WE'VE MOVED... TO TUMBLR!

Hey!

Did you hear the news?

We've moved!

Check us out on Tumblr (cscnextgen.tumblr.com).

See you there!

The End... and the Beginning!

The 2013/2014 NextGen season came to a close with a final meeting at a very special location: the back deck of CSC's office space on 14th Street! It was a beautiful day to be outside making theater together. We were joined again by director Sina Heiss and playwright Gabrielle Sinclair to continue working on content for their upcoming piece, Telling the Bees. 

Kathia and Danny work on a scene together.

Getting notes from Sina before presenting scenes!

Creating funky handshakes. 

After the workshop, members enjoyed a pizza party and discussed highlights from the past season, recalling the variety of experiences they had over the course of the year. "I liked being able to go to each meeting and do something new," said Danny. Victor agreed. "I liked the versatility of the activities, and the interactive nature of the program." 

Others remembered the different theatre professionals they had the chance to meet. "My experience in CSC NextGen has been most beneficial in teaching me about the different aspects of theatre in contrast to only being a performer," said Loylia. Melissa agreed. "The most beneficial part of this experience was definitely being introduced to so many job opportunities in the theatre world."

But it wasn't just the professionals they learned from - members also cited each other as a big part of the success of this past year. "One of the best things about NextGen was having fun with new friends," said Carla. Shivani agreed. "I liked meeting other kids who like theatre." Dennis summed up the conversation nicely when he said, "The people we met inspired me to continue to involve myself in theatre."

Ladies and gentlemen, your 2014 NextGen grads!

We are sad to see so many of this year's group graduate, but we are excited and happy to welcome our newest members, who were recently accepted for the 2014/2015 season here at CSC! Our first meeting will be in September. Keep an eye on our blog to see what we have in store for you next year! 

An Interview With a Spirit: Jeena Yi (by Angkur)

NextGen member, Angkur!

For my post, I decided to interview Jeena Yi. Jeena plays a spirit in the play, THE TEMPEST, and is the understudy for Miranda, played by Sheyenne Brown. It intrigued me to see that Jeena was a clear cut example of a versatile actress, being able to take on multiple roles. I started my interview with a few questions about her background as an ice breaker that would lead to questions about her experience with Classic Stage Company and THE TEMPEST.

I did a bit of research before I came here today. I understand that you have a bachelors degree in Architecture, is there a specific reason you chose to change over to theater arts?

Yeah, I always wanted to act but I really didn’t have the courage to do it full time. In college I majored in Landscape Architecture partly to make my parents happy and also cause I just, I don’t know I thought, “well I just have a backup”, but even in college I was studying and working in a club called Theatre Rice, an Asian American theater where I did shows in conjuction with my Landscape Architecture. But I had a minor in Theater, yeah. And then coming close to graduation, I decided that I wanted to pursue acting. full time.

Actress Jeena Yi, playing an Ariel Spirit in
THE TEMPEST and also understudying
the role of Miranda

Who inspires you as an actor?

A lot of people. Philip Seymour Hoffman was one, so I was very sad when he passed away. I’m really inspired by the work of Kate Winslet, Amy Adams, Gong Li, and Bill Murray.

The next one is actually an interesting one, I saw that you do many dialects. Does something like that come naturally to you or is it something you had an interest in and you worked at?

Some of them come more naturally than other, some of them are more difficult. Like, I can’t do an Australian accent for the life of me! But I think it started as a joke, you know, and then in college and graduate school we actually studied accents and how to developed them and it became an actual skill. Most of them are New York, regional kind of things and also just like Asian accents as well.

Why did you choose to further you education at Columbia? Was it to keep the urban setting you had in California or something else?

Jeena in role as an Ariel Spirit

I’ve always wanted to move to New York. I’m from California originally and I always wanted to go to a conservatory program. I wanted to really fully immerse myself into training, acting training programs and Columbia was on my list of top schools that I wanted to go to.

Do you think it will be easier to perform in front of students who have little experience seeing theater than it would be to perform in front of more experienced audiences?

Performing for people who have never been to the theater is more rewarding because I think that their responses are honest and they don’t have any notions on how the play should be or how it should be acted or the way it is supposed to be in their minds. So, I think it is actually really great and I’m excited to actually perform for people who either don’t go to theater very often because you just get really honest reactions. Actually kids in high school, if they like it, they like it, if they don’t, they don’t and I think it’s great and valuable to know that as an actor.

Jeena, center front, with the other Ariel Spirits

That actually brings be to our next question. You are a teaching artist at my school. Does being a teaching artist help you prepare for your role?

Oh yeah, definitely. Since we go through the play in the workshops. We review the story line and talk about it. We do different speeches because I think the kids have such great insight and they sort of have these fresh eyes to the play which I think is really great. And I’m just Ariel’s spirit and the understudy to Miranda, but it’s really valuable because who knows if I will ever do THE TEMPEST again. I think it is really rewarding and you learn a lot from teaching.

I want to pursue a career in acting. What would be your first advice to someone who wants to be an actor?

This is something from Kristen Linklater (she's a voice teacher at Columbia). She retired recently. This is something that she told us. People always say you need a thick skin. She says, no, what you need is a thin skin but a think soul or a strong soul. I think that’s the quote, I hope I’m quoting her right. I might be totally wrong but the idea is that it is a hard road to travel but also rewarding and she says thin skin because you should allow yourself to feel everything; the happiness, the sadness, the anger, the joy, all of it. But make sure your soul is strong. You will keep going and take everything that happens to you, process it, and help you grow as a person. So that would be the one thing I would say. Also, do your research. 

In the end, being able to watch rehearsals and see the actors and director at work up close was a very rewarding experience. Being able to speak to these actors and the director gave me different insights on not only the play but the world of theater. The time that I put in to learn the most I can from the everyone involved in the play is something I know I will cherish for a long time to come.

Devised Theater with Director Sina Heiss and Playwright Gabrielle Sinclair

At our most recent meeting, NextGen members participated in a devised theater workshop with theater artists Sina Heiss (a director) and Gabrielle Sinclair (a playwright) who are working together on a new piece of theater called Telling the Bees. Here is a little more about the project, from their blog:

"Telling the Bees is a theatrical art project inspired by the plight of the honeybee in relation to the Earth’s environment. The project weaves together storytelling and drama with science and current environmental issues. It will be developed to be part traditional playwriting, part collectively devised drama."

Most NextGen members had never heard of or participated in devised theater, where there is no script or individual playwright but rather an ensemble of actors that create a script based on improvisational work. They found it to be surprising easy to let loose their creativity and take risks. It was fun to play so many games together and rewarding to have something to show for it that was really quite impressive by the end of the workshop.

In the video below, members move as an ensemble, attempting not to lead or follow any one individual. It's harder than it sounds!

Sina and Gabby are planning to work with kids of all ages as collaborators to help them create the script. NextGen was the first group of students that they were working with, which meant that in addition to helping generate material for the project, members also helped shape what future workshops will look like as Sina and Gabby continue to work with kids.

Sina and Gabby will stop by one more time at our final meeting next week, and NextGen members have the option to continue to work with these artists as collaborators. 

CSC's Second Annual Shakespeare Smackdown (SHAKE SMACK)!

Have you ever thought about what it would be like to perform on CSC's stage? After this past Monday's Second Annual Shakespeare Smackdown Scene and Monologue Contest, there are now 50+ middle and high school students hailing from schools in the Bronx, Brooklyn, Manhattan and Queens that can tell you exactly what that experience is like.

NextGen members Quiana and Carla,
the hosts of the Second Annual SHAKE SMACK

Weeks before the event, in groups of 1-5, participants received a pre-assigned scene from THE TEMPEST - this year's Young Company show - and began to rehearse. On the night of the event, they presented their scenes in the order that they occur in the play, so that for the audience, it was almost like watching a full production! 

The illustrious judges! From left: Director Jimmy
Maize, and actresses Ito Aghayere and Abbi Hawk.

Students looked forward to seeing the roles they were playing interpreted differently by their fellow "cast members" and could be overheard complimenting one another following the performance, as they mingled about in excited anticipation of the judges' decision. Special guests - cast members of the Young Company's production of THE TEMPEST - were also on hand to enjoy the performance and congratulate the participants. 

The first place winners, presenting Act 4 Scene 1 (Part B) from Cardinal Spellman High School in the Bronx

The second place winners, presenting Act 3 Scene 2 (Part B) from Harlem Academy Middle School in Manhattan

The third place winners, presenting Act 1 Scene 2 (Part D) from Cardinal Spellman High School in the Bronx

 First, Second, and Third place winners were awarded tickets to future CSC shows and workshops for their schools, and all participants were awarded a cool SHAKE SMACK tee-shirt to show off their achievement. 

Congratulations to all! 

Shake Smack!

"Watch thy back."

"Freedom and Control": an Interview with Choreographer Jon Cooper by Kathia

Kathia!

I recently watched Classic Stage Company's production of The Tempest. It was very entertaining, magical and very natural.  Despite being a person who often feels confused and burdened by Shakespeare's plays, seeing the performance at CSC actually made The Tempest come to life for me and gave me a better understanding of the story and conflict as a whole. 

Actually seeing the behind the scenes effort and molding that the other members of CSC's production of The Tempest crew inputted into producing the play made me value the performance and the final product much more. When I saw the finished product, one early Monday afternoon, I was completely awed and filled with admiration for all of the people and the production itself. At that moment I realized the fulfillment that long periods of hard work results in, I could only imagine how proud and accomplished the entire crew felt after the end of the final scene on the last day of their production of The Tempest. 

Jon Cooper, choreographer of THE TEMPEST.

   
One person that caught my eye during my rehearsal observations at Classic Stage Company was the choreographer, Jon Cooper, who did a brilliant job of choreographing many parts of the play.  I observed him choreographing the part of the play where the Ariel Spirits are dancing and the head Ariel spirit is singing. 

During our interview, I inquired about the challenges of directing the spirits, due to the different types of harnesses they wore and the lights attached to those harnesses.  To this he replied that working with the harnesses is not as challenging as it seems because of the way that they are set up, they do not really constrict movement. The most constricting harness was Caliban, but it was manageable.  I also asked Jon about his vision or his visual ideas when choreographing the movement of the Ariel spirits.  To this he replied that he wanted that whole segment to flow and look effortless and natural.  He wanted the spirits to look very fragile and mystical as if they are being pulled by a string, he wanted it to be visually appealing.

Caliban and the Ariel Spirits

During our interview, I actually learned the difference between a choreographer and a director.  During my rehearsal observations, I noticed that the roles of the director and the choreographer are actually quite similar, and sort of interlock.  For example, both are concerned with the placement and movement of the actors and the props.  However, Jon informed me that the difference between the director and the choreographer is that that director is not only focused with the position of actors and props but is also concerned with the acting and the emotions that the actors need to convey.

I also asked Jon about his background with dancing and why he loves it.  Jon grew up in Rhode Island, and from an early age he began dancing.  He started off with tap and later branched out to different forms of dance and movement.  He has danced for competitions, recitals and even plays, but he is also learned in choreography and likes to take that position as well.  When I asked Jon which he enjoys more, actually dancing in a performance or choreographing a performance, he replied that he enjoys both because they are very different.  Dancing allows him to do something he loves and be recognized for his talent, which took hard work to acquire. Choreography, on the other hand, gives him more freedom and control to try different things and allows him to display more of his creative thinking, visions and input. 

TEEN TAKEOVER of THE HEIR APPARENT

NextGen members Carla and Dyandra lead a talkback
 with the actors after the Teen Takeover
 performance of THE HEIR APPARENT.

Our second Teen Takeover was a huge success! CSC's main stage show of THE HEIR APPARENT was hosted by NextGen members, who worked as box office assistants, passing out tickets; ushers and greeters, welcoming and helping to seat ticket holders; and discussion leaders, planning and facilitating a post-show talkback with the artists for the teens in attendance. 

Members had a blast and their guests enjoyed the performance and talkback, where they were joined by actors Amelia Pedlow (Isabelle), Carson Elrod (Crispin), Dave Quay (Eraste), and Claire Karpen (Lisette).

Playing improv games with Max
to flex our farcical muscles!

The weekend before they saw the show, NextGen had the opportunity to meet with two of the cast members: Amelia and David. They also worked with one of CSC's teaching artists, Max Davis, who helped them understand more about what type of comedy this play is (a farce) and about how the playwright, David Ives, works with rhyming verse.  

Amelia and David didn't want to give away all the fun plot twists of THE HEIR APPARENT, so Max brought an example of Ives' text from another of his plays, called THE LIAR. Members worked on the opening monologue, playing around with different ways to say each line. Check out the video below to see our final collaborative version!  

The fun's just starting...

Fortunately for student audiences, the fun doesn't end at the curtain call of THE TEMPEST. Schools traveling to CSC have the option of staying for a post-show workshop led by the cast. Below are some pictures from those workshops.

Ito Aghayere and Jeena Yi field questions from the students.

The post-show workshop begins with a Q&A with the cast. Students have the opportunity to ask questions specific to the play, to acting, and to the technical aspects of the production. Many students ask questions to actors about their characters.

The students are then pitted against each other in a battle of Shakespearean proportions.  Each student picks three insults to hurl at their opponent.

Ito and Jeena help the students pick
the best and most heinous insults.

The students, armed with their new-found
Shakespearen language, are ready to do battle!

Sometimes the cast throws in a bonus activity! Check out this clip of Sheyenne Javonne Brown and the rest of the company leading the audience through a vocal warm-up they call "Zoo Whoa Shaw." Believe it or not, it uses every vowel and consonant sound in the English language!

"Everywhere, At All Times": An Interview with Ariel (Kevin Tobias) by Quiana

Quiana!

Quiana was working on a scene from THE TEMPEST in a class at school. Who was she playing? None other than Ariel, Prospera's "tricksy spirit"!  Since she knew the character pretty well, she thought it would be interesting to hear more from the Young Company actor playing the same role: Kevin Tobias.

Kevin Tobias, the actor  playing
Ariel in CSC's Young  Company
production of THE TEMPEST.

Since you have experience in TV/Film and Theater, as an actor, which do you like best and why?

I love them both, but they are completely different.  I have an undergraduate degree in TV and Film, so I love the process of film making.  Film is very technical, and as an actor you have a completely different mindset.  A director can make these edits and technical adjustments that can make no sense, and an actor can mess up and ask for another take.  Film is not as glamorous as everyone thinks it is - ultimately it's a job, and sometimes you have work 12-to-14 hour shifts on set.  Theater is a collaborative effort and the execution is very different.  In theater you can't hide, so all of your flaws are out for everyone to see.  There is this thrill about being on stage; even with preparation, on opening night anything can happen!

As a Spirit or a “Super natural element” - do you have more creative freedom as an actor to shape and mold you character?  A male or female could play this character - so it really depends on the actor’s perspective/interpretation of the character.

Kevin as Ariel

Ariel is an interesting role!  In a scholarly sense, Ariel represents what Prospera wants and what she wishes she could be, but is not quite.  Caliban, on the other hand, is the part of her that she doesn’t like - the negative - so there’s this dark vs. light, man vs. self theme throughout the play. It is as if Prospera is enslaved by her evil thoughts and the relationship she has with Ariel helps her overcome that dark side, thus ultimately freeing her. Throughout the play the audience resonates with the compassion and respect Prospera has for Ariel. The biggest challenge for me is trying to figure out what it means to be a spirit.  Ariel is pretty snarky, sneaky and sarcastic which is clear when he says “what of my potent master… here I am.”  Even though Ariel responds to Prospera like this, he always comes back because there is this level of mutual respect. Ariel can shape shift, is everywhere and he is one with everything; he doesn’t have to try as hard as Caliban to gain Prospera’s respect. What I like about this production is that the technical stuff really helps me with my character. I can focus on delivering the lines while the visual/sound effects take care of the rest.  We also have a team of spirits which serve as one entity spirit - Ariel is the head, and the other spirits serve as the arms and legs. I think this is cool because it gives off the effect that Ariel is everywhere. The director wanted there to be a balance between mystical (magical) and demonic. He tried to move away from the typical fairy dream world and made the spirits more insect-like.

Is it new or hard for you as an actor to rely on and adapt to the technical/ special effects aspects of the production?

I’m excited because the set and design help me a lot! I don’t have to worry about making all these supernatural things happen, so I can focus more on the text and what I need/want from the scene. Therefore I can easily learn from the scenery and how what I’m doing affects the scene.  

Kevin and his fellow "Ariel Spirits" in one of the more magical moments of the show.

Did you want to play Ariel, or did the director say, “Here, try this character!”?

It was actually my first time reading this play so I wasn’t really familiar with the characters. When I first read through it I found it to be complicated, experimental and one of the most amazingly written plays. There is so much that goes on in the plot in the span of 3 hours, it’s insane! At the time of auditioning, I didn’t know who I wanted to play because I was taken aback by the complexity of the play.  Finally during call backs I played both Calaban (who has beautiful and humble speeches) and Ariel (who was strange, and I didn’t understand at all). I wasn’t sure about Ariel until I realized that the relationship he has with Prospera was key in the play. It is interesting to see Prospera through Ariel’s eyes. 

Where does the Tempest land on your list of William Shakespeare plays?  Is it your favorite?
I'm not sure - that's a really great question.  My favorite Shakespeare characters are from some of his worst or unusual plays like Richard the II and Henry the 6th.  I don't have a favorite play.  If a play is done well then it can be great and amazing to watch.

Kevin with fellow actor Greg Nussen (Caliban)
putting on makeup for the performance.

You mentioned earlier that this is your first time reading/ really digging through the Tempest - was it hard understanding your character?

Yes, it was difficult reading it for the first time; I felt completely lost. It only comes through once you start embodying the text of the play and the words of Shakespeare. When you go through it, allowing that to change and affect you, it helps you unmask the true meaning of the play and the purpose of the character. You realize this word is here because of this and a certain motion/ gesture gives the audience insight on the characters intentions.  You can become the character once you allow the text to fully live in your body. For example, two people can play Hamlet - they can say the same words and the end result will still be different, because each actor embodies and interprets the character a different way. If I ever get lost, I go back to the text, because Shakespeare lays it all out for you in the text. He was a genius with language! In this production I have been given a gift where I can step in with these elements and music layered with spirits and my character becomes whole. 

In the play Prospero is originally a man. Do you think the relationship between Ariel and Prospero changes when the character is played by a woman (Prospera)?

Yes - actually, in the scene where Ariel convinces Prospera to forgive everyone, he appeals to her motherly side. A mother-daughter relationship is more nurturing and intimate than a father-daughter relationship, which tends to be more controlling. The part where she is giving away her daughter is very interesting because Prospera - the actress in the play, Ito Aghayere - is not old.  If a man where playing the role of Prospero, that moment would be a lot different because he is an old, strict and controlling man.

Walking into this play, what took you off guard, in regard to the characters and the direction they wanted to go in? What made it so different from anything you’ve seen from a William Shakespeare play?

The greatest challenge is that I don’t have as much text, but I am on stage throughout most of the play. Ariel has to be everywhere, at all times, so I have to focus on how to always be present and conscience of my movements. For some scenes I am sitting at rest, but I have to always focus on what is going on in the scene and react to what’s going on in the scene without saying anything.  Shakespeare's plays are also very intimidating because you have to get everything right - if one person messes up a word you can hear it! Shakespeare has a certain rhythm in his text, so if a person misses a line or word, it sounds like a train is derailing.  Even though Ariel doesn’t have a lot to say, he has spontaneous lines, where he has to jump into a scene and deliver a line. So my greatest challenge is learning how to always be present and be ready to jump in at any given moment.