Please click HERE for a description of the proposed performance process
Please click HERE for technical requirements and needs
Macbeth by M. Chase Grant and Ben Goulding
Dark, fast paced, and raw. Minimal set, minimal costume, minimal light. Darkness that continues to push against the boundaries of light is a constant threat on the stage.
New motivations to find modern relevance for our Macbeth and his Lady. The goal will be to find this modernity by way of a unique concept, and let the language do the rest of the work. There won’t be any theatrical slights of hand, and with the minimalist approach to staging, the weight of the story-telling will rely on vulnerable performance and solid conceptual work.
In our exploration of Macbeth, we will focus on inner conflict, and inner demons. The principle motivations will be borne out of something familiar to a modern audience, while still retaining the integrity of the classical language. Macbeth, a veteran soldier and leader feels the weight of the violence he’s wrought well before he murders the King. He is a modern soldier suffering from symptoms that some might label as Post-Traumatic Stress Disorder. In addition, his wife has recently given birth to their first child; a son, and his absence as a father weighs heavy on him at the start of the play. His struggle to reconcile his inner turmoil set the opening scene, while the existence of an heir to his soon to be throne, and the threats to that heir lead to new and exciting ways of revitalizing and realizing the classic play.
Image source: http://www.criticsatlarge.ca/2011/08/royal-shakespeare-company-at-home-and.html
New motivations to find modern relevance for our Macbeth and his Lady. The goal will be to find this modernity by way of a unique concept, and let the language do the rest of the work. There won’t be any theatrical slights of hand, and with the minimalist approach to staging, the weight of the story-telling will rely on vulnerable performance and solid conceptual work.
In our exploration of Macbeth, we will focus on inner conflict, and inner demons. The principle motivations will be borne out of something familiar to a modern audience, while still retaining the integrity of the classical language. Macbeth, a veteran soldier and leader feels the weight of the violence he’s wrought well before he murders the King. He is a modern soldier suffering from symptoms that some might label as Post-Traumatic Stress Disorder. In addition, his wife has recently given birth to their first child; a son, and his absence as a father weighs heavy on him at the start of the play. His struggle to reconcile his inner turmoil set the opening scene, while the existence of an heir to his soon to be throne, and the threats to that heir lead to new and exciting ways of revitalizing and realizing the classic play.
Image source: http://www.criticsatlarge.ca/2011/08/royal-shakespeare-company-at-home-and.html
Visual Inspiration
Taming of the Shrew by Kris Jennings and Luke Lane
In stark contrast to Macbeth, Taming of the Shrew will open with a light, colorful and vibrant setting for the play. Set on the beach front of the southern British coast, the play will venture to examine the absurdity of the relationship between Kate and the Petruchio, the man who would tame the 'shrew'.
Taming will investigate the farcical nature of its romantic relationships by multi-rolling, use of colorful (and absurd) beach props, and gender-blind casting. The triad beach house changing room setting serves not only as a focal point for the beach, but also serves as a clever device for fast-paced costume/character changes and scene transitions. The use of props and key costume pieces will help distinguish each character as the actors transition back and forth. Lighting will be kept to a bright, general wash, and will be used to establish the up-tempo nature of the farce. Costumes will be kept to beach attire and will be kept at a minimum--choosing to use props instead to highlight character changes.
In a modern world, it is impossible to justify the treatment of women or those with socio-economic differences as second-class citizens. With our production, we hope to feature the folly of such treatment by having the Minolas, a wealthy British family on holiday, have their time at the beach disrupted by an unruly and playful lifeguard Petruchio. Characters who range from the ice pop cart-pusher to sunbathers make appearances as the other key characters, leaving Kate to decipher the real accountability for the treatment of those different from the upper class males.
Image source: http://www.pacrep.org/
Taming will investigate the farcical nature of its romantic relationships by multi-rolling, use of colorful (and absurd) beach props, and gender-blind casting. The triad beach house changing room setting serves not only as a focal point for the beach, but also serves as a clever device for fast-paced costume/character changes and scene transitions. The use of props and key costume pieces will help distinguish each character as the actors transition back and forth. Lighting will be kept to a bright, general wash, and will be used to establish the up-tempo nature of the farce. Costumes will be kept to beach attire and will be kept at a minimum--choosing to use props instead to highlight character changes.
In a modern world, it is impossible to justify the treatment of women or those with socio-economic differences as second-class citizens. With our production, we hope to feature the folly of such treatment by having the Minolas, a wealthy British family on holiday, have their time at the beach disrupted by an unruly and playful lifeguard Petruchio. Characters who range from the ice pop cart-pusher to sunbathers make appearances as the other key characters, leaving Kate to decipher the real accountability for the treatment of those different from the upper class males.
Image source: http://www.pacrep.org/