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How to begin to describe one of the most challenging, amazing theatre experiences I have ever been lucky enough to partake in? It's a challenge within itself. But, in the words of our heroine, Helena "My intents are fixed and will not leave me!"
I began my apprenticeship (chronicled in about eight blog posts here, on this blog) excited for the chance to work all summer on Shakespeare, but not even fathoming the depth that I would explore and the experience that I would have. We all met, and began our classes, knowing that some of us would be particpating in a seperate project with Dev, and no more than six of us would be cast in the main stage production with Commonwealth Shakespeare Company. When they read off those six names, it took me all of my might not to squeal with joy at being called to be in
All's Well That Ends Well.
We were sent to the CSC offices later that week to give our best monologues to Steve Maler, the director and one of the founders of CSC. (Slightly nerve-wracking, yes). I chose to use one of my Lady Percy monologues, as I was feeling quite confident with it. After the six of us were finished, we sat down and discussed what it would be like for us as apprentices, understudies and ensemble members in the production, and when we would receive news of our roles. First rehearsal, I was a MESS! I was super excited and hyper, but trying to be as professional as I could be. Listening to our AMAZING cast even just do a read through, I knew I was in for an eye-opening experience.
I got the news a few days later that I had been chosen to be the first understudy to Kersti Bryan, who was playing Helena. If you don't know
All's Well, she is the center character. I was at once humbled and over-joyed. And IMMEDIATELY began learning my lines. I wanted to make sure that if I were ever called upon, that I would be ready, more than ready. Also, Helena is such a strong and wonderful character to inhabit, and I wanted to give her due time to study and really step into her shoes. I posted once about briefly playing Helena in an audition I went to, and how connected I felt to the character.
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Studying Helena lines at my station in the Women's Dressing room.
Almost always what I was doing when I wasn't on stage. |
Each and every rehearsal, not only as I shadowed Kersti's journey in finding Helena, but my own journey to bringing my ensemble characters to their own life, was different and fulfilling in it's own way. The actors in this cast are not only unbelievably intelligent and talented, but also graceful, kind and very generous. Kersti made sure that we would check in every now and then and just talk about Helena; this troubled character in one of Shakespeare's considered "problem plays." We grew together in the world of the play, and I think the result was that of a very alive, changing, forward-moving story for the summer crowds of Boston to enjoy.
My view of Helena: I found through this rehearsal process; working alongside Steve, Kersti and the rest of the cast, that Helena is one of the oddest female characters you might come across in Shakespeare's cannon. To scratch the surface; she knows
exactly what she wants, and she flies by the seat of her pants to get it. Whether or not it (it being Bertram, her love) is worth the struggle in the end, the audience is left wondering and deciding for themeselves. Helena is beautiful, and very smart. You can see that she tries to plot every detail of her very involved plan, but as fate would have it, everything goes amiss and she has to think on her feet. Luckily, she has the equipped strength of character to do it. I think that the best insight into her character is actually the monologue I used in that audition (Act I, sc. iii):
Then I confess
Here on my knee before high heaven and you,
That before you, and next unto high heaven,
I love your son.
My friends were poor but honest; so's my love.
Be not offended, for it hurts not him
That he is loved of me. I follow him not
By any token of presumptuous suit,
Nor would I have him till I do deserve him;
Yet never know how that desert should be.
I know I love in vain, strive against hope;
Yet in this captious and intenible sieve
I still pour in the waters of my love,
And lack not to lose still. Thus, Indian-like,
Religious in mine error, I adore
The sun that looks upon his worshipper
But knows of him no more. My dearest madam,
Let not your hate encounter with my love,
For loving where you do; but if yourself,
Whose agèd honor cites a virtuous youth,
Did ever in so true a flame of liking
Wish chastely and love dearly, that your Dian
Was both herself and Love, O, then give pity
To her whose state is such that cannot choose
But lend and give where she is sure to lose;
That seeks not to find that her search implies,
But, riddle-like, lives sweetly where she dies.
I loved playing her passion, her courage and her knowledge. She is a character that will not leave me for a long time. Kersti was amazing in the role, and her approach was fascinating. Like Helena, Kersti has a fierce presence and a fragility to her that was beautiful to see. She is an inspiring actress, mentor and friend to me, I will cherish learning from her.
As for my other characters, there were three; the main one being a servant girl, whom we affectionly named Bernice. Bernice was a servant in the Countess' house. Bernice was not very bright, everything she did had to be re-done by Renaldo (the head servant, played by Wayne Fritsche). All my blocking as Bernice was either following or being instructed (and re-instructed) by Renaldo (Wayne) so I created (for myself) a very lively, bunny-like maid character, hoping only to add to the world we were creating for
All's Well. My other two characters were only present in one scene each, one was a courtier I named Maeve (for this I got to wear a BEAUTIFUL sky blue and creme colored costume (detail shot coming up!)). And the last was a rather saucy maid living in Florence, who oogles all the solidiers coming home from war. As a part of a long-winded, play-related joke, I named her Fontibell. These characters I am describing are the results of where I took my ensemble roles to deepen the world we were creating. If they sound silly, so be it. It is a comedy after all. Was I mainly focusing on studying Helena? A little. But did I have fun with my characters? You bet your bottom dollar I did.
To close, I have not, nor could I ever write down the amount I learned from being in this production. There are too many great actors to list, praise and thank, crew members to worship and far too many great things I have taken into myself as an actress, that have changed me for the better. Working with Steve Mahler on my first professional show was so wonderful. I have learned so much about not only acting, but Shakespeare, his words and language and his message we were trying to tell with our story.
As I have said, I am beyond grateful for this experience. It confirmed my love for Shakespeare, tested my stamina and improved my acting! Thank you CommShakes! I hope to continuously be a part of this growing artistic family!
All the best,
Micah
P.S. I will conclude my Summer 2011 journey with CSC with a small picture barrage to show an insight of life at AWTEW.
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| Costumes! (All beautiful) |
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| Detail of one of my beautiful costume pieces! (For "Maeve's" costume) |
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| "Bernice" and A Gentlemen (aka me and Danny, fellow apprentice) |
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| Me and Kersti |
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| Set detail |
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| Lights! |
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| Doing Shakespeare in the evening, outside: GLORIOUS |
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| Just to show a snippet of our crowd sizes. (That's not even 1/8th of our typical crowd) |
Here's CommShakes' write up: http://www.commshakes.org/performances/performance/4
Links to Reviews of the piece: http://www.commshakes.org/press/news/news-item/6
(Was this made for Liam????)