At University of Idaho


If you have questions about the play or represent a theatre that is interested in the script, please contact LojoSimon@gmail.com.

Sunday, August 28, 2011

Photography vs. Painting

Dora Maar spent the early part of her career as a marketing and advertising photographer before she became enamored with surrealism and art photography. She was also a painter and a poet, but later in life, she lived off the largesse of her once lover, Pablo Picasso. Are all art forms equally respected, even today? Why do we put Hollywood stars on a pedestal, paying them exorbitant salaries, while the vast majority of actors in the theatre can't support themselves practicing their craft? How much are most Americans willing to support the arts with ticket sales or patronage? What would you tell your child if he wanted to grow up to be a poet? What message do we send as a society by our failure to fairly compensate artists for their work? How will that failure change the future of our civilization's production of art?

Saturday, August 27, 2011

Rehearsal Begins in Late August

After years of writing and rewriting, workshops and readings, auditions, casting, and months of actors working on their own, we're all finally in the theatre to start the rehearsal process. Days 1 and 2 were spent around the table, reading the script aloud and discussing meaning. Dramaturg Megan Thornton provided the cast with historical context about the rise of facism in Europe. Director Rob Caisley spoke generally about his concepts for play and the relationships between characters. Then we all moved into the Hartung Theatre to start blocking.

Rob's approach is to generally sketch out the movement of each scene rather quickly at first to get a sense of the  orchestration of the entire play. Here he directs the arts patrons as they view Dora Maar's photographs in a Parisian gallery.


In the scene below, Rob gives blocking direction to Marie Therese as Dora and Maar take notes in their script binders.


Clearly, construction has not yet begun on the set, although the actors are guided by lines taped onto the floor that indicate where certain large set pieces will be. Also, we have some stand-in set pieces with which to work, such as a table and chairs for the cafe scenes.


Below, Dora poses for Picasso in his studio as Valentine recites a poem.

During rehearsal, the stage manager takes notes regarding props, costumes, sound etc. then distributes them to the company, so everyone is aware of directorial decisions. As playwright, I'm also taking notes, listening for lines that need adjustment, clarification, or just plain rewriting. With a new play, the actors must be prepared for regular (sometimes daily) changes to their lines as both Rob and I learn what works and what doesn't as the play gets on its feet.

Wednesday, August 24, 2011

First Production Meeting

The entire crew convened for the first time this week to review designs that were created over the summer and dig into the technical and production aspects of the show, including props, stage management, sound, etc.  Will Tedrow is responsible for this set design, which features a giant wall made of strips of silk onto which will be projected a variety of artistic and historic images to complement the text.


Here, the stage managers and sound designer review costume renderings by designer Emily McQuarrie. She drew her inspiration from French Surrealist designer and fashion icon Elsa Schiaparelli, as well as from Parisian fashions of the 1930s and '40s.

They say it takes a village to raise a child; likewise, it takes a theatre village to stage a show. I feel so fortunate to be working with the UI theatre community.

Monday, August 22, 2011

Emily Hosts a Pre-Rehearsal Soiree

Emily (Maar) hosted a period-dress Dora soiree the day before school started for the cast to get to know one another and talk about what we had discovered about the play over the summer. It was a fun and festive evening, with tears, laughs, and lots of discussion about boobs and body hair. Thanks also to Emily's husband, Travis, and her adorable kids Cai and Findley, who helped host the evening.

Back row: Hillary (Nusch), Heidi (Valentine), Lindsay (Jacqueline) -- aka the three whores. Center: Kristen (Marie-Therese), Emily (Maar) and Cady (Dora) Front: Sarah (stage manager), Lojo (playwright)

Sunday, August 7, 2011

Cast and Crew

Director: Rob Caisley
Assistant Director: Ray Pritchard

Dora: Cady Ann Smola
Maar: Emily Nash-Gray
Marie Therese: Kristen Glaeser
Nusch: Hillary Mosman
Jacqueline: Heidi Lindholm
Valentine: Lindsay Teter

Stage Managers: Sarah Pappin, Zach Brink
Dramaturg: Megan Thornton
Set Design: Will Tedrow, Paul Barrios
Lighting Design: Laura Berkompas, Sean Altuna, Katie Baker
Sound Design: Keely Gray
Costume Design, Hair and Make-up: Emily McQuarrie, Nick Giacalone, Lynnsey Phillips
Props: Hannah Whisenant, Colleen Phillips
PR/Marketing: Alexiss Turner

Faculty Advisers:
Costumes: Anne Hoste
Scenic Design: Stephanie Miller, Suzie Duval
Voice/Text/Fight Coach: Chris Duval
Scene Shop: Robby Valliere
Costume Shop: Carrie Lawrence
Technical Director: Anthony Brinkley

Summertime fun

I'm headed up to Idaho next week, but that doesn't mean that nothing's been happening over the summer. On the contrary, actors have been learning their lines, designers have been drawing and looking at fabrics, photographers have been creating images, the director has been ruminating, and I have been, well, waiting for the fun to begin! Check here regularly for updates on our progress.