Tag Archives: Steppenwolf

This and that

Ron May directs a contemporary play titled "This" for Actors Theatre

Recently I enjoyed a fast-paced conversation with Ron May, a Valley director known to many as founding artistic director of Stray Cat Theatre in Tempe.

He’s either way ahead of me in the espresso department or seriously working a juggling riff. Maybe both.

May is readying for this Friday’s opening of “This” — a work by contemporary playwright Melissa James Gibson described in December 2009 by Charles Isherwood of The New York Times as “the best new play to open Off Broadway this fall.”

Anne Marie Falvey (Jane) in the Actors Theatre production of "This" by playwright Melissa James Gibson (Photo: John Groseclose)

It’s one of several works by women playwrights being produced by Actors Theatre this season. We can look forward to the Arizona premiere of Annie Baker’s “Circle Mirror Transformation” in April and May.

Gibson’s “This” resonates with May for several reasons, including its treatment of love and loss. Last year May lost both his mother and a friend named Scotty Jeffers — a beloved Valley actor last seen performing in “Androcles and the Lion” with Childsplay.

Hence the tribute “For my mom. And for Scotty J.” at the end of a bio May has posted on the Stray Cat Theatre website — which also notes his long list of directing credits, a couple of his acting gigs and the glamorous stint that “pays the bills.”

Previous shows he’s directed for Actors Theatre include the Arizona premiere of “Boom” — as well as “A View of the Harbor,” “Augusta” and “The Pursuit of Happiness.”

The central character in “This,” which runs Jan 21-Feb 6 at the Herberger Theater Center in downtown Phoenix, is a woman in midlife whose husband recently died. As the teaser for the show notes: Jane is not alright.

Jane’s friends, says May, aren’t exactly helping. Seems they think that fixing Jane up with a “hottie” might do the trick, but things don’t quite unfold as expected.

David Dickinson (Jean-Pierre) in "This" -- which opens this Friday at the Herberger Theater Center in Phoenix (Photo: John Groseclose)

May hails from Chicago — a city he clearly loves, and honors right up there with New York City and Los Angeles when it comes to stage offerings and opportunities.

Chicago is home to a diverse assortment of unique and intriguing theater experiences for both practitioners of the theater craft and those of us who fill the house every night. Think The Second City, American Theater Company and Steppenwolf Theatre Company.

He first experienced the wonders of live theater as a junior high school student. Seems the same gentleman who coached May’s speech team also ran the school’s theater department.

The teacher encouraged May to audition for a play — something about a man in grey flannel, recalls May. May was cast. But more importantly, he was “bit by the bug.”

May headed to college to study acting — in a program that required actors to take a directing class. A directing teacher told May at one point that although his acting was just fine — he might be even better at directing.

He suspected at the time that this was simply her gentle way of telling him to throw in the acting towel. But she’d seen something in May that he had yet to see in himself.

May ended up studying at Arizona State University in Tempe, where he earned a B.A. in theater with a directing emphasis. Stray Cat Theatre grew out of work with nine of May’s ASU friends who “all had a taste for a certain kind of theater.”

Most were from other parts of the country and dreamed of working in New York, Los Angeles or Chicago. May hadn’t yet heard of Actors Theatre, despite the fact that it will soon be celebrating its 25th anniversary.

Stray Cat Theatre began as a class project for a theater organization and management class. “We had to make up a theater company,” recalls May — who describes himself as “a huge cat fan.”

Like the theater May most enjoys watching and working with, cats are “rougher around the edges.” Knowing the company would likely live for many years without a permanent home, May dubbed it “Stray Cat Theatre.”

Today, Stray Cat Theatre makes its home in a charming red brick building once occupied by Childsplay Theatre, a professional theater company performing works for children and families.

Childsplay’s founder and artistic director, David Saar, is another gifted artist who graduated from ASU. My 17-year-old daughter Lizabeth grew up watching Childsplay performances and participating in Childsplay workshops, camps and conservatory — and will soon be heading off to study theater in college.

I’m thrilled that she’s been able to experience the works of Actors Theatre, Stray Cat Theatre and so many other outstanding companies here in her own hometown. The Arizona theater community has given her roots, and now wings.

But what of May? Doesn’t he long to return to Chicago’s vibrant theater vibe? “Arizona has been good to me,” muses May. He’s able to do the work he enjoys in a place where he sees a real need.

May likens the work of Actors Theatre to the sort of movies you’ll see at Harkins Theatre Camelview 5, a Scottsdale cinema that presents works a bit more provocative than most. In contemporary parlance, says May, the best descriptor might be “Indie.”

Actors Theatre describes its own work as “vital, contemporary, electric, thought-provoking theatre.” It’s hard to disagree.

Yolanda London (Marrell) and Anne Marie Falvey (Jane) in the Actors Theatre production of "This" (Photo: John Groseclose)

Part of the appeal of directing “This” for Actors Theatre is the obvious parallel to May’s own life in terms of midlife musings. “This script reallly spoke to me,” reflects May.

“It’s about that whole choppy middle-age thing, which is where I hit right now,” adds May.

Like May and his circle of college friends from the early days of Stray Cat Theatre, the central character Jane has a group of friends who’ve been together for years.

But life is intervening, and it isn’t always pretty. Babies happen. Unexpected relationships happen. Friendships splinter or wither away.

Like so many of us who’ve matured, sometimes kicking and screaming, into middle age — Jane realizes that “the cards she was dealt aren’t the cards she expected to be holding.”

Anne Marie Falvey (Jane) and Oliver Wadsworth (Alan) perform with Actors Theatre (Photo: John Groseclose)

May says he has “a tremendous affection for the play,” describing it as “incredibly funny and smart.” Yet the name of the play doesn’t exactly wow him. Given May’s fondness for word play, I suspect he’s toyed with an imaginary title or two.

After all, May did a bang-up job naming the pet he describes as “a gift from an ex of mine.” Seems the cat came to him with a lot of what May describes as “eye boogers.” So now he’s more than mere actor or director. He’s daddy to a black cat named “Boogers.”

A little this, a little that. It’s really all any of us can wish for.

— Lynn

Note: Click here to learn more about “This,” being presented Jan 21-Feb 8 by Actors Theatre at the newly-renovated Herberger Theater Center (near the Arizona Center and Sympony Hall).

Coming up: Unstoppable theater, More fun with theater cats (and dogs)

Photos by John Groseclose, courtesy of Actors Theatre

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Theater for youth: Tips & trends

"Rumplestiltskin"

Performance art for young audiences is growing, according to Kim Peter Kovac, director of theater for young audiences with The John F. Kennedy Center for Performing Arts. He’s been in the biz for three decades and says “there’s more and more of it than there has ever been.”

So what trends has he seen in performance art produced and presented for youth during the past decade or so?

"Harold and the Purple Crayon"

First and foremost, the quality is improving as theater professionals reflect the general public’s recognition that youth are able to understand and appreciate far more than we may have given them credit for in the past. 

During times of economic downturn, however, many performing arts professionals choose conservative programming. You may see more adaptations of literary works or other theater works than new works because familiar works often appeal to a broader audience.

The bottom line for theater, like any enterprise, is the fact that “you have to bring people in.” Robert Kolby Harper, associate artistic director for Phoenix Theatre, agrees that factors affecting ticket sales must be considered along with artistic factors when weighing season selections.

"46 Circus Acts in 45 Minutes"

Kovak notes that groups who develop and deliver theater for adult audiences have much stronger education programs than was the case a decade ago–citing the work of Steppenwolf, which is increasing quality programming for young audiences (especially high school students).

As I ran through my mental list of Arizona theater companies (which is far too long to offer in its entirety here), I felt proud of the education work so many are doing.  Phoenix Theatre offers outreach and education to an incredible diversity of the Valley’s youth.

"The Cat Who Went to Heaven"

Companies like Actors Theatre of Phoenix and Arizona Jewish Theatre Company often produce or present work that appeals to both adult and teen audiences.

And groups like Arizona Theatre Company and Southwest Shakepeare Company are among those who offer extensive study guides and supporting materials for teacher or parent youth.

When I learned of The Kennedy Center’s “cuesheets,” which contain introductory information, related activities and suggested reading lists designed to “maximize the performing arts experience,” I immediately thought of our own Childsplay’s “360 degree” program with similar features and their lovely slogan: “Theatre for Everyone.”

"American Scrapbook: A Celebration of Verse"

We’re seeing “less of a separation of adult and children’s theater,” reflects Kovac. Other trends he shared include “more and more programming for young audiences, especially two and three year olds, and more programming for high school audiences.”

Among parents and teachers, Kovac is seeing what may be an overabundance of caution. “Often they’re more careful than they have to be.”

Kovac recalls a work presented many years ago about a young man in an internment camp for Japanese Americans. At one point in the show, the boy’s father hangs himself–a fact that kept many from attending the play.

But Kovac recalls that the event was tastefully presented–as the actor portraying the father stood on a chair, simply tilting his head to one side to signal what had happened.

“It was quite moving for the adults,” recalls Kovac, “yet the kids may not have really understood it.” I’ve noticed this many times when taking my own children to the theater. They rarely pick up on the things that aren’t a part of their world, such as drug or alcohol abuse, before they’re old enough to understand and discuss it.

"Snow White Rose Red (and Fred)"

Given his emphasis on good quality theater across the lifespan, I asked Kovac what makes for a good production.

“In the most successful shows,” says Kovac, “kids can see themselves on the stage.” It’s not that they imagine themselves performing the roles but rather than they can see at least of bit of themselves in the characters they are watching.

You should always try to have young protagonists on stage, he says, so that children will be able to relate to them–feeling empathy for their struggles. But forget about being preachy. “If you’re telling a good story, the message will come through.”

–Lynn

"Locomotion"

Note: Remember The John F. Kennedy Center for the Performing Arts when you’re traveling to Washington, D.C. Performance art is a relaxing yet exhilerating break from the miles and miles of memorials and museums. 

Coming up: Focus on films, Imagining Cosette in the classroom, “The Lion King” and leukemia

Photos from The John F. Kennedy Center for the Performing Arts website at www.kennedy-center.org