Stockard Channing, Rupert Grint, Megan Mullally and Micah Stock.

Earlier this year Tyne Daly headlined in the Broadway production of McNally’s Mothers and Sons, and offBroadway at Second Stage Theatre, America Ferrera of Ugly Betty fame currently leads the cast in a revival of Lips Together, Teeth Apart.

Presented by Syracuse University’s Department of Drama in the College of Visual and Performing Arts, Lips Together, Teeth Apart by Terrence McNally. February 20 - March 1 in the Storch Theatre at 820 East Genesee Street. Tickets are $16-$18, available at 315-443-3275 or by visiting http://vpa.syr.edu/drama.

SPONSORED BY:

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THE NEW SOUND CONSOLE IS MADE POSSIBLE WITH GENEROUS FUNDING FROM

MAKING JOYFUL NOISE W

ith generous support from the Dorothy and Marshall M. Reisman Foundation, the Allyn Foundation, Central New York Community Foundation, and Syracuse University College of Visual and Performing Arts, Syracuse Stage has realized a significant upgrade to its sound system through the purchase of a state-of-theart console.

The new equipment is a DiGiCo SD10T, a completely digital console that in form and function operates more like a computer than a traditional analog sound board. The new console will provide increased numbers of inputs and outputs and allow for pre-setting complicated sound cues.

With up to 25 or 30 wireless microphones for actors, plus eight to ten musicians, required for a large scale musical, keeping the sound cues clean and efficient can be cumbersome on a traditional board. What might have required two board operators to complete with multiple controls can now be achieved with the push of one button. In addition, the new console records and stores the optimum level for each microphone in use.

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“DiGiCo’s digital boards are the only ones that have software packages specifically designed for live theatre,” explains Syracuse Stage resident sound designer and audio engineer Jonathan R. Herter. “The sound requirements of directors and professional designers mandates that we acquire a world class mixing console.”

Herter points to a number of Broadway shows that have used the same console including, among many others, Jersey Boys, The Book of Mormon, Billy Elliot, The Lion King, Newsies, War Horse, Kinky Boots, Matilda: the Musical, and Pippin. Among the concert performers who use the console are Bruno Mars, Smashing Pumpkins, Taylor Swift, OneRepublic, the Cranberries, Michael Bublé, Madonna, Iron Maiden, Judas Priest, and Lady Gaga.

In addition, Herter notes that the new console can provide for future improvements such as adding to the already large amount of inputs and outputs, allowing the musicians to control their own monitors, and tracking performers as they move across stage. The better the musicians can

hear what they need to hear, the better they can play. Tracking the performers will make the singing sound more natural as the voices will be localized instead of emanating from speakers in different locations around the stage. These exciting new systems can now be investigated and pursued. Without a digital board, they could not even be considered.

Hairspray is the first Syracuse Stage musical to use the new console. SU’s Department of Drama successfully tested this model by renting one for their production of Spring Awakening.

The department then had a “shake down” of the newly acquired SD10T (the T stands for theatre) on director Marie Kemp’s powerful production of Parade. Herter was very pleased.

His goal is to make the sound on each show the equal of the best produced shows anywhere.

“Audiences have become very savvy by attending movies with tremendous systems, concerts, and seeing Broadway shows. We are required to keep up with that sonic expectation,” he says.

EVENTS DECEMBER - FEBRUARY 2015 WEDNESDAY@1 LECTURES

SYRACUSE STAGE

Pre-show lecture at 1 p.m. in the Sutton Pavilion before the 2 p.m. matinee performance.

Hairspray

Book by Mark O’Donnell and Thomas Meehan Music by Marc Shaiman Lyrics by Scott Wittman and Marc Shaiman Directed by Bill Fennelly Choreography by David Wanstreet Musical Direction by Brian Cimmet Co-produced with SU Drama December 28 - January 4

In The Next Room, or the vibrator play

By Sarah Ruhl Directed by May Adrales January 28 - February 15

AMERICAN SIGN LANGUAGE INTERPRETED

Hairspray Saturday, December 13 at 3 p.m.

In The Next Room, or the vibrator play Saturday, February 7at 3 p.m.

AUDIO DESCRIPTION

Hairspray Saturday, December 20 at 3 p.m.

In The Next Room, or the vibrator play Saturday, February 14 at 3 p.m.

ACTOR TALKBACK SERIES

During the run of each show, join us for free, intimate, pre-show talks led by a member of the cast. One hour prior to curtain, three performances per show.

A lively discussion with the actors following the 7 p.m. Sunday night performance.

Hairspray Sunday, December 28

Hairspray

Sunday, December 7 at 1 p.m.

Saturday, December 13 at 2 p.m.

Thursday, December 18 at 6:30 p.m.

In The Next Room, or the vibrator play Sunday, February 8

SU DRAMA

Lips Together, Teeth Apart

By Terrence McNally Directed by Gerardine Clark February 20 - March 1, 2015

HAPPY HOUR SERIES

Warm up before the show with half-price drinks, signature cocktails, and complimentary appetizers from fine local restaurants. Located in the Sutton Pavilion at Syracuse Stage, Happy Hours start at 6 p.m. with performances at 7:30 p.m.

In The Next Room, or the vibrator play

Sunday, February 1 at 1 p.m.

Saturday, February 7 at 2 p.m.

Thursday, February 12 at 6:30 p.m.

OPENING NIGHT PARTY

Join us for a post-show party with live music and complimentary food following each opening night performance. All performances at 8 p.m.

In The Next Room, or the vibrator play January 30: TBA

In The Next Room, or the vibrator play Wednesday, February 4 Speaker: Dr. Rachel P. Maines Author of The Technology of Orgasm: “Hysteria”, the Vibrator, and Women’s Sexual Satisfaction *Speakers and topics subject to change

PROLOGUE

Hairspray December 5: Nancy Kelly

Hairspray Tuesday, December 23 Speaker: Brian Cimmet Hairspray: From Screen to Stage

In The Next Room, or the vibrator play Wednesday, February 4 at 2 p.m.

Sunday, February 15 at 2 p.m.

Hairspray Thursday, December 11 In The Next Room, or the vibrator play Thursday, February 5 OPEN CAPTIONING

Hairspray Sunday, December 21 at 2 p.m.

Tuesday, December 23 at 2 p.m.

The Young Playwrights Entry packets and guidelines Festival turns for the 2015 Young Playwrights

17!

Festival are now available on-line at SyracuseStage.org.

Submission deadline is February 13th, 2015 Last year Syracuse Stage received a record-setting 210 submissions to the Young Playwrights Festival. t tfeL :thgiR o B nniroC lle K ,oyT e tnyoP a ,toillE ne alB acisseJ ,no taK dna n elssiaL e nayC ,d

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is published by Syracuse Stage and Syracuse University Drama throughout the season for their subscribers and alumni. Editor: Joseph Whelan (jmwhelan@syr.edu). Designer: Brenna Merritt.

Timothy Bond, Producing Artistic Director Jeffrey Woodward, Managing Director Ralph Zito, Chair of SU Drama SYRACUSE STAGE/ SU DRAMA |

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Nonprofit Organization US POSTAGE PAID Syracuse Stage Syracuse, NY

820 East Genesee Street Syracuse, NY 13210-1508 www.SyracuseStage.org

SYRACUSE STAGE: HAIRSPRAY NOVEMBER 28 - JANUARY 4 IN THE NEXT ROOM, or the vibrator play JANUARY 28 - FEBRUARY 15 SYRACUSE UNIVERSITY DRAMA: LIPS TOGETHER, TEETH APART FEBRUARY 20 - MARCH 1 DANCERS ON THE BUDDY DEANE SHOW c. 1962