Postpartum Seanachai

Posted by DCA Theater on October 3, 2008 in July-December 2008 Season, Scenes from the Big Picture

Written by J David Moeller (Playing Frank Coin)

New mothers often experience peripartum, also known as postpartum, depression primarily brought on by hormonal changes, but exacerbated by feeling of stress from changes at work and home routines and also from having feelings of loss of identity of who they are, or were.

Actors -who create new identities with each new show- sometimes suffer a similar, if not medically described, phenomenon (castpartum Seanachai) brought on by the sudden cessation of association with a cast that has grown close during the lengthy process of rehearsing a production and its subsequent run…often spanning many months.

Some of the 21 performers (and the roles they play) in “Scenes From the Big Picture” weigh in with their feelings on the subject.

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Who’s New Seanachai

Posted by DCA Theater on October 3, 2008 in July-December 2008 Season, Scenes from the Big Picture

Written by J David Moeller (Playing Frank Coin)

This is the final weekend for “Scenes From the Big Picture” at the Storefront Theater. The show has been critically acclaimed, Jeff Recommended, well attended and is expecting sell out houses as experienced during the run.

Performed by a 21 member cast, the play takes place during one 24 hour period in Belfast, Ireland. But it’s not about “the troubles”. It’s about people and their lives.

This week, new faces will replace two characters and another will move to the role of a cast member who’s leaving.

Ashley Neal steps in as Connie –formerly played by Lee Stark who opens in the title role in “Eurydice” at Victory Gardens on October 13.

Shane Kenyon, who’s been playing Rat (DCA Theater Blog Sept. 15) moves into Jamie Abelson’s role as Bop. Jamie moves with Stark to the Victory Gardens playing Orpheus.

Mike Carothers takes over as Rat. He recently moved here from Baltimore where he worked with Center Stage and the Baltimore Playwright’s Festival. He and his brother operate CarothersBrothersProductions producing comic and short films.

“Scenes…” runs this Thursday, Friday and Saturday at 7:30 with the closing show on Sunday at 3:00 at the Storefront Theatre, 66 E. Randolph, across from the Cultural Center. Tickets still available at 1-312-742-TIXS (8497).

Seanachai “Scenes…” Couples

Posted by DCA Theater on September 19, 2008 in July-December 2008 Season, Scenes from the Big Picture

Written by J David Moeller (Playing Frank Coin)

“Scenes From the Big Picture” -with seats still available thru October 5th at the Storefront Theater- covers the lives of 21 people in Belfast, Ireland during a 24 hour period.  Most of the stories “couple” actors whether by marriage or circumstance.

Dave and Theresa lost their son eight years ago and this is the final day the police are willing to search for his body. Theresa and Joe are trying to keep their employees at the abattoir working while the boss tries to find funding for their latest shipment of meat. Joe and Helen are having an affair and he and his wife, Maeve, are desperately, albeit unsuccessfully, trying to have a baby.

Maggie is dating Cooper, but likes Bop. Bop and Swiz are eyeballing Robbie and his stoner girlfriend Connie who are planning on “doing a runner” –run away.

Paul and Harry’s father has died and they’re trying to deal with his legacy, while Bobbie and Shanks try to deal with Sharon who has a thing for Bobbie, who isn’t reciprocal of her attention.

Sammy and Betty run the shop and are dealing with break ins, their age, Betty’s health, and retirement.

We’ve already met the two hit men in previous installments here.

The final “implied” couple is Frank,  a widower, and Elsie: his deceased love.

Playwright Owen McCafferty weaves their stories together in a seamless ribbon of coincidence and happenstance that, uniquely, paint pictures we all can recognize in ourselves.

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Clamoring voices

Posted by DCA Theater on September 19, 2008 in July-December 2008 Season, INCUBATOR Series: Infusion Theater

Written by M.E.H. Lewis

Writing is such a strange process. It’s really a process of discovery more than creation. I suppose that’s an old idea, like Michelangelo discovering the angel in the marble and setting him free. But it’s still strange. I thought I knew the story I was writing and only needed to fill in the details, but as I write, the story keeps shifting, expanding, metamorphosing. The small Vietnamese town where the story is set keeps growing and becoming more defined, and the residents of the town are clamoring at me, demanding my attention, commanding me to put them on paper. Three Wise Women, the Coffin Maker, the Body Finder, He Who Sees Ghosts. They’re shoving their way forward and they won’t be silent. Part of me, the part that has deadlines and needs to clean the house, part of me is annoyed. But honestly, I love it. I love these characters. They’re fascinating company. They tell great stories. I can sweep the floor another day, because for now I’d rather hear these stories and figure out where they’re taking this play I’m (supposedly) writing.

I have to go now—there’s a story I need to hear.

Getting the ghosts on their feet

Posted by DCA Theater on September 19, 2008 in July-December 2008 Season, INCUBATOR Series: Infusion Theater

Written by M.E.H. Lewis

Last night, for the first time, we started putting the play on its feet. This is a fairly tricky play, with a lot of movement. The “ghosts” in the play have to morph into a variety of different characters, keep the story line clear, and be convincingly scary. It’s not an easy job. Last night we started staging the first scene. This is a scene with no dialogue—just Isabelle, one of the main characters, trying to make dinner as she is plagued by ghosts. Callie, Cara and May Lee did a fantastic job! It was genuinely scary and moving to watch. This is something I love about theatre—the way makeshift props and bare stages magically transform. It’s an alchemy that just doesn’t happen in any other art form, and it takes me right back to the sacred, ritual roots of theatre.

It’s very interesting working with actors and a director in this way, working on a brand new, unwritten play. To be honest, I was more than a little nervous about it. Writing is such a mysterious and delicate process, and it takes almost nothing to whither a new play. But I trusted Mitch, and I’m glad I did. The play is opening up in all sorts of interesting ways. Last night we tried out a brand new scene, one with more ghosts, working toward a fluidity of voice and a more plastic use of space. I want there to be a layered, almost choral quality to the voices in some of the scenes, reinforcing the idea that these ghosts (of violence, of war, of the past) are always around us. It sounded surprisingly good to me (I LOVE working with good actors!). It’s really fun to work toward a less linear, less realistic play. The trick will be to make sure that the story line doesn’t get lost in the complexity of the presentation.

I’ve attached a few photos of last night’s rehearsal. My favorite is Callie in blurry mid-flight as a ghost.

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