James Ridge in UNDERNEATH THE LINTEL

James Ridge returns to MCT as The Librarian in UNDERNEATH THE LINTEL. This is the third one-man show he has been in with Michael Wright as director - the first two were DICKENS IN AMERICA and A NIGHT IN NOVEMBER. He is in his 16th season as a member of the acting company at American Players Theatre in Spring Green, Wisconsin.  We asked Jim to share some thoughts about this one-man show...

James Ridge

Tell us a bit about The Librarian. 
Glen Berger's protagonist in Underneath the Lintel is an unmarried lifer in the tiny bureaucracy of a library in Hoofdorrp, the Netherlands.  He has no name in the play, he is known only as "the librarian", like so many of us who seem to define ourselves by what we do; and his little life is well-contained and well-defined with few expectations and fewer surprises.  He is a man of the mind.  Surrounded by books and the wealth of knowledge they offer, he has an uncanny grasp of the details of history, but he is a man of little personal experience of the world.  He is, seemingly, the least likely person to be drawn into a wild goose chase around the world. 

Why do you think the librarian decided to tell his story this way? Why did he choose to rent a theater, rather than write a book? 

I believe that the librarian naively thinks that if he puts up a few posters announcing an "impressive presentation" he will have a standing-room-only opportunity to share the details of his all consuming search and the compelling conclusions he has drawn.  He wants to present the facts in person, face to face with the world, and immediately.  The most important reason for presenting his "lovely eveydences" in public may be more subliminal. His search has brought about great change in this solitary man---he has awakened the artist inside of himself:  he now feels that he has no choice but to make something out of his experiences, to create.

Talk about the benefits and challenges of being in a one-man show. Also, this is the third one-man show you’ve been in under the direction of Michael Wright. Is it helpful working with the same director, especially on this kind of play? 

James Ridge in MCT's
DICKENS IN AMERICA (2006)

One of the toughest challenges for me of working on a one-person play is to quiet the voice in my head screaming out that I am in no way interesting enough to hold anyone's attention (including my own boys') for 90 minutes.  Or more than 90 minutes when you consider a whole rehearsal period---poor Michael Wright (director) and Judy Martel (stage manager). But, as so often happens in life, that greatest challenge, when embraced, becomes the greatest benefit.  After so many years of working on plays, I have discovered that I can turn the pressure I feel to be "interesting" into a process of seeking out specificity.  Trust the play, trust the words and ideas, and trust my imagination to create a specific, detailed life to share with the audience.  Here is where working with Michael over the years pays off:  I trust his wisdom, I trust his attention to detail, I trust his great compassion and love for humanity.  And we have great trust in other's creative process---we don't know how it will work out, but we know that it will. That is a joy-full thing.

What are some of your favorite moments in theatre that made you who you are today? 

All well-told stories are compelling to me, so any time I experience a play in which what my eyes are telling my brain meshes with what my ears are telling my brain--I feel more fully human, I feel alive and blessed.

Thank you Jim! We can't wait for UNDERNEATH THE LINTEL (Feb. 20 - March 17)!

A Long and Winding Road

by C. Michael Wright, UNDERNEATH THE LINTEL Director and MCT Producing Artistic Director

People often ask me how I choose the scripts we produce. Truth be told, it can often be a rather lengthy and involved process. Take GlenBerger’s UNDERNEATH THE LINTEL as a case in point.

C. Michael Wright

It was way back in 2001, when I happily stumbled upon the original Off-Broadway production. I was completely captivated by the story of a lonely Dutch librarian who rents a theatre for the night to share the tale of his funny and mystical pursuit of a delinquent borrower. To me, his journey was quite clearly about trying to find sense in a chaotic world full of seemingly random occurrences. It touched me in a very deep way. (Although the script had been written in 1999, I saw it right after the events of 9/11, at a time when we were all desperately searching for some meaning.)

When I returned to Milwaukee, I was determined to procure a copy of the script. I remember tracking down the playwright’s agent and receiving the unpublished manuscript. Just like the librarian in the story, I found myself a tad obsessed. I really studied it, attempting to peel away every delicate layer of Berger’s enigmatic script. Then I added it to my crowded book shelf.

A few years later, the published version crossed my desk and I reread the script with the same excited, inquisitive vigor. Once again, I placed it on the book shelf, but now it had worked its way into my “To Do (Someday)” pile.

As any theatre artist will tell you, “It’s all about the timing.”

I couldn’t tell you exactly when I made the decision to finally produce this exquisite little jewel of a play, but one day I just knew I needed to direct it – and I knew I needed to direct my good friend, Jim Ridge, in it.

 

So I pulled the script back off my shelf and was surprised to find a handwritten postcard tucked inside. I’d totally forgotten that Jim Van Ess, a loyal theatre patron (and a retired Dutch librarian himself) had sent me the published version a number of years before, telling me how he had just happened upon the Off-Broadway production and how he had been completely fascinated by it. He wrote: “I hope someday this vehicle will find its way to Milwaukee.”

I took that as a sign!

I owe many thanks to Jim for echoing my fondness for this wonderful play and for strengthening my resolve to produce it!

I also owe a debt of gratitude to the other Jim for being such a courageous explorer as an actor!

How I do love the tenacity of human beings! Just when things seem the most futile, we can turn a corner and discover new surprises and untapped joys – and the strength to keep on, continuing to explore life’s mysteries…

That’s a story worth telling at any time!

2013 Non-Union Milwaukee General Auditions

The 2013 Non-Union Milwaukee General Auditions will take place on Monday, February 25^th, 2013, from 9:30am to 6:30pm, at Milwaukee Repertory Theater. This is a Locals Only audition – only Non-Union actors that do not require assistance with travel and housing should attend.

We will be implementing an in-person sign-up process for this year’s auditions. On Saturday, January 26, 2013, from 9:00am to 12:00 Noon, interested actors will be able to sign up in person for the 2013 Non-Union Milwaukee General Auditions outside of Milwaukee Rep’s Stackner Cabaret Theater - www.milwaukeerep.com/planvisit/directions.htm - on the 2nd floor of the Patty & Jay Baker Theater Complex, accessible via elevator or via the escalator near building security.

 

Slots will be available on a first-come-first-served basis – attendance on January 26 will not guarantee an audition slot. Interested actors must present a valid form of photo identification (driver’s license or state-issued identification is recommended) in order to obtain a slot. In addition, please note that an individual is eligible to request one slot only - we will not honor requests made for other individuals.

There will also be 25 Waiting List slots available. Sign-up for these slots will occur in the same manner as outlined above. Obtaining a Waiting List slot does not guarantee an audition, but preference for any slots that open at a later date will be given to those actors on the Waiting List.

Should there be audition or waiting lists slots available after this sign-up period, they will be made available via an additional in-person sign-up at The Rep’s administrative offices. Additional details will be announced at www.milwaukeerep.com/about/actingauditions.html should any slots remain.

Slots for this Non-Equity day will fill quickly. Please plan accordingly.

PREPARATION

Audition slots will be 4 minutes long, and will consist of any two of the following:

1.      One contemporary monologue

2.      One classical monologue (preferably Shakespeare)

3.      One musical theater selection – 60 to 90 seconds in duration.  An accompanist will be in attendance.

Please note that the actor’s introduction and any time necessary to communicate with the accompanist will count as part of the 4 minutes.  Please prepare and time your selections carefully, as actors who exceed the audition time of 4 minutes will be stopped.

Non-Equity actors should plan to bring 25 headshots/resumes.  Actors who choose to audition with a musical theater selection and desire accompaniment should come prepared with sheet music.

Questions?  Please visit the website below for additional information.  For additional information, please email Michael Kroeker, Artistic Associate, at mkroeker@milwaukeerep.com. Due to the volume of questions, please allow 2 business days for a response.

It is highly recommended that all interested actors visit the following website regularly for information & updates: www.milwaukeerep.com/about/actingauditions.html

 

COMPANIES IN ATTENDANCE (updated 01/09/13) 

The Alchemist Theatre
American Players Theater
The Bunny Gumbo Theater Company
Co-Operative Performance Milwaukee
First Stage Children’s Theatre
Forward Theater Company
In Tandem Theatre
Lori Lins Talent Management
Milwaukee Artists Resource Network
Milwaukee Chamber Theatre
Milwaukee Repertory Theater
Next Act Theatre
Optimist Theatre
Pink Banana Theatre Company
Renaissance Theaterworks
Skylight Music Theatre
Sunset Playhouse
TITAN Theatre Company
Zoological Society of Milwaukee/Kohl’s Wild Theater

 

Collected thoughts from Sarah Day

Sarah Day returns to MCT as Ruth Steiner in COLLECTED STORIES. Last season, she played Sally Quinn in the world premiere of A THOUSAND WORDS. That production was also a collaboration with Forward Theater Company of Madison. Sarah is a founding member of Forward Theater Co., and serves on its advisory company. She has been a member of the acting company at American Players Theatre in Spring Green since 1986.

 

How would you describe your character Ruth? What are some of her key characteristics and motivations?

Sarah Day

 I would describe Ruth, as a talented and thoughtful writer, and a tough and demanding teacher. She loves language, and the written word. She loves stories. Reading them, writing them, and helping students become better by getting deeper and more specific with every line they write. You have to love a teacher like that.

Talk about the benefits and challenges of being part of a two-person cast. How has your experience been in COLLECTED STORIES?

 I'm loving working on this play. It's such a pleasure to be reunited with C. Michael Wright. He's a wonderful director and has such a great vision for this play. I'm also having a lot of fun working with Laura Frye. She's a very talented young actress. One of the great things about a two person show is that you never can be lazy. You have to be focused and "in the moment" every single moment. It's wonderful. So, when you go to sleep at night, you feel as though you've really done a good day's work.

What are some of your favorite moments in theatre that made you who you are today?

Sarah Day (left) and Georgina McKee
in A THOUSAND WORDS (2012)

 I've been a member of the acting company of AmericanPlayers Theatre in Spring Green since 1986, and I think what I have loved the most about being a part of that, is how much I've learned from the audiences there. They are incredible. They listen, they are engaged. But they can only be as engaged as we (the actors, et al) are engaging. They are so supportive. At APT we always talk about raising the bar--to work at getting better, to challenge ourselves. All of that is for the audience. So, it such a pleasure for me to come into Milwaukee, to learn and grow from the audiences here. They are wonderful.

If you were to personally spend a day in Greenwich Village (where COLLECTED STORIES is set), what would you do?
Oh, I guess I'd spend a day in the Village, the way I'd be a tourist any where. Maybe spend some time in the Park, just people watching, then on to a great little restaurant, and then a play in a tiny little theatre. That sounds perfect to me.

Thank you Sarah! We can't wait for COLLECTED STORIES (Nov. 21 - Dec. 16)!

Meet Laura Frye

Laura Frye returns to MCT as Lisa Morrison in COLLECTED STORIES. She made her debut as Babe in CRIMES OF THE HEART last season. She recently relocated to Milwaukee after living in New York City for six years. A native of West Virginia, Laura has worked at theatres in NYC, Italy and across the US.

How would you describe your character Lisa? What are some of her key characteristics and motivations?

Laura Frye

Lisa is smart, caring and tenacious. The play takes place over the course of six years and you really get a chance to see her grow and mature, not only in her writing, but also in her own personal growth. She is motivated by her love of writing and her need to distance herself from her past. I think it's safe to say she has abandonment issues and is searching for the companionship she was missing in her youth. I've fallen in love with her and feel so blessed to get to tell her story.

 

Talk about the benefits and challenges of being part of a two-person cast. How has your experience been in COLLECTED STORIES?

It's great being able to build a strong relationship with your partner on stage. With only two people it makes this job even easier. I've really been able to dive deep and figure out who Lisa is and who she becomes by the end of the play. Daily we get a chance to keep exploring these two characters and their relationship with each other. It's been such a blessing to have that time - which isn't always the case when working with large cast. It also makes learning lines easier, because the dialogue is so conversational.

It's not without it's challenges. Right now in the rehearsal process, we are starting to run the show. I forgot what a marathon it can be. . .my favorite type of marathon.

This has been an amazing experience. I love being back at Chamber. Also, working with Sarah Day has been incredible. I've learned so much by watching her in the rehearsal process. I'm in awe of her work in this play and I know everyone will love watching her Ruth.

What are some of your favorite moments in theatre that made you who you are today?

Georgina McKee and Laura Frye (right)
in CRIMES OF THE HEART (2011)

I've been so blessed to work with amazing actors, whether they were my peers or more established artists. I am always learning and studying my fellow actors. They've taught me so much and all of them, in some way, have contributed to who I am, as an artist, today.

My favorite moment would have to be when my three-year-old cousin came to see me in THE TEMPEST. After the show she came up to me and said, "Lala, that was the best movie I ever seen." She may not have understood the difference between stage and screen, but Shakespeare had left a huge impact on her that day. I love that.
 

If you were to personally spend a day in Greenwich Village (where COLLECTED STORIES is set), what would you do?

I lived in NYC for the past six years, so I can definitely tell you my favorite things to do while in Greenwich Village...usually it dealt with food. If it's summer I will definitely be getting a Sno-Ball from Imperial Woodpeckers Sno-Balls and then cross the street for a slice of pizza at Artichoke Pizza. It's always fun to sit and listen to the student musicians in Washington Park. On a cold day I would head to Grey Dog Cafe and then take a walk down University Place to the WashingtonMews...my favorite. The White Horse Tavern and Corner Bistro (located in West Village) hold a special place in my heart for many reasons, but mainly because they remind me of my NYC family and how much I miss their beautiful faces.

Thanks Laura! We are looking forward to seeing you in COLLECTED STORIES, Nov. 21 - Dec. 16! 

Exploring Collective Voices

By Linda Loving, MCT Guest Educator

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