Categotry Archives: performance

Descriptions and information about all the performances the piece sees, and processes of making them happen.

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REMINDERS – Auditions for Mrs. Hawking; Like a Loss staged reading

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Categories: mrs. hawking, performance, Tags: , , ,

Two reminders, dear Hawks! 

 

Auditions for the encore performance of Mrs. Hawking at the Watch City Steampunk Festival are TONIGHT and TOMORROW NIGHT, March 23rd and 24th, at the Watertown Public Library from 7PM to 9PM. Signups are preferred, so e-mail us at mrshawkingweb@gmail.com to reserve a timeslot, but walk-ins are also welcome.

 



 

Also our staged reading of Like a Loss will be going up this Thursday night as part of Bare Bones 16: At War!

Like a Loss, the ten minute play featuring Colonel Reginald Prescott Hawking, will be read as the opener for The Wheel, written by Zinnie Harris and directed by Jess Viator, at 8pm on March 26th at 6 William Street, Somerville, MA

“Faithful batman Henry Chapman does not often pry into the personal matters of his employer, the decorated Colonel Reginald Prescott Hawking. But when some of his master’s burdens seem to grow too great, Chapman attempts to understand why Colonel Hawking has chosen to endure conditions as they are.

As those familiar with the Mrs. Hawking play series know, one of its most intriguing mysteries is the figure of the Colonel, the late husband of our hero about whom she still harbors so much resentment and complicated feeling. In this ten-minute play, set seventeen years before Mrs. Hawking and Mary ever meet, we at last get to meet this much-discussed man, and gain some insight into the nature of his strange, tragic marriage to our hero.”

Hope to see you are both or either of these!

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Our performance space at the Watch City Steampunk Festival

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Categories: mrs. hawking, performance, Tags: ,

We now have a performance space settled for our production at the Watch City Steampunk Festival!

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The Festival will be centered around Waltham Commons and the nearby blocks of Moody Street, which make up an important center of activity in town. Our shows will be going up at the Center for Digital Arts, the education institution at 274 Moody devoted to 3D animation, audio production, filmmaking, graphic design, photography, and web development. We will have use of the sizable back room, which is used for the development of all manner of visual art projects.

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This space is very different than the one we performed in at Arisia 2015. Each one, due to its design, had its own advantages and disadvantages. Arisia takes place in the Westin Boston Waterfront hotel, which meant we were given a function hall with a raised stage meant to be disassembled when not in use. The elevation above the audience was good for the sight lines, but made entrances and exits more difficult because of the need for the step up. Also, we were inflexibly limited by the dimensions of that stage, which at twelve by sixteen feet were pretty damn tight. Our fairly sizable set took up a chunk of that, meaning the action had to stay very compact, making the moments like the fight scene a challenge.

The CDA, first of all, has the distinct advantage for me of being in Waltham. That will make it so much easier and cheaper to transport pieces to the space, as it’s a much shorter trip from where I live. There we will be on a lovely wood floor the ability to spread out the “stage space” if we need to. This makes the blocking considerably easier, and we’ll still have plenty of room for audience chairs. The room will hold fewer people than the functional hall in the hotel, but not by too much, and this time around we’ll have two shows. Likely we’ll be able to seat even more people in total! I would love to have an even bigger audience this time around.

At Arisia, they also provided large curtains to create wing space on either side, which proved surprisingly ample. This time around, however, I’m not sure if our space will be able to provide anything like that. If that’s the case, we’ll have to figure out a way to get them ourselves. That could get expensive, and though many expenses of the last production won’t need to be repeated this time around, I’m concerned it will be made up by new costs like having to get curtains.

The trick, as always, is to embrace the features and limitations of any space you’re in. We’ve done it once, and we’ll do it again. Particularly since this space is lovely in so many ways, and will make many aspects of productions so much easier. I’m excited to take advantage of them!

Mrs. Hawking by Phoebe Roberts will be performed on Saturday, May 9th at 2PM and 6PM at the Center for Digital Arts at 274 Moody Street, Waltham as part of the 2015 Watch City Steampunk Festival.

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Rehearsing “Like a Loss” for staged reading with Bare Bones

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Categories: character, gilded cages, performance, Tags: , , , ,

This Sunday we had rehearsal for the staged reading of the ten-minute play Like a Loss at Bare Bones 16: At War. As I’ve mentioned, Like a Loss is unique in that it’s the only time up to this point in the story that the Colonel Reginald Prescott Hawking ever actually appears onstage. I like the opportunity this gives for the audience to fill in certain blanks, to compare what they observe of the man themselves to the disparate viewpoints taken of him by other characters.

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This piece stars the Colonel as well his longtime personal valet Henry Chapman, who in having served him for so many years through so many adventures has become his good friend. What makes the piece interesting is that it depicts a rare moment of emotional exploration between two gentlemen who do not often discuss such things under any context. They are Victorian gentlemen, of a culture that keeps these things to themselves. They are master and servant, and while closer than many, there is a level of formality and distance that makes such things off-limits. And finally, the Colonel is in the very delicate position of having pretty much every single person he’s close to in a total state of confusion as to why he married such a difficult, disagreeable woman. His family hates her, and Chapman thinks she’s unforgivably cruel to him; none of them see in her what the Colonel sees. Even among all the other factors, that in particular makes it so the Colonel has no one safe to talk to about what he’s currently struggling with. But Chapman cares about his master a great deal, and is taking this opportunity to try and address the pain that the Colonel is so clearly in.

This was a great opportunity for me as a writer, as it demanded effective use of subtext, which is always hard for me. It also presents a particular challenge to our actors, Brad Smith as the Colonel and Eboracum Richter-Dahl as Henry Chapman, his faithful batman and valet. They must convey to the audience just the depth and significance of the emotional moments while maintaining that superficial even keel. It was fascinating to watch them manage those moments, to bring levels that required a huge amount of nuance to read through their guarded, civil attitudes. Like Nathaniel, I always pictured the Colonel to maintain that particular variety of never-say-die British cheer, which is strongly at odds with the difficulty he’s going through in this piece– and Chapman is seeing right through it while politely pretending he isn’t. Brad and Eboracum did a beautiful job illustrating what is actually an extremely tragic story, that of a man who loved of a woman who utterly lacked the capacity to love him back, and of how completely without meaning to they ended up ruining each other’s lives.

The moment depicted in this particular piece alludes to lots of story we’ve yet to see. One thing we do know for sure is that the marriage of Colonel and Mrs. Hawking was extremely fraught. But there’s a great deal of lead-up before it reaches the state it was in when the Colonel died, one year before “Mrs. Hawking” opens. This piece hits at some of those stages it passed through, how they may not always have been as completely at odds as they ended up, how their conflict evolved from friendly opposition to directionless anger and ultimately to the chilly distance that was the final straw in breaking Reginald’s heart.

Someday we’ll tell that whole story. In fact, I’d like to detail the journey of how Victoria and Reginald met and married in what I’m planning to be the fourth full-length installment, after the upcoming Base Instruments. But for now, we only get a glimpse at another point in that timeline, here right after a major downward turn, in the the tragedy of the man who had the terrible misfortune to fall in love with our distant, damaged hero.

Come join us for our one-night only performance as the opener of Bare Bones 16: At War for piece, The Wheel, written by Zinnie Harris and directed by Jess Viator, on Thursday, March 26th, 2015 at 8pm at Unity Somerville, at 6 William Street, Somerville, MA.

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Encore performance of Mrs. Hawking at the Watch City Steampunk Festival!

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Categories: mrs. hawking, performance, Tags: , ,

It’s been in the works for quite a few weeks now, but I have received official confirmation! Mrs. Hawking will be seeing its next performance at the 2015 Watch City Steampunk Festival!

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This Festival first happened in Waltham, Massachusetts in 2011, as a tribute to the city’s historical ties to the industrial revolution. This makes it the perfect venue to host a story like Mrs. Hawking’s, which embodies the steampunk sentiment in its action-adventure reinterpretation of the style and culture of the Victorian era. We’re so excited to present our show directly to fans of the genre, and we think it’s going to make an even bigger stir than it did at Arisia.

The Festival will be happening in and around Waltham Commons, spilling over onto Moody Street, and daytime admission will be free! It will be full of steampunk related events and exhibitions, including musical groups, dance shows, lectures, and craft demonstrations, in addition to our fabulous play. It’s also looking like we will have two performances over the course of the day, so you will have two free-of-charge opportunities to see us!

Most of our original cast will be returning, though sadly a few of our wonderful actors will not be joining us for this encore performance. We will be holding auditions for these roles, which include some major and some minor, on March 22nd and 23rd from 7PM to 9PM at the Watertown Public Library in the Raya Stern Trustees Room. If you are interested in auditioning, please send an email to mrshawkingweb@gmail.com to reserve your slot. Walk-ins are welcome, but we’d love to know you’re coming.

We’re hoping to top what we accomplished with our debut performance, in terms of audience reach and representation of our play. So if you’d love to help out in any way, your assistance is greatly appreciated. Here’s to the next step in the telling of the Mrs. Hawking story!

Mrs. Hawking by Phoebe Roberts will be performed on Saturday, May 9th at 2PM and 6PM at the Center for Digital Arts at 274 Moody Street, Waltham as part of the 2015 Watch City Steampunk Festival.

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Auditions for Mrs. Hawking at Watch City Steampunk Festival ’15

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Categories: mrs. hawking, performance, Tags: , ,

Would you like to be able to bring the characters of Mrs. Hawking to life? Well, come out to audition for our encore performance at the 2015 Watch City Steampunk Festival!

Mrs. Hawking debuted to success this past January at Arisia 2015, and will have an encore performance as part of the Festival in Waltham, MA on May 9th. We had an amazing cast, many of whom I am delighted to say will be reprising their roles, but sadly others among them are unavailable. That means we have a number of parts, both lead and supporting, that will have to be recast.

Auditions will be held at the Watertown Public Library in the Raya Sterns Trustees from 7-9PM on Monday, March 23rd and Tuesday, March 24th, by appointment. Walk-ins are welcome, but to guarantee your slot please send an email to mrshawkingweb@gmail.com with your headshot and resume to reserve a time.

The roles we shall be needing to replace:

Mary Stone – Twenties, maid girl who becomes assistant to a lady’s society avenger. Goes from quiet, dutiful servant to bold, courageous crusader for justice for otherwise helpless ladies of London society. Working class British accent.

Nathaniel Hawking – Twenties/thirties, charismatic and successful gentleman nephew. Starts out as an unwitting patriarchal obstacle, becomes an able support to his aunt’s heroic labors. Educated British accent.

Celeste Fairmont – Thirties/forties, well-bred middle class society lady with a secret. Takes refuge in imperiousness to conceal how thrown she is by the threat to her impeccable reputation. Educated British accent.

Walter Grainger – Twenties and up, country squire with a temper. Used to being able to bull his way through problems, but is at a loss at how to manage being blackmailed. Yorkshire/coarse country British accent.

John Colchester – Twenties and up, lower-class London thug. The classic scary henchman to the traditional Victorian baddie. Cockney/coarse lower class British accent.

Auditions will consist of reading sides from the script. Please come prepared to use an English accent.

Rehearsals will begin in April until the performance date on May 9th. A small honorarium will be paid to actors upon completion of the production.

Come on out and show us your talent! Help us tell this exciting story!

Mrs. Hawking by Phoebe Roberts will be performed on Saturday, May 9th at 2PM and 6PM at the Center for Digital Arts at 247 Moody Street, Waltham as part of the 2015 Watch City Steampunk Festival.

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Tuxedos, fine ladies, and ruffians – more costuming for Mrs. Hawking

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Categories: mrs. hawking, performance, Tags: , ,

Jennifer Giorno, our amazing costumer, put together such a gorgeous collection of looks for our production at Arisia 2015. Historical Victorian dress, particularly for men, was very strictly regimented, but we still wanted to balance that with creating a visually engaging stylization that spoke of our characters’ personalities as well as provide texture to the world they live in. In addition to our leads, Jenn assembled a beautiful collection of looks to round out our supporting cast. Many pieces came from our personal collections, while others were very generous loans from our friends Lise Fracalossi and Nicholas Magruder.

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I particularly enjoyed the tuxedoed looks, mostly borrowed from our obliging friends. It’s a style of dress I’m a big fan of, but nowadays there’s so little occasion to ever see anyone wearing it. But we had a number of evening scenes full of high-class gentlemen, so that meant we had to get them right.

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As you can see with these looks on Matthew Kamm, Francis Hauert, and Jonathan Plesser, we took a little bit of liberty in throwing in touches of color. This is where the vests generously lent to us by Lise Fracalossi came in. The red and black scheme was a nice visual cue as to Lord Brockton’s villainous nature, and the earth tones on Sir Walter spoke to his roots as a country squire. Nathaniel’s shades of gray and silver made him look sophisticated and stylish, which was how I always saw the character. The cravats were made by me, out of fabric specifically chosen to coordinate with the colors of the vests.

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Nathaniel’s day look as worn by Jonathan Plesser was also nice. We wanted it to look noticeably different from the eveningwear, so we decided to cast it in gray, with a morning coat over a pinstripe vest. The silhouette is nicely differentiated from the cutaway tailcoats in the tuxedo ensembles. The burgundy cravat was an afterthought, but I liked how it tied Nathaniel into the dark red color scheme of Mrs. Hawking’s parlor. It at once says he’s of this place, which is both a cage and a safe place for our hero.

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The other two male day looks were worn by Francis Hauert and Bobby Imperato as Lord Brockton and John Colchester respectively. They wore handmade frock coats, more borrowed pieces from the generous costume maker Lise Fracalossi, in various shades of gray. Lord Brockton also wore another vest, this time in black and gold, along with a gold silk necktie. And you can’t deny the iconic thug look of a Victorian baddie in a bowler.

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Lastly, we have the ladies. On one hand, we have the high-class lady, Arielle Kaplan as Mrs. Celeste Fairmont, in a brightly colored blouse decorated with lace and a full satin skirt. On the other hand, we have the lower-class example, Jenn Giorno as Miss Grace Monroe, in a plain blouse, a navy twill skirt, and the only vest in the piece to be worn by a woman! I really love how these costumes contrast in color and in texture, drawing a strong visual distinction between the middle class lady and the working class girl. These pieces are from Jenn’s personal collection, informed by her vast knowledge of Victorian costuming conventions.

We were really lucky to have someone as hardworking and passionate as Jenn designing for our show. It increased the visual punch of every moment our actors were onstage.

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Cast for “Like a Loss” staged reading at Bare Bones

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We have a cast for the reading of “Like a Loss,” the ten-minute play in the Hawking timeline!

“Like a Loss”
by Phoebe Roberts
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Starring
Colonel Reginald Prescott Hawking, hero of the Indian Rebellion: Brad Smith
Mr. Henry Chapman, his valet and batman: Eboracum Richter-Dahl

Both these talented people have been part of the telling of Mrs. Hawking’s story before. Brad you may remember from the Bare Bones reading of Mrs. Hawking, in which he played the villain Lord Cedric Brockton. He is an experienced actor onstage and in voice only, including in the Second Shift podcast and in the 2012 tour of the new musical 2010: Our Hideous Future. Eboracum served as the stage manager for the Arisia 2015 production of Mrs. Hawking, and is a founding member of The Chameleon’s Dish Theater as well as a longtime veteran of Brandeis’s Shakespeare troupe, Hold Thy Peace.

I’m super excited to work with them, and tell this bit of Mrs. Hawking history! Come join us for our one-night only performance as the opener of Bare Bones 16: At War for piece, The Wheel, written by Zinnie Harris and directed by Jess Viator, on Thursday, March 26th, 2015 at 8pm at Unity Somerville, at 6 William Street, Somerville, MA.

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The ballroom scene by Pendragon Costumes

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Categories: mrs. hawking, performance, Tags: , , , ,

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Photos by Jennifer Giorno and John Benfield

When I was first writing Mrs. Hawking, I knew a big part of the appeal of the story would be the trappings and the spectacle. The look of the steampunk setting would add a great deal of gloss to the tale I was trying to tell, and I wanted to take advantage of everything that setting would afford me. And you can’t tell a grand caper set in Victorian London without a few gorgeous period costumes.

The ballroom scene of Mrs. Hawking is a fan favorite. It’s Mary’s first real mission, when she and Mary go undercover as grand society ladies to the villain Lord Brockton’s ball, and she is thrown straight into the deep end. Mrs. Hawking has her distract their opponent by pretending she is the niece of the viceroy of India, and must put on a character that matches the grand ballgown she is wearing as her disguise. It also includes what is probably the best joke in this first play:

MARY: Oh, well, you know how things are… uncle dear thought it was best for me to go away for a while… he feared I was becoming too popular with some of his, well…

LORD BROCKTON: Soldiers, miss?

(She affects a carriage of indignation.)

MARY: My lord! What kind of lady do you take me for? Fraternizing with enlisted men?

(She pauses dramatically.)

MARY: They were all officers!

I do some costume design professionally, and I remember one of the young actresses in a production I worked for a high school asking if when I wrote my own plays, I made sure to write in costuming requirements that were workable. I had to laugh at that, because as often as I bemoan playwrights who design things without any regard to the practicality for production— in fact, I wrote the craft portion of my master’s thesis on it —because Mrs. Hawking is a perfect example of my falling down on that particular job. Characters have TONS of changes in this play, sometimes every other scene, and in and out of complicated Victorian looks. That’s a hell of a task for a cast and a costumer!

Though I pitched in with a few looks for the Arisa 2015 production, mostly ones I’d already put together for the Mrs. Hawking photoshoots, our primary costume designer was Jennifer Giorno, also the actress playing Grace Monroe. So the challenge of putting together Victorian ballroom looks that could be changed in and out of in very short order fell on her. Not an easy task on our budget! But she got a great idea to see if we could a costume company to agree to sponsor our production by lending us some pieces. That is where Pendragon came in, a maker of fine costuming with a fabulous selection of steampunk and Victorian looks in their Mad Girl Clothing line.

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In return for credit in our program, they very generously agreed to lend us three pieces of handmade eveningwear for our leads. It was an incredible thing to happen to us, as it gave us the opportunity to have some of the most important costumes in the play be particularly beautiful, as well as practical for the demands of the quick change.

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A full Pendragon outfit can be seen here on Samantha LeVangie in her role as Mary. It was particularly important that Mary come out looking exquisite– transformatively so –as an indication of Mary’s potential to become a powerful, brilliant, dyanmic person. Jenn asked the company if it would be possible to get Mary’s garments in blue, as I’ve long imagined it to be Mary’s signature color.

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They provided us with two gorgeous pieces from the Corset Gown Outfit— the underskirt with its “front panel of chenille fabric sewn to a cotton skirt” and the matching chenille shrug with its “high, snap down collar.” Samantha also wears their Corset with Bustle, loaned to us by a friend who purchased it from Pendragon a number of years ago.

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When Jenn told Pendragon that the bustle corset was in the color of Welkin Blue, they chose the blue and brown pattern for the coordinating skirt and shrug. It makes for a lovely and complementary combination, particularly given Sam’s coloring and the character of Mary. Sam is an extraordinarily beautiful woman, and she wears this so well.

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The other piece Pendragon so graciously lent us was for Mrs. Hawking, modeled here by Frances Kimpel. This was also a Corset with Bustle, a particularly useful piece not only because it looked so cool, but because its toggle-hooks running down the front assisted in making the quick change a little easier. Because Mrs. Hawking is a widow, of course it had to be in black.

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To keep the looks consistent, Frances also wore a velvet bolero with the labels pinned back so the details of the corset would be visible. The skirts are from Jenn’s collection, also part of her ordinary day look. I also made Frances wear those gloves through the entirety of the play, poor thing. It made sense for all her looks– those where she is supposed to seem like a respectable middle-class widow, and when she is an operating agent in stealth garb.

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One thing that was particularly enjoyable was that the same bustle corset had such different effects when worn by these very different characters and their actresses. The same style of corset top makes Mary look like a princess…

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…has the aspect of armor when worn on Mrs. Hawking.

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If you’re interested in owning some of Pendragon’s gorgeous costuming, don’t hesitate to check out their website. Their work is both truly beautiful and extremely high-quality.

In fact, there is a chance that the pieces they lent to us are still available for purchase, as they went on sale as soon as our show finished! You could end up owning an artifact from the very first production of Mrs. Hawking!

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“Like a Loss” staged reading with Bare Bones 16: At War!

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Like a Loss, the ten-minute play accompaniment to the Mrs. Hawking play series, will have a staged reading with Theatre@First’s Bare Bones reading series!

Faithful batman Henry Chapman does not often pry into the personal matters of his employer, the decorated Colonel Reginald Prescott Hawking. But when some of his master’s burdens seem to grow too great, Chapman attempts to understand why Colonel Hawking has chosen to endure conditions as they are.

As those familiar with the Mrs. Hawking play series know, one of its most intriguing mysteries is the figure of the Colonel, the late husband of our hero about whom she still harbors so much resentment and complicated feeling. In this ten-minute play, set seventeen years before Mrs. Hawking and Mary ever meet, we at last get to meet this much-discussed man, and gain some insight into the nature of his strange, tragic marriage to our hero.”

This high-drama short piece will be read in Bare Bones 16: At War, as the opener to the reading of a full-length piece, The Wheel, written by Zinnie Harris and directed by Jess Viator. This is a one-night-only performance on Thursday, March 26th, 2015 at 8pm at Unity Somerville, at 6 William Street, Somerville, MA.

Care to be involved? Auditions will be held on Monday, February 16th, 2015 at 7pm at 13 Park Avenue, Somerville by appointment only. If you are interested in auditioning for either of these readings, please go here to fill out the webform for a timeslot.

Join us as we tell a little of the story of the mysterious Colonel!

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What the Arisia production taught me about the Mrs. Hawking script

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Categories: development, mrs. hawking, performance, Tags: , , ,

One of my excellent writing mentors, science fiction and fantasy author Mark Edwards, said that in the scramble to get the play put together, I would forget that I actually wrote the script that I was trying to put up— that is, until the Wednesday before the opening, when it would hit me like a ton of bricks and I’d have to fight the urge to change everything at the last minute. Even when you’re at the point of the script development process where you’re actually staging it, as the writer you’ve still got to see what the new circumstances can teach you about the script so that everything that worked in theory still works when you get it to the point where it’s actually a living, breathing entity.

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Theater is meant to be an experience, so a script has to hold up under the pressure of physical realities, timing, and audience. It doesn’t matter how beautiful the written words are, what really matters is how they play with actors, properties, and effects. This can be a two-edged sword; on one hand, sometimes production can elevate a script, but even a beautiful script that doesn’t work in practice or is unengaging to watch isn’t good theater. So now that Mrs. Hawking has finally been produced, I have information about it is a play that I didn’t have before.

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Samantha LeVangie and Frances Kimpel rehearsing an exit by window. “Hawking out!”

First of all, I am pleased to say that the piece played very well. I tweaked it a bit before going into rehearsals– mostly wording choices, and details like making sure Mary only calls Nathaniel “Mr. Hawking” for the first part of the play –but made no major changes. In performance the dialogue sounded natural and in-character, the story moved at a nice clip, and the world seemed to draw the audience into it. Though Mrs. Hawking is not as funny as its sequel Vivat Regina, and a few of the jokes early on didn’t get laughs due to what I believe was the audience not having relaxed into it yet, by fifteen or so minutes in they were definitely audibly reacting. One of the biggest moments for them was after the combat scene in the climax, first when Mary goes up against a mook with her poker, then Mrs. Hawking takes out a second one with a head bash and a choke hold. That got a real round of applause! All credit for that goes to Arielle Kaplan, the fight choreographer, and of course actors Frances Kimpel, Samantha LeVangie, Bobby Imperato, and Andrew Prentice.

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Arielle Kaplan instructing Frances Kimpel on the proper way to strangle Bobby Imperato.

It ran, interestingly, a fair bit shorter than I expected it to, at an hour and fifteen minutes when I’d originally guessed an hour an a half. I guess I shouldn’t have been surprised, given the page count of the production script. After some thought, I actually don’t think this is a bad thing. The play moved along at a brisk pace, and as they say, it’s always better to leave them wanting more. Also that helped us get into and out of the performance space well within our time allotment, as the production ended before we’d originally expected it to.

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Jonathan Plesser expresses frustration to Samantha LeVangie at the notion at the idea that Mrs. Hawking may have fired Mary.

Of course feasibility of production was a huge concern. When I originally wrote it in graduate school in 2012, I made the decision to just worry about trying to tell a good story. That meant I ended up going with some fairly challenging elements for the sake of punching it up– the quick change into fancy gowns for the ballroom scene, and the infamous moment in the club scene where Mrs. Hawking had to climb the set into the air. I felt they added enough to the story– plus I’m pretty attached to them at this point –that I wanted to try to make them work. You have no idea how relieved I was when we pulled it off.

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Of all the plays I’ve ever directed, Mrs. Hawking was the most piece-intensive, particularly when it came to props and costumes. Transitions between scenes required a great deal of work and precision so that they happened not only correctly but quickly. My biggest fear with the runtime was that excessively draggy transitions would kill the momentum of the story. But my cast and crew really stepped up, and nailed all of their marks when it came to carrying furniture on and off, moving props, and changing clothes. I even heard from an audience member that the pauses between the scenes provided nice “breaths” when taking it all in, allowing them a moment to process and even to whisper to each other over what they’d just seen. That was a nice unexpected reaction! So while it takes some work to manage them right, the required transitions were doable. Great to know!

So I have come to a place where I’m extremely pleased with the state of the script. I think this is serious proof of concept, that this script has what it takes– it plays well, it draws audiences, it engages them once they’re there, it’s doable on a tight schedule, in a tight timeslot, on a small budget. What more could I hope for than that?

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