The passion of Stanley and Stella...

It is clear to me why New Orleans is the setting for this incredible play of passion, desire, and devastation.  Having spent much time in the city, and particularly in the Quarter, I finally understood when people would say that a city had a heartbeat.  Just walking the streets of the Quarter, I could feel the life, the passion, the soul of this city.  It breathed.  I could feel every inhale and exhale of it's existence.  This was a place that brought me back to life, after several years and started me on a new journey, allowing me to release my old self, which had become such a tired, 'ruin' of my former self.  

This city is one of the most electrifying and passionate places on earth... not romantic, like Florence or Paris - but, Passionate, primal, raw.   

This city is part of the fuel in the fire between Stella and Stanley Kowalski.  It is a magical city, a place of power and raw emotion that pushes and prods these two people into emotional oblivion.  When these two characters are on stage, something electrifying occurs.  A pulsing heartbeat is felt... something inexplicable, something deep... 

The passion between them could be compared to that of pure primal, animalistic  emotions.  They need each other, they ache for each other and, in some sense, they are each other.   

Even the abuse thrown on Stella is wrought with a passion so deep, that only when they are together, does any of it make any sense...

 There has been some debate amongst our cast about whether Stanley cheats... whether Stella stays with him after Blanche is sectioned... why AND how they got together in the first place...

What fuels Stanley's anger... his abuse... his control?  Stella's own attempt at control?  Or, is it something else...Blanche?

 What of his heartfelt, desperate plea for Stella to return home to his bed... Why does she do it?  Why does their need for each other overpower what is sensible...  What is he really fighting for?

 Stella?  Stanley?  Blanche?  ... What is the dangerous co-dependency they share, fight against, Run from and run right back to...

The actors taking on these roles must be able to draw on a deep connection, while trusting and understanding each other.   As we finish up blocking in our production, it is my hope that Juliet (Stella) and Titus (Stanley) will be able to let go and allow the elements of Stanley and Stella,  already inherent within each of them, push through. 

New Orleans vs. Nawlins...

Dialect is always a major consideration when doing a piece such as Streetcar.  Of course, I always look for clear authentic dialect development... you know, forming the words and sounds naturally; not mimicking; listening to people of the local area and learn all the formation and resonation points. But, the question is what level of dialect should we approach.

In a small regional show such as this one, we should not over do it or over think it.  A true and honest hint of the dialect will be our primary goal...

Many of the actors came into the rehearsals with a hint of authenticity in their dialect already, while others brought a general southern drawl into the work.  Over the next few weeks, we will be working to localize the southern and accentuate the already developing accents.

Here is a little NPR tidbit to get everyone started...

NPR New Orleans Dialect 

Questions... Questions...

Actors have many ways of approaching roles.  I, myself, really delve into the emotion and purpose behind the character's actions and beliefs.  I research, I analyze, I live... I question everything...  

I approach each character (and show) like a parent with a newborn baby... wondering what they will do and be like when they 'grow up.'  Character work is my favorite aspect of rehearsal -  I have a catalogue of techniques I use with my rehearsals and this particular process is no different.  I have many things planned for future rehearsals... some will be successful, some will not, but hopefully all will fill the actor with more insight and allow a newer ideal of character to surface.

This is also how I approach mid-century literary works when I direct.  Every author and playwright has a style, a life issue, a story that they are trying to tell on the page.  It is the job of the director to interpret this and bring to life on the stage.  Every director will see a different focus as they craft the production. Williams' work is so rich with life and symbolism, that we could spend an entire 6 week rehearsal period on discussion, analysis and inquisition.  Learning the author's intention becomes a vocation that overrides all other thought or inquiry.  I have chosen to approach this show with a fresh view.  

We are trying to remove many of the preconceived ideas and character traits and look within to find something raw and honest.  My actors are approaching characters in many different ways.  I am thrilled to hear their questions and ideas and participate in the discussions and debates that ensue during each rehearsal.

I was so excited when my Blanche /Stella understudy, began e-mailing me with so many ideas, views and thoughts.   Many of them allowed me to review my own thoughts and look anew...  

This post is going to look at some of the 'musings' of Jennifer...

"I'm typing up my script sans stage notes from the verbose Williams, and came across a couple references I wanted to look up.  This is probably a duplicate for you, but I thought it was interesting and it's the kind of thing I do.  (I like to research eras, localities, etc for flavor)...
     
Blanche compares Stella's neighborhood to the "ghoul haunted woodland of Weir", which is apparently from a Poe poem I'd never read before.  It's possibly darker than The Raven, and weirder than his stories...  Interesting that's where she goes...   Side note- I'm reading this for the first time, and I've only seen parts of the movie once, so I'm trying to ignore Williams direction as much as possible while reading it so I can come at it completely fresh.  Also, I've noticed Stella spends a lot of Act I just getting away from both Stanley and Stella (stands on the porch forever, and she's been in the bathroom awhile...).  Is that new now that Blanche is there muddying the waters, or did she do that before, to get away from Stanley when he was getting too intense?"

Another e-mail pondered... 

"I just came across a bit of stage direction (I'm avoiding reading it as much as possible) that cracked me up...  "business used by Stella in tidying up the room may vary slightly: the example herein often holds true."
Ha!  Oh, Master Williams, how incredibly kind and generous of you!  The business may vary SLIGHTLY?  *sigh* ...  Shakespeare has really spoiled me in this way... Sometimes a character's exit isn't even marked in the script, and there's never a direction to the actor like "speaking with difficulty", "shrilly", or "airily"... and those are all on the page I happen to have open as I type this...   This is obviously going to be my biggest issue with performing Williams.  I've never done it before, so this is all new to me.  I've actually used Williams as an example when talking to new actors about how to deal with stage direction.  "At one end of the spectrum is Shakespeare, who gives you no help whatsoever in how to act or what to do, which is challenging at first but enormously freeing when you've gotten accustomed to it.  At the other is Tennessee Williams, whose stage direction is so specific that there seems to be no room for acting."  ... The language is rich, and the characters are powerful- but it is not his job to direct, it's yours.  If you want us to do what's written, I'll write it down in MY scripts, but I want YOU to tell me if you really want me to "Turn to Stella from corner of trunk" at that point in the script.  Rawr.   Onward.  Glad I got that off my chest.   To be continued..."


 And, finally...
 
"Hot, sticky evening... With Daniel out of town I'm being cheap and using the AC very little, and whew.  I can certainly use this stickiness for the show...   I've been in the city once, as I said at audition, but it was a daytrip with 4 or 5 other Airmen while we were stationed at Biloxi, and I don't feel I experienced much of the city at all.  The strongest memory I have is the smell of Bourbon street hitting us long before we got to it.  By the time we were there, I guess I was used to it, but..  I saw the city as a tourist, I didn't *experience* it at all. ...
 
I don't know a lot about that period, especially in the South... Info on New Orleans isn't terribly hard to find, but info on Mississippi during the period is scarce.  What was life like for the last generation to live in plantations before they got kicked out?  What was life like specifically for Stella and Blanche growing up?  An appearance of gentility to maintain in the reality of increasing poverty..  How did their parents support Belle Reve?  They'd lost the land attached to it, so they couldn't support the house and family with income from farming...   But they obviously raised the girls on a pedestal- Blanche fell off, Stanley knocked Stella off.  Was any of that ever real, or were they always just keeping up appearances?"

It is a pleasure to be challenged by this fabulous cast of actors.  I know that many more challenges await in the rehearsals to come...  

We are underway!

Rehearsals are underway!  

Character and scene work has begun for the principal characters and we pull in the full featured and principal cast on Monday for the first full readthrough.  Already we have made great headway into the text... the hard questions have been asked, some answers found...  we are ready to look head on into the next 7 weeks.

I will plan on making regular updates and insights on Tuesday / Wednesday, so be sure to watch for next week's post.  I will be looking at one actress's questions as she approaches her challenging role in the show.

I have cast the lined ensemble roles and had a single change to the cast, so take a look at the lineup! 

• WOMAN  - Tabitha Carroll
• EUNICE HUBBEL - Jennifer Sivers-Shrader
• STANLEY KOWALSKI - Titus Wolverton
• STELLA  KOWALSKI - Juliet Howard-Welch
• STEVE HUBBEL - Mike Frazier
• HAROLD MITCHELL ('Mitch')  - Daniel Wilson
• BLANCHE DuBOIS - Cassandra Engber
• PABLO GONZALES - Geoff Moss
• YOUNG COLLECTOR  - Josh Katawick
• UNDERSTUDIES  - Jennifer Wilson, Austin Smith
• DOCTOR - Austin Smith
• NURSE - Jennifer Sparks
• MEXICAN WOMAN - Diana Hart
• SAILOR / MAN - Brandon Saldivar

More Next week!

Rehearsal Schedule

Well, time for an informational post, as we move into the first week of rehearsals!  The schedule is up on Google Calendar and subject to some changes, so keep an eye on it! 

All Aboard ...

Well, it is official!  Auditions are over and the show is cast.  Thank you to all who auditioned and shared such great talent and emotion with all of us!  

I was thrilled with the abundance of talent that arrived at the theatre on Monday and Tuesday!  It made my job extremely difficult... I had so much talent to choose from that I could have cast the show several times over.   In the end, it came down to actor chemistry, freedom of action and group dynamics.  I chose a principal cast that really exploded on stage, but left that audition wishing I could work with nearly everyone who read for me.  I hope to have the opportunity to do so in the future!

Please review the principal and featured cast list below and either accept or decline your role no later than 9am Thursday, July 14 by e-mailing me at Lisalhw@att.net.


Additional information regarding rehearsal start, early script pick-up and Ensemble casting will follow the cast list.  Again, Thank You all for sharing your talents!

• WOMAN  - Catherine Collins
• EUNICE HUBBEL - Jennifer Sivers-Shrader
• STANLEY KOWALSKI - Titus Wolverton
• STELLA  KOWALSKI - Juliet Howard-Welch
• STEVE HUBBEL - Mike Frazier
• HAROLD MITCHELL ('Mitch')  - Daniel Wilson
• BLANCHE DuBOIS - Cassandra Engber
• PABLO GONZALES - Geoff Moss
• YOUNG COLLECTOR  - Josh Katawick
• UNDERSTUDIES  - Jennifer Wilson, Austin Smith

ENSEMBLE CASTING
Several actors are still under consideration for the ensemble roles such as the Doctor, Nurse, Mexican Woman, Sailor, Vendors and musicians.  I will announce the full cast on Monday, July 18 in the blog and on facebook.  Ensemble cast will not be required to attend rehearsal until August.  Full details will be given in the rehearsal schedule. 


FIRST REHEARSALS
As there were a number of conflicts given for the week of July 18, we will begin full rehearsals  on Monday, July 25 at 6:30, with a readthrough for principal and featured cast only.  However, I would like to start scene and character work with Blanche and Stanley on Monday, July 18 and Wednesday, July 20 at 6:30.  


EARLY SCRIPT PICK-UP
Cast members listed above may pick up their script on Friday, July 15 from 11am to 4pm at the theatre.  Scripts will also be available at the first rehearsal.  Ensemble cast will be able to pick up their scripts in early August. 

Auditions... Auditions... Auditions... 4 days to go!

Four days to go...

This will likely be the last post before I announce casting for A Streetcar Named Desire, so now is the time for me to wish those of you planning to attend, a great big 'Break A Leg.'... Though, you never know, I may think of something else I want to share before then!

It is also time to remind you to email or facebook message me with any final questions or requests for early audition forms, preferably before Saturday.  I am also happy to review your resume and photo early, so send it on!


Anyone who would like to audition, but cannot attend either of the sessions, please contact me immediately to arrange an alternate audition spot (either earlier on Monday or over the weekend.)  I would be happy to arrange an early audition for you. 

My Email is lisalhw@att.net 
My facebook is Lisa Howard-Welch Facebook

Just a few reminders about auditions:

• Doors open at approximately 6:45pm at the theatre
• Monday, July 11 open session will be from 7pm to approx 9 (we will run later if necessary)  
• Tuesday, July 12 open session will be from 7pm to 8 pm only, and has limited  audition space available.  Callbacks will be from 8 to approx 10pm on July 12
• Auditions will be run in small group format - 6 to 10 people will be auditioned at a time, on a 'first come, first served' basis according to the order of sign in.  Each group will remain in the theatre approx 20 to 30 minutes.  Some actors may be asked to remain for an additional session.  
• At the end of each group session, a Callback list will be sent out and those called back should attend the Tuesday callbacks, beginning at 8pm.
• Audition will be Cold Reading; however, those wishing to audition for Stella should prepare the song Summertime to be sung without accompaniment.  
• If for some reason you are not available for call backs, please indicate this on the audition form.

• Don't forget to bring a written list of known conflicts for the period beginning July 18 through September 19.  I will be creating the schedule around the conflicts of those who are cast, so it is important that this is turned in at auditions, with your paperwork.  All written conflicts presented by those actors who are cast will be honored, so be honest on this list.  

This is going to be a great show and I can't wait to meet all those who are auditioning!