Noises Off Loads In!

Out with Lady Windermere's Fan, in with Noises Off!

On Sunday we had the last performance of Lady Windermere's Fan! Monday morning we got busy on....

Noises Off! We've been wanting to do Michael Frayn's hilarious backstage farce for ages. We just had to get into a place with high enough ceilings to deal with the massive set! Speaking of ceilings....

Ours got a dark blue makeover so it will disappear during performances! Don and Mike and Patrick have been busy for the past two days loading in lumber.

So much lumber. And making platforms and walls and stairs and did I mention the whole thing turns around?! Our lovely spinning fan pieces were a piece of cake next to this set!

Stay tuned for more behind-the-scenes action as it all comes together...

Here's a first day of rehearsal peek at the actors enjoying their last down time before the craziness begins!

Other Desert Cities: Behind the Scenes with Bernadette Nason

Other Desert Cities is making its Texas debut at Austin Playhouse after successful off-Broadway and Broadway runs. We've interviewed the cast to give our audience a behind-the-scenes look at the process of creating the family of Other Desert Cities. We'll be posting new interview excerpts on a regular basis, so check back soon! 

Bernadette Nason plays Silda Grauman, a recovering alcoholic who co-wrote screenplays with her sister Polly (Babs George) in the 1960's. Bernadette has appeared in many Austin Playhouse productions including Boeing-Boeing, The Importance of Being Earnest, and Steel Magnolias.

What was your first impression of the play? How has that changed during rehearsal?
It was a cold, cold day in England when I first investigated the play; from what I could tell, it was smart and funny with great dramatic moments.  This was supported when I read it on my return; it was an easy, "un-put-down-able" read!  Even after only one or two rehearsals, it became clear how rich a piece it is, both in language and ideas.  Every character is fully fleshed out yet with room for actors to build their own interpretation, develop their own sense of who they're portraying.  And yet, the more I read, work on and perform the play, the more I see every character's POV, not only Silda's.

Most of the actors have worked together before. How does knowing your fellow performers affect the rehearsal process?

I've worked with the whole cast before, individually.  It's been really helpful having an idea of my colleagues' process -- it makes it easier to give them space to "do their thing" while I work on my own.  There's an gentle, easy camaraderie which is really important to me in any rehearsal set-up.  If one can feel comfortable with one's fellows, it makes it less scary when one feels unsure or vulnerable.  And God knows, this is a play in which vulnerability figures strongly, both for actors and characters.
 
What research have you done for your part?
Apart from the obvious web searches on the play, playwright, other productions, reviews, etc. I read up about the Vietnam war (as a Brit, I don't know much); also about how recovering alcoholics cope with life, i.e. their daily struggles. 

What do you find the most challenging about this play (or your performance)?
Ha ha!  Trying to balance Silda's (a) wacky personality, (a) her loud, lower-register voice, (c) her California/Texan/Jewish dialect, and (d) what she actually has to say!  Also, balancing a sense of Silda's brittle vulnerability with her brash presentation.  Also balancing her general couldn't-care-less, seen-it-all attitude with a deep, sincere passion for both liberal politics/her family.
Are you doing anything in this play you haven't done before?
See above!
Are there parts of your character based on anything from your real life? As a storyteller, I always have to be careful about whose story I'm actually telling.  If it's my story, I should in theory feel safe sharing my interpretation of it.  If it's someone else's, obviously I must get permission both to tell the story and to tell my version of it.  The problem is, one's own story often overlaps with someone else's and this can cause serious problems when it comes to permission.  In this play, I identify more with Brooke than I do with Silda but all the same, I can see where Silda gets her sense of righteousness -- she may not have all the facts and she may not remember a story correctly but she feels nonetheless that the story needs to be told.  In my real life, I often confront the subject of permission.  I have told stories with sensitive family issues, thinking that I've successfully excluded anything other than the most basic facts and my own feelings, then had family members question my right to share any of the facts at all.  "They can't imagine a world in which you have the right to speak of it...critically," as Silda would say. 
What has been the easiest part of this process?
Oh, working with people I really respect.  And less significantly, the easy drive from my home to Highland Mall.

Other Desert Cities: Behind the Scenes with Rick Roemer

Other Desert Cities is making its Texas debut at Austin Playhouse after successful off-Broadway and Broadway runs. We've interviewed the cast to give our audience a behind-the-scenes look at the process of creating the family of Other Desert Cities. We'll be posting new interview excerpts on a regular basis, so check back soon!

First up is Rick Roemer who plays Lyman Wyeth, the patriarch of the family. Lyman was a successful Hollywood actor who became a star of the GOP. Rick has appeared with Austin Playhouse in roles as varied as Lady Bracknell in The Importance of Being Earnest and Littlechap in Stop the World, I Want to Get Off. But in Other Desert Cities he's doing something he's never done on stage before...

Most of the actors have worked together before. How does knowing your fellow performers affect the rehearsal process?

Actually...the only actor I've worked with is Bernadette. We've done 5 or 6 shows together. Jacob did one week of Jacques Brel. I've never worked with Babs or Lara...although I know everybody well. But still...there is a level of trust that is inherent. It's easier to get to where we need to get to....because we all trust each other. And will give to each other on stage. We allow each other to make mistakes...without judging. That is very important to actors...so we have the freedom to fully explore. Also...we already all like each other, which is important to create the ensemble.

What was your first impression of the play? Did it change during rehearsal?

I know this world. I know these people. My parents were prominent Republicans in the Coachella Valley and lived in Indian Wells Country Club for 28 years. Their friends used to make very disparaging remaks about gay people...and my parents used to hold their tongues. Not because they were embarrassed by me...but didn't want to get "into it." But before my father passed away, they both began standing up for me...and gay people..in their conservative Republican circles.

During rehearsals I realized that Polly (Lyman's wife) just doesn't listen to Lyman. He can say..."I don't want confrontation" (with their daughter)...and immediately Polly's next line is a confrontational line. Polly wears the "pants" in the family in many ways. Lyman tends to back down. That escaped me on first reading...because he seems so patriarchal.

How have your feelings about your character changed?

Lyman can be seen as stoic and diplomatic and reserved. And it is a part of him. But he also has a soft side, especially when it comes to his children. And more specifically his daughter.

I think most people would look at Lyman and assume he runs his family...and in part he does. But his wife is the out-spoken, opinionated one who, at parties, takes the lead to make sure that the impression of their family is the "correct" one. Image is everything. Polly tends to tell Lyman how to behave and what to say. Lyman tries...but Polly doesn't really listen to him.

What research have you done for your part?

Well...thinking (reliving) all of my visits to my parents in the desert...especially Christmas...and remembering their friends. I've been in this world many many times, so much of my research is my memory

What has been the easiest part of this process?

Whew...it hasn't been easy trying to learn this man in a very short period of time.  The easy part has been the fact that I'm working with friends..and I have the freedom to explore...and make wrong choices.  That is liberating.  This is the 5th or 6th project I've done with Don Toner as director...and that makes it easier,  He knows me and my and work...and I trust his eye and vision.

Are you doing anything in this play you haven't done before?
Yes...playing the father!! It's finally happened. I'm now playing the fathers. That's new to me...and it takes some getting used to!

We'll have more with Rick and the rest of the cast soon, so check back for more behind-the-scenes interviews with the artistic team of Other Desert Cities!

First Work Day in the New Space!

Today was our first huge work day and we got a lot done! The theatre is really taking shape and everyone is very excited about our new location.

(Especially the people who found the giant candy store just upstairs...)

 

Our window display announcing our arrival!



We built another wall at the front entrance to enclose the space. We'll install double doors leading into the lobby.

Don testing the masonite layer on our new stage floor.



The stage is 16" high, 37' wide and 19' 6" long. It's a little bigger than our tent stage and a lot bigger than our Penn Field stage.

The risers for the back two rows were installed today.





Molly testing the structural integrity of the risers.



Bernadette led the cleaning backstage.



Joey clearing the ladder from our spacious dressing rooms!
Laura, Brian, and Huck took out tons of shelving so quickly we didn't get a picture.

The hallway behind our theatre is also a tornado shelter!

 Thanks to Laura, Patrick, Holly, Barry, Huck, Bernadette, Don, David, Joey, Molly, Eedann, Mike, Rick, and Brian for making our first workday awesome! We'll be back at it tomorrow!

First Look at Our New Performance Space!

 Last week we signed a lease agreement for a space at Highland Mall. Our new (temporary) home has a large front area that will be used for the stage, seating, and lobby. It also has a large back area for dressing rooms, storage, and scene construction. After a year producing plays in a tent we're very excited to be back indoors!

First look at our new home! We're on the lower level, across from the Express.

Don Toner surveys the new Austin Playhouse space at Highland Mall.

The staircase  and fountain just outside our front door.

The back area is filled with shelves (and very cool rolling ladders). We'll remove half the shelves and use the rest for storage and dressing room dividers.

We look forward to seeing you soon! Our first play opens December 13th, so we have a lot to do to get the space ready. We've started the permitting process and will begin construction on risers for seating next week.

We're Opening the 2012-2013 Season!

We've successfully negotiated a deal to open our season in a temporary theatre we'll build at Highland Mall.

A few weeks ago, as we were faced with further site permitting delays for our new space at Mueller, we asked our subscribers if they would prefer to open the season in a temporary facility in January or if they would prefer to wait until late Spring to open in the new theatre. The response was overwhelming. 97% of the subscribers who responded voted in favor of opening as soon as possible. We listened to you.

We will open our season on December 13th. We'll announce performance dates and show titles for the first two plays of the season in an e-newsletter as soon as the rights are secured and Subscribers can begin making their reservations at that time. Subscription packets are being prepared as quickly as possible.

While Austin Community College has long-term plans to transform the location, right now it is still a functioning mall. All the big department stores are gone, but many of the national stores, the food court, and local stores are still operating. The Highland Mall location also comes with ample parking, plenty of restrooms, and great climate control!

We want to thank Austin Community College and the management at Highland Mall for facilitating an arrangement that will benefit Austin Playhouse and the Austin community.

Artspace Market Survey Launches October 30

Join Us!

The City of Austin, Austin Playhouse, and Artspace will launch the Artspace Market Survey of Artists, Arts Organizations, and Creative Sector Businesses with a public presentation by Artspace staff Stacey Michelson and Teri Deaver on October 30 at 6:30 p.m. at The Off-Center. The survey will be available online from October 30 through December 31, 2012. Artists, arts organizations, and for-profit creative sector businesses are all encouraged to complete the survey.

The purpose of the market survey will be two-fold. The information gathered will help inform the concept and design decisions for the 4-story, 35-40 unit artist live/work project planned in conjunction with the new Austin Playhouse at Mueller Town Center. The results of the survey will also identify Austin's specific creative sector space needs and requirements, which will be made available to local developers, building owners, and foundations interested in developing creative spaces. The City envisions that the survey data will provide valuable information for the planning of corridors, creative hubs, arts districts, and incubators.

Artspace Market Survey Launch

When: Tuesday, October 30, 6:30 p.m.

Where: The Off-Center (2211-A Hidalgo St.)

Take the survey online Oct. 30 - Dec. 31: www.artspaceaustinproject.org

 

Artspace in Austin

In June 2010, Artspace, a national leader in affordable space development for artists and arts organizations, was invited to Austin by Austin Playhouse to discuss their plans for development of a new theater. While in Austin, Artspace staff toured potential sites for an Austin Playhouse & Artspace development, conducted a number of focus groups, and held a public meeting attended by over 100 people.

The Artspace Feasibility Report for Austin, Texas, submitted after Artspace's visit, determined that Austin has the potential to support multiple Artspace artist live/work developments. Artspace will develop their first project above the Austin Playhouse complex at Mueller Town Center, next to the Austin Children's Museum.

Mueller Town Center is a planned 1.2 million square foot mixed-use lifestyle district in the heart of the Mueller development envisioned to be an active 24-hour, 365-day mix of commercial, civic, residential, recreational, and cultural offerings. Designed for the ease of the pedestrian, one will be able to stroll through the Artspace residences' art gallery on the rooftop terrace of Austin Playhouse, enjoy dinner or a drink in the full-service restaurant inside, as well as attend a performance at one of Austin Playhouse's two theatres.