“The Tempest” Spring 2020 Tour: Entry #3

By David Rubin

A rather cold and snowy week in South Bend, back at the University of Notre Dame – but full of very warm receptions… even at the Social Security office, where some of us had to go, for to be issued our Social Security numbers, that we might continue our work here.

So, then…

Multiple workshops variously delivered, plus three more performances of our company devised ‘Tempest’ – this week on the slightly ‘thrust’ stage of Washington Hall, on campus. Each night’s audience was larger and more enthusiastic than the last’s.

Deb, Jason, Scott, Sidney and Peter were on hand with help throughout the week.

The show itself certainly found more of its… groove, I’d say. It’s rhythmically finding itself. We’re still tinkering on bits. And there’ve been some little lapses of memory or liberties with lines. Molly gets top honours for rescuing one of my moments by summoning herself with “Come hither, Spirit”.- me then legging it, late, to where we usually hither it to, ha ha ha!….ish.

We had some fun filming some Shakespeare educational material, this week at Notre Dame, too.

It’s Sunday evening now, and I’m in a nice Chicago hotel after a two day holiday here, courtesy of our Notre Dame hosts, whom we left on Friday night, straight after the evening’s show.

We’ve all had a great time here in Chicago.

Much imbibement and many hours of music.

Saturday night, Noel and I went to Dick’s Last Resort to watch ‘dueling pianos,’ which also included alternating drummers (the pianists) accompanying said pianos. So Noel and I ended up playing drums for them for most of the night. We then went on to Howl At The Moon to watch another band – along with some of the band from the Dick’s gig. Then Molly and Arthur joined us at the second gig, too, for what was a very jolly night all round. Will reported as much of his night carousing, too.

Yes to Chicago. But like South Bend, it’s cold here, too.

And Chicago, of course, is also… mighty pretty.

Chicago’s Institute of Art contains much to muse. Including loads of really well-known works. I spent a few hours there Saturday afternoon. So many Picassos!

And before that, in the morning, after a walk around downtown, I had reveled, together with hundreds of others, in and around Anish Kapoors’s superb Cloud Gate at Millennium Park, near the Lake shore. An amazing piece bringing vibrant community and joy. Much more time here needed to fully appreciate it, I feel.

But it was a lovely break and a good snapshot of the city for us.

I’ve just watched the Oscars. I can’t help loving the fact that the Academy President – who keeps getting namechecked – is also David Rubin! I hope all my actor friends and directors etc. looked twice or fell out of their seats on hearing me announced to make a speech on the stage! And I’m very pleased that Renee Zellweger got the Best Actress Oscar for Judy. Now I’ve been in an Oscar-winning film! [I had previously been in an Oscar-nominated film… ’Brooms’ by Stomp, in the Best Live Action category, but it didn’t win.] But enough about me…

Actually, no, it’s my blog… so maybe just a little more about me… and yes, possibly something wondrous about the tour and the play, too…

But that’ll all be next week.

For now, please enjoy thousands of words painted for you in a few of my pictures.

“The Tempest” Spring 2020 Tour: Entry #2

By David Rubin

Ah! Blog #2…which is a little late due to some car trouble in New Jersey.

Long story short : I visited one Mr. Tom Miscia, at his home in New Jersey (not seen him for 33 years – he came over on a Performance Arts exchange visit from Montclair Uni to Middlesex Poly in ’87)…but I got locked out of our hire vehicle as I was about to head back to our hotel on Long Island and I ended up getting back there very, very late.

Next day we ended our week at Molloy College with a flight back to Notre Dame for Week 2 of the tour. We all arrived rather tired.

So. Week 1 saw us present our play before an audience for the first time.

Three performances at The Madison Theatre – having also run a series of workshops for students from Molloy College. There was a Q&A after the first showing, which was very informative. Again, the craving for ‘outside eyes’ was upon us.

We’ve now re-tweaked our opening storm. Less is more. We’re able to speak most of it now instead of the slight shout fest it was when fully accompanied/underscored.

And we’ve improved some of the transitions between characters that we have to make when playing more than one character in a scene.

Molly’s clear and brilliant portrayal of each of her 5 characters brought huge praise from the audience. “She’s like the anchor of the piece.”

A few of the audience said we “moved like dancers through the space” and loved the “physicalisations.”

The play itself went down very well, though the audiences were quite small (about 80-100 in a 500-seater)… and there was a reverence from them that it was good to see broken down as the play went on. There’s a section where the Spirit Goddesses of the island are summoned by Prospero to perform, and we include the audience in this, which proves to be a real breakthrough moment.

My personal thanks to Arthur for now keeping my Antonio alive throughout a scene where I’m also playing Prospero. It looks like one hell of an arm ache to me…he holds my hat in his outstretched arm for a quite unreasonable number of minutes to ‘keep Antonio present’ when I duck out of it to play Prospero. I do duck back into it to speak as Antonio again, eventually.

So we were in the state of New York and therefore made many visits into Manhattan to see friends, plays, sights and pizza parlours. Molloy College itself is situated on Long Island, about 35 miles from the Big Apple.

It brought back many memories for me, being where we were, in Hempstead, Long Island… Some 35 years ago my best friend Mark Nathan and I lived in Manhattan (on East 60th Street under the Queensboro Bridge) during our gap year – and we spent much of our time canvassing towns on Long Island, selling memberships for Greenpeace. We were part of the team that set up the first Greenpeace NYC office in 1984.

And now we’re back at Notre Dame. We’re expecting much bigger audiences here. It’s the Company’s “home.” We’re very well looked after everywhere we go, and with just five of us in the company, we very much enjoy each week’s encounters with the different students and staff.

Tune in next week to see how it’s gone!

PS I miss my girlfriend, Sally…

“The Tempest” Spring 2020 Tour: Entry #1

By David Rubin

Hello and welcome to this blog. I will be writing a weekly update about our tour of William Shakespeare’s The Tempest. We are a company of 5 actors, each playing multiple roles in the production, which is a full text version that we have devised ourselves, with no director.

We are Actors From The London Stage, and the company was founded 45 years ago, Sir Patrick Stewart being one of the two founding members, along with Dr. Homer Swander.

Our tour lasts eight weeks and visits eight different Universities across North America. Our producers are from the University of Notre Dame, Indiana, where we have spent the last week preparing for Week One of the tour in New York…

Beginning next week!

I’m David Rubin and I play Prospero – and also his wicked brother Antonio.
William Donaldson plays Alonso, Stephano, Juno and The Master/Captain.
Molly Vevers plays Miranda, Ariel, Adrian, The Boatswain and Ceres.
Arthur Wilson plays Ferdinand, Trinculo and Sebastian.
Noel White plays Caliban, Gonzalo and Iris.

L to R: David Rubin, Noel White, Arthur Wilson, Molly Vevers, William Donaldson.

We are just about ready!

The first public performance is this Thursday, January 30th. In the days leading up to that we will be running workshops at Molloy College, NY. We also have two more dress rehearsals scheduled in before Thursday, so by then we will, we’re sure, be ready…

Our final week of rehearsal, here at Notre Dame, was a good one.

It followed 5 weeks of rehearsals in Brixton, London, during which we wrangled our way through this unique ‘no director’ set up. The process requires much negotiation. I think I speak for all five of us when I say we are pleased with what we have devised and are very much looking forward to a live audience reaction.

Rehearsals in London.

Rehearsals in London continue.

Snacking and chatting.

During this last week we did have the benefit of a few pairs of ‘outside eyes’ seeing our work before it goes public: lecturers and professors from the English and Theatre Departments at Notre Dame.

It has proved very useful. We’ve tightened the ship, and are ready for The Tempest to begin.

Rehearsing at Notre Dame.

So many discoveries already. So many more to come.

It’s an amazing play. The language and themes, the characters, the ideas and the images conjured are all, true to Shakespeare at his best, endlessly fascinating and explorable. And incredibly, the play still has great relevance 410 years after being written.

If you have the chance, do come and see the production for yourself,

Thank you, Notre Dame. We are back here for Week Two of the tour.

Midsummer in December

By Grant Mudge

The December full moon arrives at 12:12am on 12/12, known as the Full Cold Moon. It’s the same date we selected for Lavina Jadhwani’s master class, in anticipation of her production of A Midsummer Night’s Dream. The class will run from 7-9pm.

It’s known also as the Long Night’s Moon, and both names have roots in First Nation or Native American traditions, occurring as it does on or near the longest night of the year, the Winter Solstice, this year the 21st. It’s also called the Moon Before Yule, the Oak Moon, and the Bitter Moon.

Naturally, this had me thinking of the Moon in Midsummer. Some of you may know Earth’s satellite plays a special role in my house.

There’s even a hint of direct reference in the play, though Theseus here is speaking more about Chastity than Winter, and contrasting with more Earthly fruitfulness:

“Therefore, fair Hermia, question your desires;
Know of your youth, examine well your blood,
Whether, if you yield not to your father’s choice,
You can endure the livery of a nun,
For aye to be in shady cloister mew’d,
To live a barren sister all your life,
Chanting faint hymns to the cold fruitless moon.
Thrice-blessed they that master so their blood,
To undergo such maiden pilgrimage;
But earthlier happy is the rose distill’d,
Than that which withering on the virgin thorn
Grows, lives and dies in single blessedness. ” I.i

It’s a distillation of the fertile growth of summer living on, perhaps in progeny. Like a flower distilled into perfume outliving the blossom itself.

The cycles of the Moon and the Seasons of course are often tied to fertility rites, marriages, and festivals whether of high summer, deep winter, or harvest. In the very first sentence of Shakespeare’s play, Theseus bemoans the slow approach of a new Moon, whose pace and chastity “lingers his desires.” Hippolyta assures him that the time will quickly pass and that the Moon will arrive in four days, “like to a silver bow/ New-bent in Heaven.” She will “behold the night of our solemnities.” One assumes chaste Diana will occasionally look away.

Moments later in the same scene, Egeus decries Lysander’s singing of feigning verses to Hermia “by moonlight” and of course the Queen of the Fairies herself proclaims the Moon to be “pale in her anger,” who “washes all the air that rheumatic diseases do abound,” among other disastrous climate changes. The speech is a key reason I’ve selected Midsummer for 2020.

The troupe of workmen rehearsing a play for Theseus and Hippolyta’s royal marriage need moonlight in their play because, “you know, Pyramus and Thisbe meet by moonlight.” Nick Bottom later greets the actor presenting Moonshine with “Sweet Moon, I thank thee for thy sunny beams.”

Even Cupid’s arrows are “quenched in the chaste beams of the watery Moon,” and after forty-seven other references, it is not Theseus who speaks the final mention of the Moon, as the Dream fades into morning, but Puck:

“Now the hungry lion roars,
And the wolf behowls the Moon.”

I’m intrigued and delighted to see that as we reach the antipodal solstice of our coming 20th Anniversary NDSF Season, the full Moon will usher in some winter cheer on the 12th day of December. Maybe we’ll howl at the Full Cold Moon.

It should be a terrific occasion and I look forward to everyone meeting Lavina Jadhwani.

See you then.

 

 

 

 

 

“Twelfth Night” Fall 2019 Tour: Entry #15

Week Fifteen: United States Air Force Academy, Colorado Springs, Colorado
By Kaffe Keating

“But that’s all one, our play is done.”
– Feste, Act 5 Scene 1

And after what feels like a lifetime and no time at all, we’re arriving at our final destination, Colorado Springs. Where the Rocky Mountains rear up on one side, and the plains of middle America on the other.

We’re finishing off our tour at another military academy. This time we’ll be the guests of the US Air Force. The United States Air Force Academy, or USAFA for short (think of Simba’s dad and you’ll get the pronunciation), sits high above the city of Colorado Springs, nestled within the mountains themselves.

My grandfather was an RAF pilot who got picked to be part of an exchange to the US and so flew with the US Air Force during his training. It’s funny to think that I’ll be teaching in some of the classrooms where officers he would have known received their own education.

Our flight from Indianapolis takes us into Denver, known as the Mile High City because its official elevation is exactly one mile, or 5280 feet, above sea level. An hour and a half later we climb a bit higher and arrive at Colorado Springs (6035 feet) and our hotel, with its incredible mountain view.

We’re met by Lieutenant Colonel Bill Lee, who’s one of the instructors at USAFA and who’s
organised the residency. He’s the one who first lets us know that the altitude may be more of a factor in our week than we thought…

“Oh, by the way, you’ll need to drink a lot more water than you usually do. You don’t want to get altitude sickness.”

Altitude sickness. Brilliant. I suppose it’s fitting that the cadets here train at altitude; I know that
marathon runners often train at higher elevations so that their bodies can adapt to the thinner air. Then they’re able to use all the extra red blood cells they’ve made to carry extra oxygen to their muscles for the race itself.

We, however, are doing the opposite. We’ve been in Indiana for a fortnight. If you’ve been to
Indiana, you know that altitude sickness is probably the last thing you’d need to worry about.
Warsaw, where we were last week stands at a modest 823 feet.

“Drink lots of water. And maybe lay off the booze for the first few days,” says Bill. The academy, which we can see from our hotel window, is even higher than Colorado Springs itself, 7258 feet up in the air.

The problem with altitude is that the air gets thinner the higher you go, meaning that there’s less oxygen available for stuff like, you know, moving around. This can cause fatigue (because god knows we need more of that), nausea and, the Shakespearean actor’s favourite, shortness of breath. You also start vomiting and stuff when it gets really bad. I decide to heed Bill’s advice, lay off the beers and drink enough water that I’m in search of a restroom every half hour.

It’s AFTLS’ first time at USAFA (we decided that the fight over who could get the most letters into an acronym should end in a draw), and we’re aware of the importance of making a good first impression on the way to our final faculty meeting, where we meet the tutors whose classes we’ll be commandeering. But, as ever, everyone is incredibly friendly and inviting and it promises to be an interesting week of teaching.

We’ve only got the one show at USAFA, which will be our final US performance. Our burgeoning outcry is quashed, however, when we learn about the size of the theatre. Arnold Hall, the theatre on base, seats over 2700 people – we’re not going to need more than one performance in a space that big. It’s absolutely massive, more than twenty times bigger than Grace College’s Little Theatre. In the space of two weeks we will have performed in the smallest and biggest auditoria of the tour, one after the other. Talk about adapt or die…

On one of the days we were treated to lunch with the cadets, who all eat together in the vast Mitchell Hall. Just like at the Naval Academy, the cadets are required to march in in sections to the sound of the academy brass band playing the Air Force song, before sitting down to eat.

“They call this the longest table in the world,” Colonel Kathleen Harrington, who runs the English department, tells us as we survey the cadets all chowing down. “Because the freshman sit at one end of the table, and at the other end of the table is a senior. It’s the longest table, because it takes four years to get from one end to the other.” The cadets sit not in year groups, but in squadrons with the older, more experienced cadets guiding, and in some cases policing, the younger ones.

 

 

 

 

 

 

The academy itself is quite different to what I imagined. I suppose after visiting the Naval Academy and walking around their yard, I was expecting architecture of the same mid-1800s feel. But the Air Force, of course, is a much younger branch of the military; the academy was founded over a hundred years later and thus has a more modern, functional design. The standout, however, is the incredible chapel, which was, unfortunately, closed for renovation for the next four years. I guess they’ll just have to have us back then so we can check it out…

 

 

 

 

 

 

 

 

Bill, along with an ex-student of the academy, Captain Kelly Griffith, was kind enough to take us of a tour of the campus, talking us through the various traditions which the students observe after graduating. Freshman have to run everywhere in straight lines, everybody jumps in a fountain after they graduate, and every graduating year group has its own unique insignia. Kelly pointed out the one for 2013 which featured a pig’s snout on a nose of a plane. This was because that year, during their basic training, about a third of the cadets contracted swine flu. There’s a joke about pigs flying in there somewhere, but I won’t put you through that.

We rocket through the week until we arrive at our first and final performance, on a chilly Colorado evening. It’s abundantly clear how much breath we’re going to need. Big spaces like this always require a lot of diaphragm in order to both be heard and avoid damaging your vocal cords in the process. But here we’ve got the added element of being up in the mountains, 7000 feet above sea level. Bill was kind enough to buy us a couple of mini oxygen tanks, the sort I guess you’d use when climbing Everest, and we kept one behind the chairs on stage just in case.

It turned out to be a wonderful show, and a fitting end to our time both at USAFA and in the United States itself. We had been told to expect roughly 200 cadets, but we were greeted on stage by an audience of about 600 – not a bad turnout at any stretch.

After the show, walking to the cadet’s SU bar, Bill told us about two big wins. One of his students, who had been struggling to understand the play in class, came up to him after the show and simply said: “I get it.” This is precisely what we’re trying to do. There’s loads of incredible stuff you can do when studying Shakespeare in the classroom, there’s no denying it. Loads of interesting, clever stuff. But what is so often overlooked, so often forgotten or shied away from, is reading it and hearing it aloud. That was always the way it was intended to be received; through the ears, not the eyes. Words hit us in a different place that way. The second win was that another of Bill’s students preferred our version to the filmed performance at the Globe from a few years ago. Eat it, Rylance.

In one of her classes with some seniors, one of Katherine’s students told her that in the military, they spent so much time having to play a role – living up to whatever their duties demanded of them – that it was a rare treat to spend some time actually being themselves. Oddly, that’s sort of what theatre’s all about, I think. Not so much putting on a mask, as showing people what you really, truly look like when you take your mask off, and then encouraging them to do the same.

With the tour over and the final US performance done, all that remains are the two final
performances back in London at the John Lyons Theatre at the end of November. In the meantime, our group of five will temporarily diverge, some continuing to explore this incredible, beautiful country, and some heading back to the country we call home.

It’s been an incredible ten weeks. I’ve started to feel at home here, finally. This huge, sprawling land with its giant cars, self-flushing toilets, cowboy boots, fall colours, marines and sailors, giant redwoods, generous townsfolk, Amish settlements, and stretching mountain ranges.

Cheerio, America. We’re off to that little island you had that barney with a few hundred years ago, but we’ll be back. Thanks for having us.