MY FAIR LADY - Reviews and Photos

We've just about hit the mid-point of our run of MY FAIR LADY at Quintessence Theatre Group.  Attendance continues to swell, and I think there is actually a palpable buzz around the production here on the northwest side of Philadelphia.  An extension week (through December 23rd) has already been announced, and I have been approached by many patrons who have bragged eagerly about attending the show multiple times.

The materials we have to work with - both George Bernard Shaw's original text (from his play, PYGMALION, of course), and the score composed for the musical by Lerner & Loewe - are iconic and legendary for a reason, and it is a real joy to play it with such a talented and committed ensemble of performers. I cannot imagine a better group of people to be tackling this show with.

It is a testament to Shaw's genius that the plot he conceived, and the characters who move through it can still evoke such a strong response with our audiences.  Many of the issues it presents and wrestles with are even more vital today than ever.  I have, understandably, spent a great deal of time in the last few months, pondering Professor Higgins and his point of view.  First, I must say that I am incredibly grateful to Mr. Shaw for granting us (and me) a character packed full up with both brilliance and flaws, virtuosity and deplorability, who delights and disgusts in both extraordinary ways and equal measure.  He feels incredibly human to me, three-dimensional and so very, very real.  He is not a collection of randomly assigned character traits, but a HUMAN, whole and true, whose wit, and fears, and triumphs and failings are all tightly interconnected and constructed by a playwright who was not only better than most, but at the height of his powers. While I cannot fault anyone in this particular moment of our social and cultural history who chooses to write him off as a simple misogynist, I find I cannot fully agree with that distilled assessment.  Henry Higgins is every bit the titan of personality that his counterpart, Eliza Doolittle is (and I like to think that my performance is coming something close to doing him that justice).

But regarding Higgins and Eliza, there is no doubt in my mind that one entity is greatly diminished without the other, and I am incredibly grateful to be sharing that task with Leigha Kato.  She is a "tower of strength, a consort battleship," and brings to her Eliza not only a full-voiced glory, but a fire and intelligence that I greatly admire.  She is the best of all possible scene partners.  Marcia Saunders, Doug Hara, Bradley Mott, and Lee Cortopassi are each giving their own master classes on stage every night as well, and the game just keeps getting better every time we play it.  It hasn't been easy, this one, but I've found it incredibly rewarding, and I look forward every night to walking into the theatre with my co-workers to try the whole thing all over again.

But enough of me blathering on, and on.  Here's what a few of the professional opinionators had to say...

"MY FAIR LADY gets the Quintessence treatment: intimate, stripped down, concentrating on character, language, and action. It's a success.  An evening full of heady emotion, the spectacle of people changing before your eyes, and a profound closing truth, all the more profound right now."  - John Timpane, writing for The Philadelphia Inquirer

"Quintessence Theatre's MY FAIR LADY is a jubilant mix of beautiful songs, dancing, magic, social politics... and elocution.  It's a splendid show, a holiday gift"   - Kathryn Osenlund, writing for phindie.com

"Kato's Doolittle has the perfect insufferable Henry Higgins to teach her how to be a lady with proper English: Gregory Isaac.  He plays the nasty know-it-all linguist with a smirk that seems to be born to the character."  - Howard Shapiro, writing for WHYY

And finally I want to share a thought that Amanda Morton, our incredibly talented 2nd piano player (though really it's more like Piano 1, and 1A), posted on Instagram about the show just before our opening night.  I found it very thoughtful and insightful:
"I grew up loving this show, then discovered problems with it as i got older, but have somehow fallen back in love with it thanks to [director] Alexander Burns' thoughtful, intelligent hand in revealing the complexity of a dynamic that, at first glance, can be repugnant.  However, it seems to me that Eliza and Henry are looking to be understood, and perhaps find a more evloved kind of love that acknowledges its flaws from the get and doesn't mind a lively verbal spar.  It is not our commecial vision of relationships, but it's deeply human and for that reason, touches me."

We now run until December 23rd.  PLEASE come to Mt. Airy and check us out.  You won't be sorry that you did.

Gregory Isaac as "Higgins" and Leigha Kato as "Eliza".  Photo by Shawn May.

Doug Hara as "Col. Pickering".  Photo by Shawn May.

The Ensemble in the Ascot Gavot.  Photo by Shawn May.

Leigha Kato as "Eliza," and Gregory Isaac as "Higgins".  Photo by Shawn May.

Coming Up! - 'IPHIGENIA' and 'HOPE & GRAVITY'

My summer months have been anything but quiet, and my 2017-'18 season continues to get clearer and clearer as it quickly approaches.  

I'm already in the thick of rehearsals for Philadelphia Artists' Collective's fall production of IPHIGENIA AT AULIS, the 2,500 year old Greek tragedy by Euripides. Dan Hodge, one of P.A.C.'s founders, is directing.  I've admired his work in various capacities around the city since I got here, and I'm really happy to finally be spending some time in the same room with him on IPHIGENIA.

The show is being produced in conjunction with FringeArts as apart of the annual Philadelphia Fringe Festival, and will be performed on board the U.S.S. Olympia at the Independence Seaport Museum, underneath the Ben Franklin Bridge.  It's my first Greek play, and I'll be trying my hand (and left foot?) as "Achilles".

--> IPHIGENIA AT AULIS will run from September 7th - 22nd, 2017

ALSO:
I've been cast in 1812 Productions' spring staging of HOPE & GRAVITY, a comedy by Michael Hollinger about the curious ways that nine people's lives intersect when an elevator crashes in an urban high-rise.  Jennifer Childs will direct the five person ensemble, and the show will run at 1812's home, the historic Plays & Players Theatre in Center City.

--> HOPE & GRAVITY will run April 26th - May 20th, 2018

And, yes, I'm still on target to appear at Professor Higgins in Quintessence Theatre Group's holiday production of MY FAIR LADY.  That show will, I'm sure, be right on top of me before I know it.  I am still thrilled and appropriately daunted at the prospect.  I'll soon be growing very re-accustomed to Leigha Kato's very talented face, as she prepares what I'm sure will be a star turn as Eliza Doolittle.

--> MY FAIR LADY will run from November 15th - December 17th, 2017 at the Sedgwick Theater in the Mount Airy Neighborhood of northwest Philly.  

THE GOSPEL ACCORDING TO THOMAS JEFFERSON, CHARLES DICKENS, AND COUNT LEO TOLSTOY: DISCORD - Reviews & Photos

UPDATE (6/20): We've been extended!  Reviews, word-of-mouth buzz, and ticket sales have been so strong that the Lantern has decided to add an unplanned extension week to our run! We will now play through July 9th! Tickets are expected to go quickly!

We are now right in the middle of our scheduled run of THE GOSPEL ACCORDING TO... at The Lantern Theater, here Philly.  Everything about the process has been a pleasure, and a daunting task melted away in a rehearsal room filled with talented and generous people.  We're really having fun with it now.

The play is such a delightful blend of philosophy, religion, and comedic clash of ego.  It offers a healthy, historical dose of each topic from Jefferson's, Dickens', and Tolstoy's point of view.  You don't have to agree with any of them, but the debate is, nevertheless, a very interesting one, and leaves plenty to think about when the lights go down.

I think it's fair to say that even though we felt like we probably had a pretty good show going during rehearsals, we didn't really expect the audience's reactions to be SO enthusiastic.  Our previews were all nearly sold out, the word of mouth has been strong, and the reviews have been equally positive.

I'm not exaggerating.  Every performance has been at or near capacity.  So, if you're serious about coming to check out the show, please check your calendars and buy in advance.  We run - now - through July 9th.  I'd love to see you there!

Here's a little of what the press has had to say...

"[Director} James Ijames makes a theology debate - no the usual topic for a comedy - both entertaining and intriguing.  You'll laugh and you'll ponder.  In swift economical strokes, each actor establishes a personality and a nationality; comic caricature is always based on truth."
   --Toby Zinman for the Philadelphia Inquirer

"The often heady debate favorably compares to George Bernard Shaw, who likewise made intellectual discourse sincere and passionate. GOSPEL's fine cast bring these initially stiff figures to life and make them face themselves."
   --Mark Cofta for the Broad Street Review

"It would be hard to come up with better casting.  They ride with the give and take, each with a distinct and unmistakeable voice.  Gregory Isaac, whose work we've amired at Quintessence Theatre, is vital and compelling as a rational, cynical Jefferson."
   --Kathryn Osenlund for phindie.com

Photo by Mark Gavin

Brian McCann as Dickens, Gregory Isaac as Jefferson, and Andrew Criss as Tolstoy
Photo by Mark Garvin

My "Fair" Holiday Plans...

Quintessence Theatre Group, the company I've come to think of as "home" here in Philadelphia, revealed their eighth season this past week.  It's a big, bold line-up of classics, new and old.  

It also includes one big "first" for the company. Quintessence will stage it's first full-fledged musical, and I will be playing a crucial part.  I am pleased to announce that I'm set to appear as Professor Higgins in MY FAIR LADY, directed by Alexander Burns, and running from November 15 - December 17th, 2017.

I think the show fits in very nicely with QTG's usual fare, as the book draws almost exclusively from George Bernard Shaw's PYGMALION, and features some of Lerner and Loewe's most memorable song writing.

In addition to an expanded Family Series, the Quintessence season also includes Eugene O'Neill's LONG DAY'S JOURNEY INTO NIGHT, Beckett's WAITING FOR GODOT, and a spring repertory of Shakespeare's JULIUS CAESAR and Henrik Ibsen's THE WILD DUCK.

More details about the coming season, including a spate of guest directors, casting and ticket sales, will soon be available on the company website.

In the meantime, I'm looking forward to stretching a few acting muscles I haven't tested in a few years.  And I'll have more to tell about where else you'll find me in the '17-'18 Philly theatre season very soon! 

My Wary Steps Into History

I never considered how daunting it could be to play a historical figure.  But a year ago I was cast to play Thomas Jefferson in a three-hander at the Lantern Theater, and I assure you I have been mildly daunted ever since.  (THE GOSPEL ACCORDING TO THOMAS JEFFERSON, CHARLES DICKENS, & COUNT LEO TOLSTOY: DISCORD, performing throughout the month of June - and yes, that's the longest title in the history of titles.)

I think it is fair to say that I bear little physical resemblance to our famous founding father – he was taller than I, fairer of complexion, and far more red-headed than I, to name just the most obvious differences.  (I suppose, you could qualify it as non-traditional casting.)

This is compounded, in my mind, by the fact that I’ll be taking on this persona IN PHILADELPHIA.  In fact, when I arrive at the theater for rehearsal every day, I get off the train at Jefferson Station.  I walk past Jefferson Hospital.  The theatre is a stone’s throw from the apartment where Jefferson composed the Declaration of Independence, and Independence Hall is only another brief jaunt down the street.  His likeness is, quite literally, all around me every day.  (On the first day of rehearsal, I stopped for a snack.  My change was exactly one nickel, and there was Jefferson, again, in the palm of my hand.)

My job, though – and I’ve had to remind myself of this a number of times over the past year - is not to focus on those deficiencies in resemblance (which are physical traits that I cannot entirely control), but to leverage the characteristics that I DO connect with.  He was a southern gentleman (who probably had a gentle southern drawl), a man of reason, of logic, and principle.  He was mild-tempered, and somewhat introverted.  He disliked personal conflict, etc, etc.  These traits are all things I know I can wear comfortably.  Our director, James Ijames certainly felt that to be true when he cast me in the role.

Most importantly, though, is to remind myself every day, that my job is not really to impersonate Thomas Jefferson, but to play this particular character, in this particular play, which is partly about a man who, or course, resembles our third president, but exists, more specifically, within his own world as created by playwright Scott Carter.  My real job is to honor THAT creation. 

And so it was a great relief to finally begin rehearsals last week, to get back to the work I understand.  Getting into the words and the relationships on the page and bringing them to life.  And it’s a gift to be sharing the room with two very talented cast mates, a very smart director and generous production team (with a special shout-out to our extraordinary dramaturg, Meghan Winch).  It’s good to remember that it’s still the same process it has always been: discover the point of view, establish the stakes, play the objectives, and, oh yeah, memorize the words.  And just like always, hopefully, if you do that well, and the design team helps you look good, then the audience suspends their disbelief, and we all go on a really great ride together every night. 

I’m no longer feeling daunted.  I’m enjoying the ride, and excited to see where we go.

The many faces of Thomas Jefferson

Martha Lavey - A Very Brief Recollection

I didn’t really meet Martha Lavey during the only contract I earned at Steppenwolf while I lived in Chicago, except for a professional handshake once or twice.  But Erica Daniels and I managed to stay in touch after I moved to NYC, and every now and then when Erica had something going on in New York for Steppenwolf and needed a little help, she’d message me.  On one of those occasions a few years ago, I wound up reading the stage directions in a private reading of a play in NYC that was being considered for production back at the theatre in Chicago. 

There were a number of very impressive and accomplished people in the room that afternoon – especially the women – and Martha, of course, was among them.  She was still AD at the theatre, but she had little to do at this particular event, and so she had assigned herself the jobs of hostess and craft services.  She had stopped for treats and snacks on her way to the reading and was busy making sure that everyone had their fill of them before the reading started. 

By any measure, I was the least important person in the room that afternoon, and I’ve never been good enough at feigning the gumption to strike up conversation with people as important as were present that day.  Martha, however, perhaps being in hostess mode, took pity on me and came over to introduce herself and find out how I knew Erica. 

While I lived in Chicago, I had been given an impression by others that Martha could be a bit eccentric and aloof.  I don’t know why.  That afternoon in New York, she engaged me with genuine curiosity, though I was the person in the room who was due the least attention.  We chatted for less than ten minutes before the reading began, but long enough to move past general courtesies and reach that level of gentle confession one can experience when chatting with a stranger.  I talked about how much bigger NYC felt than I’d expected, and some of the question marks I had for my career there.  She was easy to talk to, and her interest was real. 

At one point in the middle of our conversation, she paused and said, “well, just remember, you can always come back,” – meaning back to Chicago – and there was something so clear in her tone about the way she felt about NYC, and the way she felt about Chicago, and something equally clear about the way she spoke to me not simply as a fellow theatre artist, but as a fellow Chicagoan, that made me stop cold. And in the next moment I just laughed, because it was so thuddingly true, and because, somehow, her saying it made me feel retroactively embraced and welcomed by everything about Chicago Theatre.

She gave me a polite hug goodbye at the end of that reading.  She resigned her position at the theatre later that year, and I never met her again, but Martha will remain a crucial part of my experience as a Chicago Actor even though my encounter with her occurred only after I left.  Thank you for that, Martha.  May you rest in peace.

(Read Chris Jones' tribute to Martha for the Chicago Tribune)

Martha Lavey at Steppenwolf Theatre

LOVE'S LABOR'S LOST and THE BROKEN HEART - Reviews and Photos

We are entering the final week of the "Love and Longing Repertory" at Quintessence Theatre Group, a 17th century double bill, of Shakespeare's LOVE'S LABOR'S LOST and John Ford's THE BROKEN HEART, (both set to close this weekend on April 23rd).

Working in repertory can be a maddening challenge.  You spend weeks in rehearsals, but with two full productions to attend to, both time and focus is split, making the production process feel lean and rushed. This is only more true when working on what some refer to as "true" rep, when the full cast and crew are working on both shows.  Mentally exhausting at times, yes, but once the machine is up and running, and has momentum, it is one of the most satisfying experiences I've had as a performer.  This, now, is the third time I have been a part of the process at Quintessence, and the highs and lows are just as tangible as ever. 

I like to think that the true effect of repertory is best experienced by an audience who sees both shows - perhaps on the same day, if possible - but I'm pleased to say that both LOVE'S LABOR'S LOST and THE BROKEN HEART stand as artistic achievements each on their own merits.  There are only six performances remaining before we close (two of LLL, and four of TBH), and one chance left to see them both, back-to-back, tomorrow, Wednesday the 19th.

Here's is a sample of some reviews and photos to entice you...

"Quintessence artistic director, Alexander Burns, excelled with large-scale classical dram in his first six seasons, but LOVE'S LABOR'S LOST reveals a confident comedic approach exceeding his earlier efforts."
   -Mark Cofta for the Broad Street Review

"The words and wit of Shakespeare are wonderfully, ofttimes wickedly (in the best way) delivered by a superb acting ensemble... All of these warring courtiers of amour vivify the romantic comedy with superb pop and sizzle."
   -Lisa Panzer for DC Metro Theater Arts

"THE BROKEN HEART richly rewards attention paid to it. Quintessence actors skillfully meet the twin challenges of subtleties of dialogue and grotesqueries of action as the present John Ford's exquisite poetry, hot drama, and cold blood."
   -Kathryn Osenlund for phindie

"Best reader among the actors is Gregory Isaac as the insanely jealous Bassanes.  With his beautiful voice and mastery of the poetry, he creates a Bassanes reminiscent of Leontes of 'The Winter's Tale'."
   -John Timpane for the Philadelphia Inquirer

Mattie Hawkinson, Josh Carpenter, and Gregory Isaac in THE BROKEN HEART
Photo by Shawn May

Kristin Devine, Mattie Hawkinson, Dana Kreitz, and Aneesa Neibauer in LOVE'S LABOR'S LOST
Photo by Shawn May

John Williams, and Christopher Garofalo in LOVE'S LABOR'S LOST
Photo by Shawn May

Dana Kreitz, Aneesa Neibauer, and Mattie Hawkinson in THE BROKEN HEART
Photo by Shawn May

Gregory Isaac, Michael Gamache, Daniel Miller, Josh Carpenter, John Basiulis, and Josiah Jacoby in LOVE'S LABOR'S LOST   Photo by Shawn May

THE INFLUENCE OF THE MONARCHY ON THE THEATRE AND PLAYWRIGHTS OF THE ENGLISH RENAISSANCE

Last week, we began rehearsals for Quintessence Theatre Group's Spring Repertory, Shakespeare's LOVE'S LABOUR'S LOST and John Ford's THE BROKEN HEART.  Both products of the English Renaissance, their careers spanned the reigns of Elizabeth I, James I, and Charles I.  Our director, Alex Burns, politely suggested that someone in the company do a little research and explore a bit about what it might have been like to work in the theatre under each of those Monarchs, what the social climate was like and how that influenced the fortunes of the playhouses and playwrights of the time.  As it turned out, I got a day off from rehearsal while blocking began on the first act of LOVE'S LABOUR'S, so I spent a few hours assembling this little geek-fest overview of historical things.  Enjoy!

(Oh, yes, and the rep will open on March 15th and run through April 23rd.)
 

HENRY VIII – 1509-1547

In the 1400s, the Renaissance begins in Italy.  Its progressive cultural ideals help to lead, not indirectly, to the Protestant reformation in 1517.  A decade later in England, King Henry VIII also declares England’s independence from the Catholic Church and establishes the protestant Church of England.  England embraces a progressive cultural mind-set, and the English renaissance truly begins.  Art and Science and Ideas are embraced in new ways, and Henry VIII embraces them as well, because of how it ultimately validates his greatness and his decision to split from the old ways of doing things.

This graph is lifted from the "English Renaissance Theatre" wikipedia page.

ELIZABETH I – 1558-1603

During the second half of the 16th century, under the reign of Henry VIII’s daughter, Elizabeth I, the English renaissance is in full swing.  Whereas the Italian renaissance was focused primarily on visual arts, in England, the focus has been on literature and music.  As the theatre is a natural marriage of these two disciplines, its prominence, too, begins to grow swiftly.

BUT, as the theatre becomes more popular, the members of the Church hierarchy begin to work more fervently to suppress its influence.  Actors are considered a nefarious sort of people.  Gypsies, Homosexuals, all of the reasons the Church has always disliked theatre-types.  Although there are also legitimate concerns:  The plague is still a problem, and large public gatherings facilitate its spread.  Rioting was always a concern for the local municipalities where performances would take place.  And so there were common concerns - both legitimate, and simply superstitious - about the perpetuation of the art form.

Nevertheless, by 1576, in London, the popularity of acting troupes – and the plays that are being written for them to perform - had grown so great that James Burbage is able to build the first permanent venue for theatrical performances.  It is named simply, “The Theatre”.  The city of London has decreed that no playhouse may be built within the boundaries of London-proper, but this stipulation does not stymie the ambitions of the theatre companies just outside the city limits. The Curtain Theatre opens a year later in 1577.  The Rose Theatre is built in 1587.  The “Theatre” will be taken down in 1597 (when the landlord owning the property it is built on decides not to renew the lease on the land), and is rebuilt alongside the Thames, opening a year later, and renamed The Globe Theatre.

Elizabeth I – and perhaps more specifically, the noble hierarchy beneath her – fully indulge the fashionable art form.  The rising skills and talents on display are evidence of England’s successful cultural Renaissance, and that in turn exalts the successful reign of the Queen.   It is common for the learned nobles to financially endorse their favorite actors or acting troupes, even licensing their names to the troupes, and protecting their business interests.  “Queen Elizabeth’s Men” were established in 1583.  “The Admiral’s Men” and “Lord Chamberlain’s Men” would soon follow.  Occasionally, certain nobles will even become playwrights themselves. 

The church and the city governments remained resentful, but the protections of the Queen and the nobles were rather difficult to overcome.  The playhouses had a very healthy place to grow and thrive during the latter years of Elizabeth I’s reign.  (Apparently the ideological struggle could result in some interesting back and forths.  At one point the playing of public performances was banned around London.  The Queen decreed that the giving of a play would be regarded as a "rehearsal" for a royal production at the palace. Of course these "rehearsals" could be as numerous as the manager wished, and the public could be - and was - admitted.)

JAMES I – 1603-1625

When James I took the throne upon Elizabeth’s death in 1603, there was a subtle shift.  James I was Elizabeth I’s cousin.  As she had no children, he was next in line to the throne upon her death.  James was also King of Scotland and had been so since his 1st birthday in 1567.  When he became King of England as well in 1603, it unified the two kingdoms.  James I was incredibly well educated.  He also had a very deep belief in the God-appointed and God-like status of a king (in this case, of course, himself).  He was very much a child of the renaissance and reveled in how England’s cultural dominance exalted both the country and his position as King.  (His greatest legacy was his commission of a new English language translation of the Bible, which remains in frequent use and is the most published book in the history of the world.) He was a great supporter of the playhouses, and The King’s Men quickly became the dominant entity in the London theatre scene.

His passion, though, did tip a certain balance, and during his 22-year reign, his indulgences set the stage for much darker times in England.  He became known for spending lavishly on the things that amused him.  And he saw little need for any balances of power across the English government.  He was appointed and ordained by God, therefore he often treated parliament as an obstacle and a nuisance -- and parliament responded in kind.  In 1610, after continued squabbles over how much money parliament would approve for the royal budget, James I briefly dismissed them.  In 1614, after a similar aggressive dispute, he disbanded them altogether and ruled without a parliament at all for seven years until 1621.  All the while, his indulgent spending on pursuits of pleasure, and on bribes and paying off his “favorites” increased and spiraled.

In addition, the early years of his reign were marked by a series of plots against him, culminating in the famous Gunpowder plot of 1605, in which a small band of Jesuit priests intended to blow up parliament during a session in which James I was scheduled to be present.  Though he survived each of the political and murderous plots against him, they fueled a great tendency he had toward paranoia, and he was always suspicious of schemes against him, both corporal and supernatural.

As the political climate began to shift, the playhouses and the theatre community found themselves in a curious position.  They were operating in a time of unprecedented success for the art of the theatre.  They were aware, even in their time, that they were performing the greatest works of literature in the history of the English language, if not the world.  It was possible to achieve a real measure of fame and wealth within their profession – to legitimately rub elbows with Kings and Queens – when their spiritual ancestors a generation or two before were little more than bawds and gypsies. 

King James I (and later his son Charles I) often commissioned spectacular private performances called 'masques' which involved music, dance, opulent costumes and extraordinary scenery and special effects. They were performed once or twice at one of the royal palaces and were only seen by members of the court. Such lavish court entertainments were fashionable throughout Europe as an expression of princely power.

Masques were often used to celebrate royal occasions such as a wedding or birth. Design and visual symbols played an important role in masques which called for lavish costumes and sets. Nobles and royalty would take part, often playing gods or heroes while the other roles were played by professional actors.

Court entertainments were far more opulent than those of the public playhouses, but professional actors and writers crossed over between both. Masque-like elements began to be included in popular plays. (There are masque scenes in Thomas Kyd's 'The Spanish Tragedy' and Shakespeare's 'Cymbeline' and 'The Tempest'. Ben Jonson wrote masques for the court as well as drama for the public playhouses.)

And so, the playhouses (and the actors and playwrights who worked in them) owed much of their success to the patronage of the nobles and -- especially under James I -- the crown itself.  So by default, the vast majority of actors, playwrights, and theatre owners were Royalists and devoted to the king.  This during a time when the more puritanical elements in the country - the conservative, religious, populist elements – were very much on the rise.

CHARLES I – 1625-1649

Were James I died, and his son Charles I assumed the throne, the societal rifts in England grew deeper.  He tried hard to embrace his father’s ideals of an absolute monarchy, but lacked his father’s charisma.  Charles had a bad habit of levying taxes on the population without the prior consent of parliament.  At the same time, he also continued to live the lavish lifestyle his father had displayed.  He and his parliament were constantly, vehemently at odds with each other.  His standing grew even worse when he chose to marry Henrietta Maria of France, a Catholic.  This angered and riled the suspicion of the Puritans in England, a group that had gained a great deal of support in the country.  In addition, it was perceived that he had failed to lend proper support to the protestant armies fighting in the Thirty Years War (which had begun, essentially, as a religious war between various protestant and catholic nations within the then-fractured Holy Roman Empire). Finally, when Charles tried to force the Church of Scotland to adopt English religious practices, it sparked what was known as the Bishop’s Wars.  All of this lent greater and greater influence to both the Scottish and English parliaments and led directly to the English civil war when each parliament raised an army against the King.

Most of the major English playwrights of the first half of the 17th century (at least those whose works have survived the pass of time) had long completed their careers by the time of James I’s death.  Ben Johnson was still at work during Charles I’s reign, but the bulk of his output was behind him by then as well.  John Ford wrote primarily under Charles I, but even most of his work (at least that which survives) was during only the first 7 or 8 years of Charles I’s rule.  It is perhaps also not a coincidence that Ford’s work is said to show a strong influence from Robert Burton’s pseudo-medical text, “The Anatomy of Melancholy”. 

Beyond the early/mid 1630s, the playhouses seemed to be in a state of decline, as England become more and more embroiled in what would become an all-out civil war, in which the nation’s parliaments, with the support of the many of the people - and led primarily by the Puritans - would successfully overthrow and oust Charles I, in spite of support from a strong royalist faction in England. 

CIVIL WAR, OLIVER CROMWELL, THE PURITANS, AND BEYOND

In 1642, the civil war broke out and all of the playhouses were closed to prevent public disorder.  The Puritans, led by Oliver Cromwell, opposed theatrical performances and were at loggerheads with King Charles I who promoted theatre at his court. (In 1632 William Prynne had lost his ear for denouncing dancing as a 'Devil's Mass' and women actors as 'notorious whores' in his book Histriomastix. This was seen as a personal attack on Queen Henrietta Maria who loved the theatre and often performed in masques.)

The theatres remained closed throughout the war.  Charles I was captured by the Scottish army in 1646, and turned over to the English parliament in 1647.  There was a brief resurgence by the royalist army in 1648, but it was put down and Charles remained in captivity.  He was tried for treason against England in January of 1649, found guilty, and beheaded several weeks later.

In total, the playhouses remained permanently closed for 18 years, throughout the control of Cromwell’s Puritanical government rule.  Many theatres were not only closed, but torn down, including The Globe in 1644 (It now exists, near the original site, in a replica built and opened in the late 1990s), and were not reopened until the Monarchy was reestablished with the crowning of Charles I’s son, Charles II, in 1660.  At that time, a man named William Davenant, who was rumored to be an illegitimate son of William Shakespeare, was, along with Thomas Killigrew, granted a theatrical patent from Charles II, giving them a virtual monopoly over the London theatre scene.  Davenant immediately opened the Duke Theatre and began to reestablish the playhouse by presenting adaptations of Shakespeare’s plays set with music, like operettas.

Primary Internet Sources:
https://en.wikipedia.org/wiki/English_Renaissance_theatre
http://www.vam.ac.uk/content/articles/0-9/17th-century-theatre/
http://www.william-shakespeare.info/william-shakespeare-globe-theatre.htm
http://www.theatredatabase.com/16th_century/condemnation_of_elizabethan_theater_001.html
https://en.wikipedia.org/wiki/List_of_English_monarchs
https://en.wikipedia.org/wiki/Henry_VIII_of_England
https://en.wikipedia.org/wiki/Elizabeth_I_of_England
https://en.wikipedia.org/wiki/James_VI_and_I
https://en.wikipedia.org/wiki/Charles_I_of_England

MOTHER COURAGE - Reviews and Photos

Last night we began our final week of performances for MOTHER COURAGE at Quintessence Theatre Group.  There's no doubt that the show has been a massive undertaking, but the hard work feels like it has paid off, and the audiences have been incredibly responsive throughout the run.  (Each of our two post-show discussions have started out with the usual, tentative talk-back fodder, and then escalated into very thoughtful exchanges about a boatload of current event topics - a testament, perhaps, to both the "timelessness" of the play, and to how deeply it taps into so many of the things on everyone's mind's nowadays.)

On a personal note, it's been lovely to work with this ensemble, all of whom have worked very hard to bring this piece to life every night.  But I'm am especially pleased to share and observe the work of Janis Dardaris, Forrest McClendon, Leah Gabriel, and Leigha Kato, each of whom I find myself watching intently every night in my quieter moments, both on and back stage, trying to learn better how to do what they do, how they seem to succeed so effortlessly.  They each offer, in their separate ways, a little master class on a daily basis, and I am deeply grateful for that.

Anyhow, if you want to come see for yourself, you currently have four more chances.  We close this Sunday, November 6th.  Tickets are still available, but that may not remain the case for long.  (You know how we all procrastinate until closing weekends.)

Tickets can be purchased via the Quintessence Theatre website.
But once again, don't take my word for it.  Here's a little bit of what the press has had to say about us...

"Quintessence Theatre brings to life a beautifully staged, truly epic production of Bertolt Brecht's MOTHER COURAGE AND HER CHILDREN."  - Phindie.com

"Janis Dardaris [as Mother Courage] plays the role in a way that Brecht himself would have admired."   - The Philadelphia Inquirer

"Kattrin, the dumb daughter, suffers greatly in the story, and Leigha Kato's exquisite expresssiveness shouts it out loud. Leah Gabriel gives Yvette Potter, the camp prostitute, some glorious moments and a fabulous voice."  - Phindie.com

"The best number is comic extravaganza led by Forrest McClendon, who gives a sly, cutting performance as a military cook."  - DC Metro Theatre Arts

"Gregory Isaac and Forrest McClendon - the Chaplain and Cook, respectively - give strong performances and their acerbic dialogues are a highlight."  - TalkinBroadway.com

Janis Dardaris and Forrest McClendon (Photo by Shawn May)

Leigha Kato (photo by Shawn May)

Gregory Isaac (photo by Shawn May)

Forrest McClendon and the Ensemble (photo by Shawn May)

Up Next: MOTHER COURAGE at Quintessence

Things are in the works! My '16-'17 season is starting to shake itself out - and I'm incredibly grateful that after less than a full year based in Philly, that I've been able to fill out my work calendar.  That's never a guarantee, and I know how fortunate I am that things have gotten off to a strong start here.

I'm superstitious about looking too far ahead, but my Fall project is already a lock, and I'm happy to report that I'll be on the boards again with Quintessence Theatre Group, as the "Chaplin" in MOTHER COURAGE AND HER CHILDREN. Long-time Philadelphia actress, Janis Dardaris will take on the title role.  Word has it that Janis is a bit of legend in Philly, and I'm very much looking forward to working with her on this project. 

In addition, as a personal treat, I also get to share the stage, once again, with one of my very best friends, Leah Gabriel, who will be playing "Yvette". Leah and I originally met while working on a production of Bercht's SAINT JOAN OF THE SLAUGHTERHOUSES in New York, and now we get to return to Brecht together.

Finally, a bit of trivia that will, perhaps, interest only me: After Gene Wilder's death earlier this week, I was reminded that he originally met Mel Brooks while working with Anne Bancroft on Broadway in 1963.  What I did not know was that the play was MOTHER COURAGE, and the role he was playing was the "Chaplin".  Apparently, he liked to tell the story about that meeting  by first explaining that he was "miscast" in that show.  (I highly recommend you click through this link and listen to Terry Gross interview Wilder for NPR's "Fresh Air" in 2005, before he was diagnosed with Alzheimer's Disease.)

The Quintessence production will run from October 12th - November 6th, 2016 at the Sedgwick Theatre in the Mt. Airy neighborhood of Philadelphia.

(Below are a couple of production photos from that Broadway version of MOTHER COURAGE with Wilder and Bancroft.)

Art by Lee Cortopassi

HAPPY DAYS - Reviews & Photos

I haven't trumpted my work on HAPPY DAYS at Quintessence Theatre Group because, in all honesty, it felt a little presumptous to toot about being the second person in what is, essentially, a one-woman show.  Samuel Beckett wrote this odd little tale about a "Winnie," a middle-aged woman submerged in a mound of earth, unable to move, or avoid the harsh glare of sun.  Yes, her husband, "Willie," lives behind her, and is a constant target for her eager conversation, but he rarely engages her, and, indeed, is barely seen by the audience throughout the nearly two-hour show.  

It is E. Ashley Izard who, as "Winnie,' IS the show, in every conceivable way.  For two acts she bravely explores the optimism, courage, and frailties of her onstage persona.  It is extraordinary, rare work from Ashley, which has, understably, taken quite a bit out of her during the process.  "Willie," on the other hand, has but 19 verbal responses in the script, composed of 21 sentences and 53 words.  But his presence is felt in other ways, and not all of them by the audience.  For the first time in my career, I feel like I am truly playing a "supporting" role in a show.  My work has been as much for Ashley's benefit as it has been for the audience, and it was very exciting to build that reality with her and our director, Alexander Burns.  As fulling, in it's way, as playing "Faustus," or "Heathcliff," or any other.

Ashley truly gives a tour de force performance.  I'm honored to have been a small cog in that process.  We continue our brief June run, through this coming Sunday, June 26th at the Sedgwick Theatre in Mt. Airy.

(Also, Random Triva: It may be the only time in my career when I'm working in a show when everyone in the cast has five letters in their last name and the first letter is "I".)

Bill Chenevert for THE PHILADELPHIA INQUIRER:
"In the Quintessence Theatre's honed, sophisticated production - again timeless - E. Ahsley Izard, who takes on the central figure of Winnie with an impressive, tour-de-force performance, commands.  She wrings humor, pathos, and helplessness from her part in a hypnotic performance."

Tim Dunleavy for DC METRO THEATER ARTS:
"HAPPY DAYS is a strong showcase for a great performer, and Izard, with her expressive face and patrician bearing, rises to the challenge.  No matter how worn down she is, WInnie perseveres.  And watching Izard persevere is a pleasure."

And, Rebecca Rendell for TALKIN' BROADWAY:
"Izard is absolutely riveting despite scripted physical limitations that would challenge even the most skilled thespian.  [In the second act], Isaac utters only a single word, but his brief performance is utterly heartbreaking and curiously cathartic."

Photo by Shawn May

Photo by Shawn May

DOCTOR FAUSTUS - Reviews and Photos

We got good news this morning from the theatre:  Buzz and tickets sales have been so strong that we are extending our "Devils and Saints" rep at Quintessence Theatre an additional week, through May 1st!! A really powerful, and very well received production of SAINT JOAN got us going a few weeks ago, I'm pleased to report that DOCTOR FAUSTUS has lived up to that high standard, with another round of rave reviews and audience enthusiasm.

As I'm tasked with the title role in FAUSTUS, I'm bashful about the warm reception the show is getting.  So, let me just give you the press:

Jim Rutter, for the Philadelphia Inquirer:
   "The Doctor Faustus of Christopher Marlowe's play sought all the pleasures and knowledge that mortal life could offer. Quintessence Theatre's production equals his quest by showing all the magic that a tremendous cast and imaginative staging can provide.
   "Isaac’s Faustus performance begins humble and frustrated, and by turns of his newfound power, turns devilishly charming and pitiably unrepentant.  Through his performance, Quintessence’s staging creates a lifecycle. If Marlowe’s play acknowledges friendship as the chief of earthly pleasures, then watching performances like Quintessence’s Doctor Faustus certainly stands a close second."

Mark Cofta, for the Broad Street Review:
   "Quintessence Theatre Group's "Devils and Saints" repertory is devilishly good. This fast and furious production [of DOCTOR FAUSTUS] puts a premium on spectacle, but is also remarkable clear verbally and easy to follow.  At the center of it all, on stage nearly the entire play, is Isaac's fascinating Faustus, led to ruin by his ego."

And, Neal Newman, for DC Metro Theatre Arts:
   "Add all of this into one magical cauldron and The Tragical History of the Life and Death of Doctor Faustus gets this critic's highest recommendation. Raves all around for this one."

Both SAINT JOAN and DOCTOR FAUSTUS are now set to close the weekend of May 1st.  Performances have already begun to sell out.  So don't dilly-dally, my friends.  Reserve your tickets today and get yourself out to the Sedgwick!

Gregory Isaac as Faustus - Photo by Shawn May

Gregory Isaac as Faustus, Josh Carpenter as Mephistophilis - Photo by Shawn May

Josh Carpenter as Mephistophilis, Leigha Kato as Evil Angel, John Basiulis as Lucifer, Gregory Isaac as Faustus - Photo by Shawn May

Gregory Isaac as Faustus - Photo by Shawn May