 The Birth of the HGWP Holiday Letter by Barbara Biddison
A group of women and a few men gathered some months ago at the Warehouse to consider what might be put together for a Holiday Program in early December 2023. How about three 10-minute plays with some vocal and instrumental interludes? Oh! and some "Holiday Letters" like the ones that some people send out (full of way too much detail about family doings and challenges and pets and so forth). So, we offered "Holiday Letter Writing Workshop" for HGWP's "Holiday Shorts and Sweets," and got our people to write such letters just for fun, and then we chose the best ones for our December show. We did all that, and now we are rehearsing six (6) holiday letters with six readers who did not write the letter they read aloud. Sometimes you might even think that the family dog wrote the letter. Sometimes pets do that you know. I once had a dog that could have--his name was Chance, and all 80 pounds of him rode in my convertible with the top down. He probably had many stories to tell. But back to the Holiday Letter. We did have auditions, and those that seemed to relate to the letter of the moment were cast as a reader. We were auditioning for three 10-minute plays at the same time as we auditioned for letters. Somehow a few women and one guy were cast in both play and letter. So far everything seems to have worked out well. I don't see the play rehearsals, but I'm "directing" the six letter readings. We have managed to keep the letter and play rehearsals moving forward without anyone having to be in two places at once. You might think that just reading a letter out loud would be easy. But it actually requires practice and thought. So we practice, and try different ways of expressing thoughts, and we try to figure out what importance there might be to certain references. For example, in one letter there is reference to Christmas ornaments made here. We discussed the value of knowing that is historically true. Another letter, actually written by a Jewish woman, is read aloud by a woman who is not Jewish. So the writers (on paper) are never the same person as the actor reading aloud that piece. It is a very interesting acting experience as the reader takes on the writer's identity which is never quite the same of course. And then the whole thing can get more complicated as the letter writer appears to be the family dog! Our most recent. rehearsal, when five of the six were present in the same room, was quite lively. All five "read" their practically memorized letter to four listeners plus me. I was so pleased with their listening skills as expressed in comments/suggestions for the reader. Lots of smiles and genuine laughter too. They were great audience members as well as good readers. And all were willing to offer feedback, and look at possible clothing choices, ranging from "hmmmm" to "the color is right" to whether or not a dog collar would be appropriate. These readers have varying degrees and different types of theatre experience, and whatever they have they bring to this project. So we'll be reading these letters aloud as each reader gives life to the person inside the letter. Keep your eyes glued to the stage right side of the stage where our small table and chair will mark the letter-reading spot. [Note: HGWP's Holiday Shorts and Sweets runs December 8 at 7:30; and December 9 at 2:30 and 7:30PM at the Warehouse Theatre. Sponsored by Larry & Marian Miller; Hilma Cooper; and Deb & Greg Calkins.]
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 OPENING NIGHT at ANNE OF GREEN GABLES
By Friday afternoon it was "sold out!" for opening night. I was ushering for this performance, and therefore I arrived at the Coolidge an hour before curtain time. The space where the doors would eventually open was already crowded with reserved audience members (Not reserved in the sense of quiet and proper; but reserved in the sense of having called ahead for tickets and thus been assured of a seat.) There was excitement in the air. I quietly let myself in to the performing/theatre area, and there I found the cast of 24 sitting in the front rows There was a feeling of excitement mixed with calm as director Jessie Thompson focused their attention on what they were about to do. Most of these people were "students" and, though I could guess they were excited, all the cast sat in relative quiet. Then they were released to their backstage area. And at 7 PM on the dot the doors opened and the folks waiting were allowed to enter. It was so much fun to watch them come in. It's not often that we get to see so many children at a show! I watched to see how many children there were amongst the adults. A goodly number. I watched to see how they would choose where to sit. Of course some asked if they could sit anywhere. In this particular theatre there is no "curtain" and the stage with its "set" is in full view, so some seemed to be trying to figure out where they could best see the action. And then there was the upstairs bedroom with stairs that led up to this little space, and everyone would be able to see that! This perfect little bedroom that would be Anne's. Of course "the kids" are the story that pulls us in and the energy that holds us there. They range from preteen to post high school, all genders and all distinct in character on stage. I was truly impressed by their ability to stay in character and act and react amidst what was often chaos! (Remember that this cast of 24 is mostly kids!) And I loved that there were a couple mother/kid combinations and one father/kid. June Roth is a really believable and lovable and human girl as she is Anne. This Anne as written goes through a full range of emotions during the show, and June Roth takes us there with her. But I won't forget the actual adults. There's Lilace flying across the stage as Mrs. Spencer And David Gordon who graduates from barking pig to "doctor" in this show. And Rebecca Charles hilarious as the bossy/nosey neighbor. Then there's Herb Johnson as Matthew, the sweetest and most compassionate man on earth. And Sarah Duterte as Marilla who grows to move from resisting the taking on of a girl to being a believable caring support for the orphan Anne. There's some real acting going on here!. Thanks to Cody Losinger, choir director in the play and assistant director overall. And to Gary Citro at the piano, without which there wouldn't be much singing goin' on. And, especially, Jessie Thompson whose subtle touch as director has created such a moving and human and believable show!  GREEN GABLES MEETS THE COOLIDGE by Barbara Biddison
I wanted to see Anne of Green Gables in rehearsal. and of the choices that director Jessie Thompson gave me I chose "first time in the Coolidge." It's always interesting to see what happens when the actors move to the actual space where they will be performing in front of an audience. In this case for this show and this rehearsal, it was mostly kids and it was cold in that space. (The outside temperature was hovering around the freezing point.) So I wore an extra coat, knowing that they would have it warmed up by opening night for show-time. The wondrous part about that theatre space now though is that the feel of Hamilton-Gibson's Elephants Graveyard, with its sadness and grief, is swept aside by the young voices and a story that most of us know. And, of course, the kids are wonderful to watch. Anne Shirley, the title character is played by June Roth. I don't think I've known her before, but she is so at ease on the stage. And the couple that takes on Anne, Marilla and Matthew Cuthbert, are known to all HG followers as Sarah Duterte and Herb Johnson. I found it really interesting to watch the director/assistant director duo as they seamlessly shared duties with this crowd of actors in ths "first time in the Coolidge" rehearsal. Jessie calmly gains attention as she reminds a young person at a given point. "You remember how we had you put that down right there, before you walk away." And later Cody directs a song while he moves the singers into place. The point here is that both of these things can be happening at more-or-less the same time. And if any part of the singing gets off-pitch or mixes up rhythm. Cody is right there and Gary Citro at the piano pounds out the correction on the piano. To see this kind of intuative cooperation in a new space is a joy to observe. As Anne arrives, "Anne with an 'e'" as she insists, riding in a carriage with a horse, we hear her respond to her first sight of Green Gables. In this rough rehearsal. Still, it actually gave me goosebumps. And when they got there, what does Martha say but, Where is the boy??" And goosebumps turn to tears. Even in this preliminary telling of the tale, these actors portray the emotional beginning of Anne's story. At this point I find myself wondering if the set will have an upstairs. That's where Anne's bedroom is. The line in the play says so. And it set me to remembering the "upstairs" part of Madwoman of Chaillot and how it transformed the entire Coolidge. Whatever they do for Anne, I'm sure it will evoke Green Gables. We are always taken into a new and wonderful world when we enter the Coolidge, |
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Hamilton-Gibson Productions
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