by Deanie Vallone
Click HERE for "WILL DISTILLED - Part 1"
In honor of Milwaukee Chamber Theatre’s production of THE COMPLETE WORKS OF WILLIAM SHAKESPEARE (ABRIDGED) [REVISED], we asked people to give us one sentence summaries of Shakespeare’s plays. The synopses that resulted were sometimes poignant, mostly outrageous, always (abridged) versions of Shakespeare’s classics. As Shakespeare himself once wrote: “Brevity is the soul of wit.”
RICHARD III: Prototype "Game of Thrones" without dragons or wolves, where Richard III is Tyrion.
MUCH ADO ABOUT NOTHING: Women never do anything wrong; men are stupid and paranoid.
THE TEMPEST: The reason why the English are obsessed with weather.
A COMEDY OF ERRORS: Check that the person you fall in love with doesn’t have a twin.
TWELFTH NIGHT: Same as above, plus make sure your boyfriend isn’t a girl in disguise.
ALL’S WELL THAT ENDS WELL: "101 Medieval French Ways of Letting Her Know You’re Just Not That Into Her," and "What to Do When She Intimately Embarrasses You in Front of the King."
KING LEAR: King picks wrong daughter to exile, regrets it, goes crazy, loses a civil war.
ALL’S WELL THAT ENDS WELL: Girl heals the king to marry a guy who doesn’t love her; following him to the wars she kind of wins him back.
TITUS ANDRONICUS: Pride, revenge, rape, death, cakes made of people.
MUCH ADO ABOUT NOTHING: An innocent girl is framed for infidelity, people get angry when they realize it wasn’t her, then they have a bunch of weddings.
RICHARD III: A deformed noble kills his entire family to be king then is killed by a character we barely met who then becomes king.
A COMEDY OF ERRORS: Maury says to the audience, “When it comes to the identity of the man locked in the cellar, you, Adriana, are not the wife,” but it doesn’t really matter because the story is really about another set of twins anyway.
MEASURE FOR MEASURE: A girl who spends her whole life maintaining her single status and chastity for religious reasons, saves her brother’s life and wife, catches a corrupt public official, and is rewarded with marriage.
TROILUS AND CRESSIDA: A guy rejects his girlfriend for being unfaithful to him after he basically sells her as a sex slave to a rival army.
CORIOLANUS: A story that proves politicians have been whiny, little babies since the Roman empire, and that they’ll give you lip service when they need your vote, put armies in places they don’t belong, and ultimately get put in their place by a woman.
THE WINTER’S TALE: Woman pulls ultimate prank on husband by pretending to be a statue for years; Shakespeare pulls ultimate prank on readers/audiences by having someone exit, pursued by a bear.
THE MERRY WIVES OF WINDSOR: After being two-timed by the same guy, a group of women get revenge by making him hide in a laundry basket.
MUCH ADO ABOUT NOTHING/THE WINTER’S TALE: Faking your own death is the best revenge ever—that’ll make them love you again!
ROMEO AND JULIET: Two fourteen-year-olds without proper parental supervision cause a bunch of havoc, get people killed, and take part in a suicide pact.
Henry IV, PART ONE: Hal’s too busy whoring and cavorting with Falstaff to be the king. The king-to-be decides to man up in battle and extinguish Hotspur.
Henry IV, PART TWO: More whoring, more drinking, more Falstaff. Hal’s crown finally stops his shenanigans and makes him no fun.
AS YOU LIKE IT: Court life is hard. Run away to the woods. Wear a disguise (bonus points if you pretend to be a boy). Weddings everywhere.
A MIDSUMMER NIGHT’S DREAM: A lot of people with relationship problems camp in a forest for the night to fix them, mostly thanks to fairy magic.
Click HERE for "WILL DISTILLED - Part 1"
Thursday, November 13, 2014
Tuesday, November 11, 2014
William Shakespeare’s literary creations have permeated countless aspects of our daily lives. From the expressions we use in our everyday conversations to the plots of the contemporary novels we read, Shakespeare’s legacy shines through in our language and in our culture. Though not everyone has had the pleasure of reading or seeing one of his plays, most of us have acknowledged his influence on us through our expressions—“wear your heart on your sleeve”—or through our Netflix choices (GAME OF THRONES, anyone?). In honor of Milwaukee Chamber Theatre’s production of THE COMPLETE WORKS OF WILLIAM SHAKESPEARE (ABRIDGED) [REVISED], we asked people to give us one sentence summaries of Shakespeare’s plays. The synopses that resulted were sometimes poignant, mostly outrageous, always (abridged) versions of Shakespeare’s classics. As Shakespeare himself once wrote: “Brevity is the soul of wit.”
Comedies: Boy meets boy but boy is really a girl.
Tragedies: Ambition, murder, and a ton of bird references.
MUCH ADO ABOUT NOTHING: The first soap opera ever made.
ROMEO AND JULIET: Boy meets girl meets poison.
HAMLET: Hello, my name is Hamlet; you killed my father, married my mother, took control of my kingdom, and poisoned me: prepare to die.
TITUS ANDRONICUS: Revenge. Also blood, blood, and more blood.
THE TAMING OF THE SHREW: Sexism gets the girl.
HAMLET: Intrigue, incest, and insanity are brewing in Hamlet: Prince of 11th grade English.
THE TEMPEST: White people colonize a country and they have their happy ending but the indigenous population is only happy once the colonizers achieve their goals.
ROMEO AND JULIET: Two jerks don’t listen to their parents and die.
OTHELLO: Dumb guy is jealous of cool guy, plots against him.
JULIUS CAESAR: Group of haters kill a beasty dude.
A MIDSUMMER NIGHT’S DREAM: Group of weirdoes get wild in the woods.
RICHARD III: Richard is a scheming Machiavellian sophisticate who murders to get the throne.
A MIDSUMMER NIGHT’S DREAM: Four lustful people develop an awkward love triangle while fairy-rivals use them and an ass to settle a score.
HAMLET: Hamlet saves the fair city from the vampire army with the help of his friend Blade (played by Wesley Snipes).
KING LEAR: A king divides his kingdom between two daughters who loathe him while banishing his one daughter who loves him before going insane as his disloyal daughters plot his death before his loyal daughter attempts to save him but then they all die.
The Roman Plays: Putting the ROME in bromance.
PERICLES: Don Juan versus The Priates of the Aegean.
RICHARD III: The Hunchback of…everyone’s dead!
MACBETH: I want; I don’t get.
A MIDSUMMER NIGHT’S DREAM: Worst camping trip ever.
ROMEO AND JULIET: Even sadder, more pathetic version of How I Met Your Mother.
Click HERE for "WILL DISTILLED - Part 2"
Friday, November 7, 2014
by Deanie Vallone
The Goof. The Scholar. The Overzealous Actor. How these three archetypes reshaped William Shakespeare’s works has become the stuff of legend. It was 1981 when Daniel Singer created a reduced HAMLET for a thirty-minute slot at the California Renaissance Faire. He cast the show with four actors, including Jess Borgeson as Hamlet and Barbara Reinertson playing the female roles. However, a stage accident soon put Reinertson in a cast and out of the show. Singer turned to Adam Long, an actor who had given a “bizarre and wonderful performance” during auditions, to fill Reinertson’s roles. A few years later their fourth member left and, once more, Long stepped up, taking over his parts as well. Three actors playing four parts. Male actors playing female roles. In this simplicity the troupe discovered their comic genius.Singer recalls their surprising popularity. Their half-hour performance drew standing ovations, and one friend suggested they take the act to the Edinburgh Fringe Festival, a breeding ground for many now-famous plays. Learning that hour-long, one-act shows did best, they expanded their act into THE COMPLETE WORKS OF WILLIAM SHAKESPEARE (ABRIDGED). By the third day in Edinburgh they had sold out the entire run of their show. Shortly after they brought their success to America, where they secured a booking agent and began touring. “We loved going on the road and fine-tuning the show,” Singer recalls. “We were never satisfied with the jokes.” They adapted their script personally for each city they visited, making sure to touch on local landmarks and history.
In 1991 Singer left for a full-time job with Disney, and Reed Martin joined the troupe. They officially became the Reduced Shakespeare Company (or the “other” RSC, not to be confused with the Royal Shakespeare Company) and made this work their full-time, paying jobs. But why stop there? The troupe (now, two years later, with Austin Tichenor in place of Borgeson) went on to develop THE COMPLETE HISTORY OF AMERICA (ABRIDGED), followed in another two years by their controversial THE BIBLE: THE COMPLETE WORD OF GOD (ABRIDGED). The latter show made headlines this year when Northern Ireland banned a performance of it for blasphemy, then later revoked the ban. No one was surprised when tickets sold out rapidly after the ban was lifted.
Other “reduced” plays include THE ULTIMATE CHRISTMAS SHOW (ABRIDGED), THE COMPLETE WORLD OF SPORTS (ABRIDGED), and their newest addition, THE COMPLETE HISTORY OF COMEDY (ABRIDGED). The new shows, performing all over the globe, required an expanded rather than reduced cast and crew, and new actors and designers have since joined the company. Throughout Reed Martin and Austin Tichenor have remained writers and directors behind the chaotic genius.
Behind the Magic
Tichenor and Martin represent the new face of the RSC. Working as independent contractors whose plays are then produced by the RSC, they have written three new shows in the past five years, and it is unlikely they will stop anytime soon. They first collaborated on HISTORY OF AMERICA and most recently finished up COMEDY in 2013. Writing as a team can sometimes be tricky, but Tichenor and Martin quickly give each other credit, noting the strengths that each brings to the table. Tichenor is particularly fond of “funny costumes,” or “ridiculous outfits” as Martin refers to them. Martin, on the other hand, creates most of the melodies used in the shows. Both agree that their motto is “We’ll figure it out in rehearsal!” Since the two also work as directors (and sometimes actors!) on their shows, the scripts go through multiple drafts during the course of the rehearsal process. Tichenor says, “There are things that happen where like a phrase or an idea gets thrown out that’s just a line of dialogue, and then we realize in writing and then often in the rehearsing of it, oh, that can actually be a running character motif.” In a more reduced way, Martin agrees: “You gotta get it up on its feet, see what happens!”
Their conversations and research oftentimes leads to inside jokes and comments that bloom into comedic gags used throughout the shows. But both writers are loath to let you think that their shows are just comic gags strung together. “I direct as if I’m directing a real play and not a comedy,” Tichenor says, “because I’m always saying to the actors, ‘Keep it real, keep it real’ because if it’s not real, then it’s just a series of jokes.” Keeping “the heart” of the show in the forefront has remained an essential element.
Revision is another essential part of the RSC process. Working shows with live audiences has aided the writers in developing the script, and since no audience reacts the same way to the show, every night offers its own revised version. For Tichenor and Martin personally, approaching their work as writers, directors, and actors allows them to bring lots of experience, expertise, and viewpoints to the table.
Jess Winfield, one of the original creators/writers along with Long and Singer, talks about how necessary it is to keep the material fresh. “We always treated it like a rock ‘n’ roll set. We’d come in and decide if there was a new song we wanted to put in; things like the audience participation section were born. It was a matter of, ‘Hey, why don’t we try doing this?’ Not exactly improv but...” While some purists may balk at the idea of revising any successful theatrical production—if it isn’t broken, why fix it?—Winfield reminds us, “Shakespeare himself did it! […] Rewrites and revisions and tweaks in all of them.” Always aware of their collaborative roots, the script’s notes give actors and directors the freedom to rework bits that may seem out-of-date or just do not seem to work with the particular cast. The script, Tichenor says, is more of a “blueprint, a framework, a jumping off point.” Winfield agrees, “That’s what it always was for us.”
(abridged) AND [revised]?
Milwaukee Chamber Theatre is bringing audiences the abridged (as usual) and revised (something new) version of the script. The revised script comes from about 2007 as the RSC considered the use of modern technology (the internet did not exist when they first wrote the script!), more topical references (scrapping the comments about the Reagan administration, for one), better transitions, and audience participation. Tichenor notes that these mostly “small, little changes” are only “maddening” because “God help me, I have to be a better actor.” More introspective, actor Matt Rippy notes, “I like that we’ve been challenged to think again and actually listen.”
“Shakespeare is eternal,” Singer says. “We chose the greatest subject to lampoon.” Looking back on his legacy, Singer calls himself one “proud papa.” And no doubt the original “papa,” The Bard, would be proud as well. MCT certainly is—join us November 19-December 14, 2014, for our own celebration and skewering of the King of English lit!
Martin, Reed. Austin Tichenor. “Martin & Tichenor,” The Reduced Shakespeare Company Podcast, 2011.
Reduced Shakespeare Company, Web. 20 October 2014.
Rippy, Matt. “What’s Really Changed,” The Reduced Shakespeare Company Podcast, 2009.
Singer, Daniel. “The RSC Founder,” The Reduced Shakespeare Company Podcast, 2008.
Tichenor, Austin. “Reduced Origins,” The Reduced Shakespeare Company Podcast, 2014.
Tichenor, Austin. “What’s Really Changed,” The Reduced Shakespeare Company Podcast, 2009.Winfield, Jess. “Shakespeare (abridged) [revised],” The Reduced Shakespeare Company Podcast, 2008.
Wednesday, August 20, 2014
An Interview with James Zager!
[ Co-director of Master Class ]
Since MASTER CLASS is based on a real event but is not an actual recounting of the event I spent a great deal of time looking at how Terrance McNally combined multiple students, 30 or so, into the three distinct characters we meet on stage.
You are co-directing the show with Jill Anna Ponasik. Please share a bit about the process and how it worked.