Center Theatre Group News & Blogs

The New Yorker explores the "secular kind of fervor" of 'Matilda The Musical' composer Tim Minchin

Center Theatre Group — Fri, 29 May 2015 00:45:00 -0700

"... 'He’s got his own secular kind of fervor,' Warchus said. 'You tend to think of satire as a substitute for emotion, and he manages to entwine them. And that’s why you can enjoy the cleverness and intricacy of his writing and have tears running down your cheeks at the same time, or be laughing helplessly at some goofy, childish reference to boobs or something. It’s high and low at the same time.'

... A kind of rationalist Russell Brand, he presents himself as a secular gadfly, a voice of sanity in a dismayingly daft world. For his concerts, which sell out ten-thousand-person halls in England, he adopts the guise of a glam-rock diva: bare feet and kohl-smeared eyes, his hair teased into a scarecrow shock."

Schulman explores Minchin's "secular kind of fervor" for The New Yorker in his article "A Problem Like Matilda." Read the full piece online at The New Yorker.

LA Times' Mike Boehm sees how 'Rock Critic' hits an honest chord

Center Theatre Group — Fri, 29 May 2015 00:41:00 -0700

"But Jessica Blank and Erik Jensen had something else in mind while spending two years sifting carefully through the 50,000-page output of a single critic in hopes of distilling his writing into a dramatic monologue that would tell his life's story and convey the core of what he'd thought and felt about music.

Their play's full title is "How to Be a Rock Critic (based on the writing of Lester Bangs)," with Jensen playing Bangs and Blank directing. Still in development, with a public staged reading set for Dec. 15 at the Kirk Douglas Theatre in Culver City, the play is a full-on homage to a writer whose flamboyant, calculatedly outrageous first-person articles mainly inhabited music magazines from 1969 to his death in 1982.

Bangs was just 33, his end hastened by hard living. But his prose, including work for Rolling Stone, Creem magazine and the Village Voice, has survived in two posthumous books of his selected articles.

... They don't see 'How to Be a Rock Critic' as a form of slumming or creative ease-taking following those high-stakes precursors. To them, Bangs was no mere entertainment writer but a moral philosopher for whom rock music was both an end in itself and a weather-gauge by which he tried to read the state of society and his own soul.

'I think there's nothing better than tackling the plight of the human heart' as reflected in how we respond to music, Jensen said in a phone interview..."

Read the full article at the Los Angeles Times.

Bringing ‘Used to Was (Maybe Did)’ from page to stage

Patricia Garza — Wed, 27 May 2015 00:50:00 -0700

Used to Was (Maybe Did) is an intergenerational story about the next heir apparent finding a place at the top, and those at the top moving over. The confident Double D knows he’s going to win a spoken word poetry competition, until the young Lil’ Lat’n Gurl comes up from behind and surprises all.

We had two weeks to bring Used to Was (Maybe Did) from page to stage for its very first public reading. The entire developmental process was a complete blur, from the huge push for auditions by our incomparable Casting Associate Meg Fister to get spoken word poets and actors to the first day of rehearsal, to hearing the script read aloud by our amazing group of performers (Carlton Byrd, Enid Cortes and David McKnight), to post-rehearsal conversations with the playwright, director, DJ and heroic Stage Manager Lora K. Powell, to sound checking with our Production Manager Chris Reardon and Audio Engineer Matthew Colleran. But there was a lot of laughter (and maybe some tears, too).

The support from the theatre is EXACTLY what any playwright would be lottery-winning-level lucky enough to get…Thanks to our CTG hosts for the space to work and the stunning ideas about what was and now is down on the page. —Brian Dykstra

It all culminated in a public reading at Inner-City Arts, an oasis of creativity and learning in downtown Los Angeles’ Skid Row, that offers arts education programming to local students and families. Inner-City Arts was the perfect partner to host the reading and drew an incredibly large and engaged crowd.

Next up for Used to Was (Maybe Did) is a Center Theatre Group-hosted writing workshop this summer where Brian and the team will continue to dig into the script and further develop this vital and important story.

I still cannot believe the growth of the piece and the changes that manifested themselves from that first day to now — and of course I cannot wait to see what happens next.

Used To Was (Maybe Did) is a CTG completion commission, which is given to collective creators who have developed the piece elsewhere but desire further support to complete the work. Completion commissions are made possible by a generous grant from the Andrew W. Mellon Foundation.

Inside Sandbox @ CTG: Feral Drives, Fierce Women: A Conversation with Sheila Callaghan

Center Theatre Group — Mon, 18 May 2015 00:53:00 -0700

The evening began with a reading of a scene from another Callaghan play, Elevada, which premieres this spring at Yale Repertory Theatre. Joy Meads, CTG’s literary manager, then moderated a discussion between Callaghan and Tiffany Lopez, a U.C. Riverside Professor of Theatre. The conversation touched upon women, ambition and how our culture responds to women who take charge and go for what they want. Callaghan answered insightful questions from the audience about women’s roles in drama, the use of language in her works, and how she empowers female characters to express their desires.

Experiences like these are valuable to artists as well as audiences as they offer a chance for the playwright to connect with people and hear their responses while the piece is still taking shape. CTG’s Associate Artistic Director Diane Rodriguez directed the reading, giving Callaghan an opportunity to see her script brought to life by professional actors and to receive immediate feedback from an audience that is passionate about theatre.

DouglasPlus provides the flexibility to explore new work and push boundaries through fully and minimally staged events, workshops and readings and traditional and non-traditional performance configurations.

The William James Fadiman Award was established at Center Theatre Group in 2000 thanks to a generous gift from the late Regina K. Fadiman in honor of her husband and former CTG board member, William James Fadiman. The award supports the commissioning of a new play by the recipient as well as a one-week residency at CTG. The award is part of CTG's ongoing efforts to introduce vibrant, new work to the theatre community.

The Man Behind the Music

Center Theatre Group — Tue, 12 May 2015 18:16:00 -0700

As both the music director and the conductor, Alger conducts the orchestra for each performance of Rodgers + Hammerstein’s Cinderella. He explained that his job involves collaborating with the director to ensure the music helps tell the story of the musical as well as the overall vision of the production. Together with the director, he decides on the tempo (or speed) of songs, the dynamics (or volume) of the music, the acoustic qualities of the show, and exactly when the underscore should start within the performance.

Alger is also in charge of working with cast members and local musicians on performing their music. The company travels without a permanent orchestra, and Alger is instrumental in selecting local musicians to form an ensemble in each city they visit. As the tour of Rodgers + Hammerstein’s Cinderella arrives in a new location, Alger told the Inner Circle that he only has four hours of rehearsal with the newly assembled orchestra before their first performance. He shared his belief that due to caliber of musicians in Los Angeles, “L.A. will be the best orchestra we’ll see on tour.” Alger speaks from experience—he has served as the music director of many Broadway shows and national tours including Cats and Les Misérables, and was at the Ahmanson Theatre most recently for 2012’s Anything Goes.
Alger has travelled internationally as a music director, taking productions on tours across the globe. When asked about the hardest part of travelling with touring musicals, he laughingly answered it is working with shows translated into foreign languages. Inner Circle members in attendance asked Alger questions about his life as a touring music director and behind-the-scenes details about Rodgers + Hammerstein’s Cinderella. As a classically trained vocalist, he spoke to the beauty he personally finds in performing the music of Rodgers and Hammerstein on a nightly basis. “I wanted to do what’s fun and get paid for it,” Alger explained.

The Fringe @ Center Theatre Group attends 'Immediate Family'

Center Theatre Group — Tue, 12 May 2015 00:56:00 -0700

After the show, The Fringe hopped on a complimentary shuttle to downtown hotspot Faith and Flower, where they were joined by the entire cast for a festive post-show mixer. Drinks and food kept coming as cast members and Fringe members shared conversation and company well past midnight. At the end of the evening, playwright Paul Oakley Stovall and Fringe President Charles Chatelain thanked everyone and raffled away some prizes, including theatre tickets and gift certificates. Whether it was the people, the atmosphere or the signature cocktails prepared by Faith and Flower’s mixologists, the event turned into a lively celebration of theatre that won’t soon be forgotten.

The Fringe is a group of young professionals in their 20s, 30s and 40s who love theatre and believe in its importance in Los Angeles. With an annual tax-deductible membership starting at just $35, Fringe members attend mixers throughout the season, enjoy discounts on performance tickets and network at behind-the-scenes events. For more information about becoming a Fringe member, visit CenterTheatreGroup.org/Fringe or call 213.972.7276.

Teacher Feature - End of the year “crazy time”

Rosemary Marston — Fri, 08 May 2015 01:47:00 -0700

Fabiola Lopez has been teaching at Jefferson High School in South Central L.A. since 2003. She teaches Theatre, English, Honors English, ASB/Leadership, and is the Associated Student Body Advisor. Fabi’s favorite aspect of her profession is that she gets to experience the full power of teenage energy on a daily basis. Besides teaching high school and theatre, Fabi also loves to travel and spend time with her daughter.

Center Theatre Group has had the pleasure of working with Fabi Lopez in a multitude of ways so we’re thrilled that she was nominated for this feature. Fabi is one of four partner teachers in our August Wilson In-School Residency Program this year. Visiting her classrooms frequently has given me an inside view of just how much respect her students have for her and what a vital role she plays in their lives. The end of the year brings a particular energy and I asked Fabi for some insight about how she approaches her work during this time:

Rosemary Marston:
What is the end of the school year like for you? Paint us a picture of your classroom and rehearsal space.

Fabiola Lopez:

The end of the school year is a great time to bring together everything that the students have learned throughout the year and give them an opportunity to use their skills and creativity. They break up into production teams and each team is responsible for writing, producing and directing a 15-20 minute one-act play. It’s a very loud and crazy time of the year because we are usually working on three to five “small full” productions but the energy that is flying around the room and on the stage is all really good. At this point, I feel really proud that all the hard work and dedication has paid off. My focus is to support the students in the final leg of their journey and to help them retain the confidence throughout the process. During this time, my mantra is, “You can do it because I’ve witnessed you doing it before. Trust yourself.”

Fabi, you teach a lot of subjects! And I know theatre is important to you; how do you incorporate it into all of your classes?

Even when a class is not considered a “pure” theatre class, I use a lot of elements from theatre to support and further develop other subjects. For example, all my English classes go through a whole unit of introduction to theatre and acting. I find that my English students benefit from this unit because it helps target many different learning modalities and really helps students build confidence. Center Theatre Group is actually a strong contributor because, for many of my students, going to the theatre is not something that is done, so having the opportunity to go watch a live show, be entertained, be mesmerized and realize that all this happens in their own backyard and is simply a metro ride away is truly extraordinary. One of my favorite things to hear is, “Miss, remember when we went to see…”

What is something unique/innovative you’re doing in the classroom and/or rehearsal?

I’m not sure if this is innovative or unique, but one thing that I do during the Children’s Production is that I invite a class or two from our local elementary school (usually one of the schools that we’ll be performing at) to come to our first dress/tech rehearsal. After the performance, the students get to give us feedback. Now, if you’re not aware, seven year-olds are brutally honest! But it’s good because that’s our focus audience and we have time to modify, if necessary.

What, if anything, do you do to acknowledge soon-to-come transitions (end-of-year) with reflection, ritual, etc.? How has this worked in the past and what are you expecting this year? How has theatre/arts supported you in this?

One thing I really enjoy doing is having my theatre students keep an Actor’s Journal with reflection, pictures, entries, post-production reflections, etc. in it. I see it as a workbook where they can keep their best practices, but also as a memory book where they can see the good times, the bad times, the friends and their overall growth throughout the year(s). At the end of the year, we all go on stage and sit in our circle of trust and go back through the Actor’s Journal and share out favorite memories, anecdotes and reflect on the journey that the year has taken us on. I find that it not only gives the students a sense of closure, but it also helps them realize how much they have grown in that one year. It’s a really sweet way of saying goodbye, especially for my seniors. I’ve had students that graduated years ago that tell me that they’ve kept their journal and occasionally re-visit it.

Do you have any questions for fellow educators?

I’m always on the hunt for new activities and theatre games. Educators, what do YOU do in your classroom?

Do you have powerful rituals you do with your students for closure? Interesting activities to share for Fabi and others? Leave them in the comments below or upload activities to the Educator Hub.

Are you an L.A. educator with a story, innovations, or questions for your colleagues? Know an exceptional teacher? Nominate yourself or another educator for the next Teacher Feature by emailing education@CenterTheatreGroup.org.

The Art of Teaching Theatre: Endings and Rituals

Sarah Kay Peters — Fri, 08 May 2015 01:00:00 -0700

In a world that is ever more rushed and about getting to the next thing, we often overlook the importance of endings and taking time to honor the progress we’ve made and who we’ve become along the way. As we transition from one place and time to another, I offer that we say goodbye to an older version of our self and give the passage adequate attention. By taking time for a full and complete ending, we complete the process of change and open ourselves for what’s to come.

Endings come in all shapes, sizes and intensities, and there are ending rituals for all. Daily rituals can be as simple as taking breaths together or sharing appreciations to close a class. As an educator who works with youth daily, rituals are important to my work. I always use a simple starting and ending ritual to create space for my students and myself. We know that when we are in this space we have the freedom to express ourselves openly and freely, and in return, we give others the space to do so as well.

More in-depth rituals can be used to mark the end of a larger process, such as a series of workshops or the end of a school year. At these points, it is important to acknowledge the journey that we’ve taken and honor who we were at the beginning of the process and who we are in the present. By using ritual, we can say goodbye to our old self, offer appreciation for the growth we've experienced, and set intentions for our new self, going strongly out into the world.

For example, a simple writing prompt, “I remember…,” can be a great launching point for reflection on an experience. Students free-write for 10 to 15 minutes starting each memory with “I remember...” When completed, students are given an opportunity to share their favorite excerpt.

Another great ending ritual is a "circle of appreciations" where students share something they are grateful for, one by one, in a circle. I incorporate this daily and often use a talking piece — a unique and personal object that denotes whose turn it is to speak — to make sure the group honors each person’s voice. Also, students can each bring in a significant object that represents his or her experience to mark the ending of a larger process.

Endings give us time to breathe, remember, feel and share. Endings provide space to recognize ourselves and those around us and give us courage to go out into our communities as transformed individuals. With these closing rituals, we can turn endings into a time of celebration and joy, easing the pain of loss that can result when pushed too quickly out of a space that has been a large part of our lives.

One breath for those who come before us. One breath for those reading this today. And one breath for the lives we will touch as we move out into the world, remembering the importance of endings.

August Wilson's Historic Cycle Touches the Future

Lynn Clark — Wed, 06 May 2015 19:11:00 -0700

CTG Artistic Director Michael Ritchie called the student performances “one of the great evenings in the theatre. Watching the incredible talent on the stage at the AWMC each year,” he said, “confirms for me that the future of the theatre is already in great hands. The depth of talent, the level of enthusiasm and the maturity of the artistic instincts and insights that these young artists display are awe-inspiring.” Next up for the judges’ top picks, all of whom plan to pursue theatre as a career, was a trip to New York and Broadway’s August Wilson Theatre for the AWMC national finals on May 4, vying against regional winners from Atlanta, Boston, Chicago, New York, Pittsburgh, Portland and Seattle. The top three national winners were Moye Light and Cameron Southland, both from Atlanta, Georgia, and Jonathan German from New York.

“I feel very blessed,” Bucknor said, a few days after his regional win. “This opportunity is giving me hope.” This is the fourth year of CTG’s involvement with the competition, a nationwide event created by two of the late playwright’s close collaborators: Atlanta-based True Colors Theatre’s Artistic Director Kenny Leon and Director/Playwright Todd Kreidler. “They invited some of the theatres around the country that August had considered home to participate,” said Leslie Johnson, CTG Director of Education and Community Partnerships. She noted that Center Theatre Group’s relationship with Wilson runs deep. So far, it spans eight of Wilson’s plays: Jitney, King Hedley II, Gem of the Ocean, the world premiere of Radio Golf, Joe Turner’s Come and Gone, Seven Guitars, Two Trains Running and The Piano Lesson.

After looking at what other states were doing at the regional level “to give us inspiration to design a program that seemed suitable for Los Angeles,” Johnson said, “we really took the idea of sustaining August Wilson’s legacy as the heart of it.” High school students from throughout Southern California are eligible to enter the competition. Each participating regional theatre uses the same compendium of monologues pulled from Wilson’s plays and students may choose to perform as characters of any race or gender or age. “It’s very open,” said Johnson. “You pick a monologue that speaks to you.” “Through their investigation of the work,” observed Brown, “young people can come into another ethnic or cultural background and learn about the differences, but also about the commonalities, of the human condition.” In a preliminary round that was held in November, some 150 students auditioned to compete in this year’s Los Angeles regional AWMC; a third of those, selected by casting professionals, university professionals, directors, actors and others, advanced to the semi-finals in December. “We’re growing each year,” Johnson said. “And it’s exciting. Some of the kids have auditioned before, but the majority of them say, ‘I just thought it sounded fun and I wanted to try it.’ Or they love August Wilson’s work because it’s a chance to say some really heady things.” The dozen students chosen from the pool of semi-finalists prepared for the regional finals at the Mark Taper Forum with August Wilson program advisor and lead teaching artist Andi Chapman and other CTG mentors, with an emphasis on the ensemble nature of the work, Johnson said. “We really try to stress that, because by the time you’re a finalist, you are an ensemble, and it’s about presenting to the audience the breadth and depth of August Wilson’s work.” First place winner Essley, a sophomore and theatre major at the Los Angeles County High School for the Arts, agrees. “It’s weird to call them competitors,” she said of her peers, because “working with the Center Theatre Group mentors it was, ‘ok, you go up there and do an honest performance and do your best.’ It was never ‘you have to be better than everybody.’ It was the most supportive atmosphere I’ve ever been in. I would encourage everyone to try it.” In addition to the competition’s performance component, the CTG August Wilson Program, created by Johnson and her team and presented by Center Theatre Group Affiliates, also comprises a literature-based, in-school residency at four local high schools. Schools apply to be considered for this multidisciplinary, semester-long program each year by “making a case for why studying August Wilson fits into their curriculum,”

The Rock Critic’s Journey

Center Theatre Group — Fri, 01 May 2015 19:20:00 -0700

Lester Bangs was arguably America’s greatest rock critic and the first missionary of the movement he dubbed “punk.” His faith was shattered as the rebel ethos of the 1970s gave way to the corporate pop of the ’80s. Artists Jessica Blank and Erik Jensen saw in this gonzo journalist’s own words a solo play that sheds light on his groundbreaking, pioneering voice in music.

Blank and Jensen began the journey of How to be a Rock Critic two years ago at Center Theatre Group as a commissioned workshop at the Kirk Douglas Theatre. With initiative and hard work, the pair crafted the script into a powerhouse performance piece. The workshop sold out and added a second performance. This impressive feat led it to appear at some of Southern California’s most influential theatres. CTG and South Coast Repertory have shepherded the story, and given these two artists the means to turn a great idea into a fantastic production.

"The moment I heard Jessica and Erik talk about How to Be a Rock Critic in a cafe in NYC on a wintry January morning in 2013, I thought, 'this is really compelling.' A nerdy guy from [Southern California] becomes this mega rock critic and coins the word ‘punk’ and is portrayed by Erik Jensen — what's there not to like? And to present it in a music industry town was icing on the cake." – Diane Rodriguez, Associate Artistic Director

While rising to great heights as a critic, Bangs struggled with addiction and what he saw as the rapidly decaying promise of rock music. For Jensen and Blank, these qualities are what made him an interesting and engaging subject.

"[Bangs] was dealing with himself as a flawed, messy human being. He had a ragged, ruthless honesty with himself that's important for us to get across in the play." –Blank, in Los Angeles Times

CTG awarded How to Be a Rock Critic a completion commission to allow Jensen and Blank to fully develop the show. This program, made possible by a generous grant from the Andrew W. Mellon Foundation, allows artists to finish a work already in development and perform as it progresses. The success of this production is tied not only to the quality of the work, but the collaborative spirit which it and CTG inspired.

How to Be a Rock Critic is part of DouglasPlus, an eclectic mix of theatre ranging from fully staged events to workshops and readings that explore new theatrical possibilities. Attend this and other DouglasPlus events to experience new exciting approaches to theatre.

How to Be a Rock Critic runs at the Kirk Douglas Theatre June 17 – 28, 2015

How to Be a Rock Critic is a CTG completion commission, which is given to collective creators who have developed the piece elsewhere but desire further support to complete the work. Completion commissions are made possible by a generous grant from the Andrew W. Mellon Foundation.