Center Theatre Group News & Blogs

A Q&A with Ian Barford

Center Theatre Group — Fri, 21 Dec 2018 11:05:00 -0800

In addition to their relationship as actor and playwright, Barford and Letts are both ensemble members of Chicago’s Steppenwolf Theatre Company and longtime friends with hugely impressive resumes on stage and screen. But, as Barford said when he stepped away from rehearsals to discuss his personal connection to the play, Linda Vista is unique in a number of ways for them both.

Center Theatre Group: What did you think when you first read the script for Linda Vista?
Barford: I immediately recognized how alive and contemporary and dynamic the dialogue was. One of Tracy’s great gifts as a playwright is his ability to write distinct characters—individuals with their own history and dimension often quite apart from his own. I was amazed to see that Tracy allowed his own voice to come through so directly in Wheeler. The rants on politics, music, culture, etc. are definitely autobiographical.

To my knowledge, Wheeler is the first true protagonist he’s written. Most of his plays function with ensembles that may have central characters but maybe not a traditional protagonist.

What has that meant for you as an actor, as well as his friend and colleague?
I’ve known Tracy for 30 years. We’ve remained friends through thick and thin. We’ve shared in each other’s lives—the dark times, loss, tremendous triumphs and joys, the emergence of our children. We have worked together many times both as fellow actors and also as playwright/actor. We are both from the Midwest, born in the mid ’60s, had parents who were academics. Wheeler is a kind of alchemy of many men Tracy has known and of himself. The worldview and general condition of Wheeler’s psyche is extremely familiar to me and even very personal. I’ve originated four roles in Tracy’s plays now—that’s something I truly cherish.

What does it mean to you that this is a Steppenwolf production, and what is it like to be a part of this seminal American theatre ensemble?
I was 22 years old when I did my first play at Steppenwolf. That was 1988—when I first met Tracy and when many of the relationships there began. I’m 52 now. That’s more than half my life, so it’s kind of like family. Sometimes it’s extremely helpful and informative, other times it’s absolutely maddening. Aside from that, it’s hard to find the words to express how lucky I am to be able to work alongside this stellar cast, [director] Dexter Bullard, and our whole Steppenwolf tribe. The style of writing [in Linda Vista] suits us. The characters are behaving unconsciously for the most part. It’s organic, hilarious, ugly, humiliating material—perfect for our sensibilities!

Anti-heroes don’t need sympathy.

How has the play evolved since its World premiere at Steppenwolf?
Tracy knew he wanted to work on the play even while we were performing it originally. Sometimes the process of a premiere is arrested by an imperative to perform. You’re working every day, and suddenly, they say, That’s it, no more rehearsal. That can be frustrating when things are still evolving. Since our original production in the spring of 2017, a lot has changed. #MeToo happened, which reframes some of the gender dynamics of the play—though the play is not about #MeToo, per se—and we are all different people, too. Tracy has now been afforded the time to hone, clarify, sharpen, and flesh out the play. Having done second productions on several occasions, I must say that this one does not feel like a remount. It feels like a new production altogether.

Are there some things you’ve learned while playing Wheeler?
There’s always some part of me that wants my characters to be liked. It’s really a pain in the ass. That instinct has to take a back seat here. Tracy has cited some literary anti-heroes he thinks Wheeler is akin to. The stuff Wheeler goes through is often humiliating and painful and ugly, but he also inflicts pain on others. Though I have tremendous sympathy for Wheeler personally and relate to him in many ways, I cannot be surprised or frustrated that audiences might not. Anti-heroes don’t need sympathy.

What are your thoughts on California audiences seeing this play?
I lived in L.A. for seven years. I think it’s no accident that the play is set in California. It really does reflect a lot of the kinds of people who end up here and who are looking for something here—themselves, some answer, some dream. I know we’re doing it in L.A. and the play takes place in San Diego, but it really feels germane to the region. The play is filled with characters who are looking for fulfillment. They may not even know what they are looking for. Californians will also understand the literal meaning of linda vista (beautiful view).

What do you hope Taper audiences will expect or take away from Linda Vista?
First, the play is great fun. Tracy’s humor is second to none. On top of that, the play offers a compelling view of people who are struggling with self-awareness. I suspect folks who see the play might have opposing views about the characters—what might have been motivating them, who was sympathetic, who was right and wrong. Tracy does a wonderful job of bringing dimension to the people who inhabit this play. It shows men and women in very vulnerable situations that reveal layers that are very raw. Our ability to mature enough so that we can meet relationships with a whole self is rare. It’s usually kind of messy, isn’t it? We’re dealing with the things we know about ourselves and with the things we don’t know about ourselves. I think the play expresses all of that beautifully. Hilarious, yes, but also poignant and painful.

You were also in Quack at the Kirk Douglas Theatre (onstage October 21 – November 18, 2018) to shadow staff members, sit in on the production process, and learn and practice the skills necessary to work in their chosen fields over 100 hours.

There are a lot of opportunities available for people who are already in graduate school or already have more experience, but we’re trying to get people in the door earlier, said Center Theatre Group Next Generation Initiatives Director Camille Schenkkan. It’s really about where they are in their careers and where they’re going.

Our four Quack Apprentices fell in love with the art in different places, at different times in their lives, and come from very different backgrounds and perspectives, yet they all share a desire to take the next step into the world of professional theatre.

Technical Direction Apprentice Rex Harrison is a Marine Corps veteran who was introduced to working in theatre over the summer, with Shakespeare Center of Los Angeles’ production of Henry IV. I really liked doing theatre work and really liked the people I was working around. I didn’t know I’d have interest in working behind the scenes, he said. As an Apprentice, I’ve been looking more into what stage managers and assistant stage managers do, and I really enjoy that aspect of it. And I’ve enjoyed doing all the technical production as well, building the sets and designing stuff and solving problems, which I’ve always been kind of good at. But what he’s appreciated most has been getting to be a part of a group of really good people, he said. You become like a family and work closely together for this production, and you build really good relationships.

Relationships have also been a key part of the experience for Directing Apprentice Annie Barker. What I love about this program and working on Quack is that I’m learning from [the director,] Neel [Keller], [the playwright,] Eliza [Clark], from stage management, and from the actors. The actors have all been amazing, she said, explaining that they’ve sat down with her individually to offer their insights. I’m getting a chance to understand the role of director in all its capacities. She’s also grateful for the opportunity to work on her craft while moving her career path forward. I’m a young career director. There’s not a lot of concrete things to do. Unlike being an actor, where auditioning is your job, there is not that same task at hand for young directors to get into it, she explained.

An important component of the program is a diversity requirement: apprenticeships are intended for people who self-identify as a member of a group currently underrepresented in theatre production and artistic careers. Applicants had to think deeply about why they were underrepresented in their field, said Schenkkan. Considering everything from gender and age to experience and background opened up the possibilities for applicants instead of narrowing it, she added.

Production Management Apprentice Crystal Hui grew up in Hong Kong and graduated from college in May with a theatre degree. The experience opened my mind as to what American professional theatre is and how the work gets done, she said. She learned a great deal about the importance of time management. And she was impressed with the attitude and demeanor of her mentors when she witnessed a set piece malfunction during technical rehearsals. I could see how the production team fixed the problem and managed to keep things going on but not make them any worse, she said. That was a really great reminder to myself to stay calm and move forward in the chaos.

Staff members also appreciated the opportunity to take a step back from their day to day. For me to work with someone at the very beginning of their career and try to teach them makes me think of the art of what I do again, said Production Manager Christopher Reardon. I have to explain what I do and why I’m making the choices I’m making.

Assistant Production Manager Katie Chen added, I get excited about mentoring someone else because I’ve learned a lot just by doing it.

The Apprentices have also received individualized professional development opportunities, including resume and cover letter assistance and the chance to make connections with local mentors outside the company. We want them to enter the world of professional Los Angeles theatre with both experience and confidence—which will benefit not just them but the theatres where they work. This is one reason why this program aligns with SoCalGas’ charitable giving in the community. SoCalGas has provided clean, reliable, and affordable energy to Southern California for more than 150 years, said Sharon Tomkins, Vice President of Customer Solutions and Strategy at SoCalGas. We are also a long-time partner of Center Theatre Group and are proud to support education and workforce development programs, such as the Production Apprentice Program, that provide members of underrepresented groups with opportunities in STEM fields and various trades.

'Valley of the Heart' Community Conversations Revisit Japanese American Internment and Redress, and Envision a More United America

Center Theatre Group — Wed, 05 Dec 2018 11:43:00 -0800

During two different
Center Theatre Group — Wed, 05 Dec 2018 11:07:00 -0800

The people of Gander “had actually stayed up all night long” preparing meals for Bass and the other 7,000 visitors from around the world who had been stranded there. Almost 17 years later, Bass still marveled at the generosity and kindness the people of Gander showed for her and her fellow “Come-From-Aways” in the days that followed September 11, 2001.

At an event hosted by the Consulate General of Canada in Los Angeles—who are supporting Valley of the Heart playwright and director Luis Valdez celebrates the blend of cultures in his California story—onstage at the Mark Taper Forum October 30 – December 9, 2018—by incorporating Japanese techniques he has admired over the years.
I have seen kabuki in Japan at the National Theatre, Valdez said. I wanted to borrow from the sense of kabuki theatre I found to be so theatrical and so beautiful. Ultimately, he gave Valley of the Heart hints of kabuki-esque.
Kabuki—a highly stylized form of drama with song and dance—originated in the early 1600s. Its first practitioners were Japanese women performing comedic dances that parodied Buddhist prayers in the dry riverbeds of Kyoto. As its popularity grew, these makeshift outdoor stages were replaced by more permanent kabuki teahouse theatres, quickly becoming trendy spots to socialize. Although frowned upon by the shogunate government for the mischief it brought, kabuki survived as the people’s theatre that artistically expressed everyday life. This contrasted with the upper-class form of dance called Noh, which featured Japanese folktales.
Unlike traditional Western theatre, kabuki’s exaggerated visual and acting style purposefully calls attention to itself. Actors perform as caricatures through larger-than-life gestures onstage. Along with lavish scenic designs and costumes, their movements are accompanied by sounds of percussion, strings, and wind instruments. Each moment in a kabuki performance works to emphasize the beauty of spectacle, rather than focus on realism.
The clearest influence of kabuki on Valley of the Heart can be seen in the two kurogo stagehands who are part of the cast. These figures completely dressed in black help to make transitions happen, said Valdez. These two figures remind us constantly that this is a play we’re moving forward.
Mariela Arteaga plays one of the kurogo. She and her fellow kurogo are, in a way, blank canvases there to transform into whatever is needed for the scene, Arteaga said, depending on the action and tone. She channeled her dance background to find the right motions with her body. I was freestyling and creating my movement to go along with whatever was going on in the scene at hand, she said. If it’s a military scene, and I have to deliver a telegram, I will make sure that my movement is more staccato, signaling a certain strength. Whereas if it is a family Christmas scene, I will make sure that my movement is more light and airy to give a more jovial sense.
Although Arteaga did not know much about kabuki beforehand, her research process—which included watching countless videos of kabuki theatre—prepared her not only for the role but also for adapting Japanese theatre for the Taper stage. Asian dance is very stylized, and I wanted to make sure that any gestures I made on stage reflected that, she said. For example, there are certain ways that the wrists twist and turn, extending all the way through to the fingertips. Little details like that really make a difference, as well as the speed at which you move.
In the rehearsal room, Valdez worked closely with the kurogo actors to hone in on the artistic choices in their movements, often demonstrating himself how the actors should hold props or perform an action. These special theatre techniques, coupled with a multicultural love story, create a melting pot onstage that, at its heart, remains consummately American, as Los Angeles Times theatre critic Charles McNulty pointed out in his review, adding, Valley of the Heart celebrates diversity as the true ingredient of America’s enduring greatness.

Career Misery Has Company

Center Theatre Group — Fri, 16 Nov 2018 16:49:00 -0800

The celebrities themselves are another story. Dr. Baer, the eponymous (former?) host of The Dr. Baer Show in Eliza Clark’s World premiere comedy Quack—onstage at the Kirk Douglas Theatre October 21 – November 18, 2018, seems fairly shocked by his own downfall. No matter how the turmoil pans out for the embattled endocrinologist, there may be some comfort in knowing that his situation is not unique, as demonstrated by these well-known celebrity career meltdowns.
John Edwards

From lawyer to U.S. Senator to vice presidential candidate, John Edwards’ star had been on a consistent rise through the late 1990s and early 2000s. However, in late 2007, during his presidential campaign, The National Enquirer began reporting on an alleged extramarital affair between Edwards and one of his campaign workers. By mid-2008, even after the campaign was suspended, the story eventually began to be picked up by more mainstream news outlets.
The pressure mounted until August, when Edwards admitted to the affair; however, the scandal didn’t stop there. After denying fathering his mistress’ child, having additional lurid details come to light while his wife was undergoing treatment for terminal cancer, and facing indictment on federal charges for allegedly using campaign funds to attempt to hide the affair, Edwards at one point declared that he was a sinner but not a criminal Having avoided a conviction due to a mistrial, Edwards did manage to maintain that distinction… barely.

Paula Deen

Celebrity chef and lifetime butter advocate Paula Deen had been a mainstay in suburban living rooms through her programming on the Food Network channel and her restaurants thanks to her less-than-healthy signature recipes. Having risen from humble beginnings, Deen’s success and persona as a salt-of-the earth, southern food authority may have inadvertently worked against her when a racially charged scandal arose.
In 2013, an employee at a restaurant Deen co-owned filed a lawsuit against her claiming alleged sexual harassment and racial discrimination. While the case was eventually settled out of court, Deen did admit during a deposition to having used racial slurs at certain points in her life. After the release of the deposition transcript, the Food Network subsequently cancelled her shows, and her merchandise was dropped by many retailers. Though Deen’s career has recovered somewhat as she established her own programming and new product lines, it is fair to say she suffered a devastating professional blow, although it seems it did give her some time to work on her dance moves.

Matt Lauer

Up until late 2017, Matt Lauer was considered one of America’s most iconic news anchors. Having co-hosted NBC’s Today show for 20 years—along with hosting the Macy’s Thanksgiving Day Parade for nearly as long, as well as opening ceremonies for several Olympic Games—Lauer was a morning news staple for many American households. But on the night of November 29, 2017, a memo sent to the entire staff of NBC News explained that one of Lauer’s colleagues had filed a complaint against him for sexual harassment.
With NBC News Chairman Andy Lack elaborating in the memo that they had reason to believe this may not have been an isolated incident, NBC News terminated Lauer that evening. In the following days, outlets reported on further allegations that alleged a pattern of harassment and abuse of power over the span of years, including his use of a button under his desk that remotely locked his office door. While not much has been heard from Lauer since he was fired, one would hope he has reevaluated his own behavior with at least as much scrutiny as he did with other alleged high-profile harassers. Maybe he has… but maybe not.

Roseanne Barr

While this entry may come a bit too soon for fans of her eponymous show, Roseanne Barr perhaps faced one of the quickest turnarounds from comeback to career scuttling in recent celebrity history. Riding the wave of revivals and reimaginings within the television industry, Roseanne had a phenomenally well-received revival on ABC in 2018.
And yet, while Roseanne had a preexisting reputation for provocative social media posts, the straw that broke the proverbial camel’s back came after she made a racist tweet about a former adviser to President Barack Obama. While Roseanne maintained that her comment had nothing to do with race, the reaction from ABC and the media was swift and decisive, and her show was immediately cancelled. It is perhaps a testament to her achievements how quickly the show she had helped create was brought back afterward, even without its titular character, yet it’s unclear if she’ll manage a personal comeback once the dust has settled.

Go Behind the Scenes Before the Performance

Center Theatre Group — Fri, 09 Nov 2018 15:00:00 -0800

What today we call the Artist Series was founded in the 1970s by UC Santa Barbara theatre professors who wanted to bolster the interest of young theatregoers. They invited Southern California alumni and other subscribers to join them before the show for discussions about the work onstage, often with members of the creative team. After the matinee and before the evening performance, the group would gather again for a potluck dinner to which they invited the cast. Over the years, the potluck was dissolved, and Center Theatre Group took over the programming, inviting any audience member who wanted to attend.

Genni Klein has been attending the program since 1975. She recalled highlights including director Warner Shook giving a talk about Angels in America, as well as more recent programs featuring Bengal Tiger at the Baghdad Zoo playwright Rajiv Joseph.

“They are absolutely wonderful. I have appreciated them very much,” said Klein of the discussions. The program “has given me some very interesting insight into certain pieces, particularly new works. It’s always interesting to hear somebody’s point of view on the artistic choices.” Subscribing for so long has also created community for Klein. “There are several people from that original program who still attend, and it’s a way we keep up with each other,” she added.

“The Artist Series is another chance for us to highlight the caliber of artists we work with,” said Audience Engagement Director Tyrone Davis. “But more importantly, it’s a chance for our community—not just patrons but also students and people at home, who can listen to recordings of the conversations on our podcast—to find out about the creative spark behind the work, to deepen their engagement with the productions, and to be inspired by theatre in a new way.”

The 2018/2019 Artist Series kicked off on September 8, 2018 with actor John Earl Jelks, who reprised his Broadway and Off-Broadway role in Lynn Nottage’s Pulitzer Prize-winning Valley of the Heart.

“Theatre is ultimately about building community—and exploring and sharing our human experiences,” said Director of Social Strategy, Innovation and Impact Leslie K. Johnson. “What better way to do that than to bring together the two most important human elements of theatre—our artists and our audience—in intimate ‘get to know you’ conversations?”