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Messages - Mataya

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The Shanachie Theater / Re: Letters to the Shanachie Management
« on: April 01, 2020, 05:03:36 PM »
My darling Maggie,

The Shanachie would be delighted to record the final show for the viewing of all those children who are unable to come to the theater to see it live. Please allow me to make the arrangements - I can call in a few favors and get a professional crew to record and edit it for you to broadcast as you see fit.

We're always happy to be involved with Childrens' Day!

All the best,

The Shanachie Theater / Re:
« on: April 12, 2019, 07:34:23 PM »
Josette, that piece for Ondine .... breathtaking. What a powerful piece of prose! Thank you for sharing it with us!

The Shanachie Theater / Re:
« on: March 24, 2019, 12:22:58 PM »

Act One: "Fun and Games"

George and Martha engage in dangerous emotional games. George is an associate professor of history and Martha is the daughter of the president of the college where George teaches. After they return home from a faculty party, Martha reveals she has invited a young married couple, whom she met at the party, for a drink. The guests arrive – Nick, a biology professor (who Martha thinks teaches math), and his wife, Honey. As the four drink, Martha and George engage in scathing verbal abuse of each other in front of Nick and Honey. The younger couple is first embarrassed and later enmeshed. They stay.

Martha taunts George aggressively, and he retaliates with his usual passive aggression. Martha tells an embarrassing story about how she humiliated him with a sucker punch in front of her father. During the telling, George appears with a gun and fires at Martha, but an umbrella pops out. After this scare, Martha's taunts continue, and George reacts violently by breaking a bottle. Nick and Honey become increasingly unsettled and, at the end of the act, Honey runs to the bathroom to vomit, because she had too much to drink.

Act Two: "Walpurgisnacht"

Traditionally, "Walpurgisnacht" is the name of an annual witches' meeting (satiric in the context of the play). Nick and George are sitting outside. As they talk about their wives, Nick says that his wife had a "hysterical pregnancy". George tells Nick about a time that he went to a gin mill with some boarding school classmates, one of whom had accidentally killed his mother by shooting her. This friend was laughed at for ordering "bergin". The following summer, the friend accidentally killed his father while driving, was committed to an asylum, and never spoke again. George and Nick discuss the possibility of having children and eventually argue and insult each other. After they rejoin the women in the house, Martha and Nick dance suggestively. Martha also reveals the truth about George's creative writing escapades: he had tried to publish a novel about a boy who accidentally killed both of his parents (with the implication that the deaths were actually murder), but Martha's father would not let it be published. George responds by attacking Martha, but Nick separates them.

George suggests a new game called "Get the Guests". George insults and mocks Honey with an extemporaneous tale of "the Mousie" who "tooted brandy immodestly and spent half her time in the upchuck". Honey realizes that the story is about her and her "hysterical pregnancy". The implication is that she trapped Nick into marrying her because of a false pregnancy. She feels sick and runs to the bathroom again.

At the end of this scene, Martha starts to act seductively towards Nick in George's presence. George pretends to react calmly, reading a book. As Martha and Nick walk upstairs, George throws his book against the door. George comes up with a plan to tell Martha that their son has died, and the act ends with George eagerly preparing to tell her.

Act Three: "The Exorcism"

The term exorcism means the expulsion or attempted expulsion of a supposed evil spirit from a person or place. In this act, it seems that Martha and George intend to remove the great desire they have always had for a child through continuing their story of their imagined son and his death.

Martha appears alone in the living room, shouting at the others to come out from hiding. Nick joins her. The doorbell rings: it is George, with a bunch of snapdragons in his hand, calling out, "Flores para los muertos" (flowers for the dead), a reference to the play and movie A Streetcar Named Desire, also about a marriage and outside influences. Martha and George argue about whether the moon is up or down: George insists it is up, while Martha says she saw no moon from the bedroom. This leads to a discussion in which Martha and George insult Nick in tandem, an argument revealing that Nick was too drunk to have sex with Martha upstairs.

George asks Nick to bring Honey back for the final game – "Bringing Up Baby". George and Martha have a son, about whom George has repeatedly told Martha to keep quiet. George talks about Martha's overbearing attitude toward their son. He then prompts her for her "recitation", in which they describe, in a bizarre duet, their son's upbringing. Martha describes their son's beauty and talents and then accuses George of ruining his life. As this segment progresses, George recites sections of the Libera me (part of the Requiem Mass, the Latin mass for the dead).

At the end of the play, George informs Martha that a messenger from Western Union arrived at the door earlier with a telegram saying their son was "killed late in the afternoon...on a country road, with his learner's permit in his pocket" and that he "swerved, to avoid a porcupine". The description matches that of the boy in the gin mill story told earlier. Martha screams, "You can't do that!" and collapses.

It becomes clear to the guests that George and Martha's son is a mutually agreed-upon fiction. The fictional son is a final "game" the two have been playing since discovering early in their marriage that they are infertile. George has decided to "kill" him because Martha broke the game's single rule: never mention their son to others. Overcome with horror and pity, Nick and Honey leave. Martha suggests they could invent a new imaginary child, but George forbids the idea, saying it was time for the game to end. The play ends with George singing, "Who's afraid of Virginia Woolf?" to Martha, whereupon she replies, "I am, George...I am."

[size=9]((Here it is, the place to add your experiences! Please respect the actors and the setting, and have fun!))[/size]

The Shanachie Theater / Who's Afraid Of Virginia Woolf?
« on: March 24, 2019, 12:22:44 PM »

Martha - Annabeth Caldwell
George - Jakob
Nick - Marcus Spencer
Honey - Kiri Calderon

The Shanachie Theater / Re:
« on: March 24, 2019, 12:22:00 PM »

Who's Afraid Of Virginia Woolf?
Marital Friction
25th March - 6th April 2019

Who's Afraid of Virginia Woolf? is a play by Edward Albee first staged in 1962. It examines the complexities of the marriage of a middle-aged couple, Martha and George. Late one evening, after a university faculty party, they receive an unwitting younger couple, Nick and Honey, as guests, and draw them into their bitter and frustrated relationship.

The play is in three acts, normally taking a little less than three hours to perform, with two 10-minute intermissions. The title is a pun on the song "Who's Afraid of the Big Bad Wolf?" from Walt Disney's Three Little Pigs (1933), substituting the name of the celebrated English author Virginia Woolf. Martha and George repeatedly sing this version of the song throughout the play.

Who's Afraid of Virginia Woolf? won both the 1963 Tony Award for Best Play and the 1962–63 New York Drama Critics' Circle Award for Best Play. It is frequently revived on the modern stage. The film adaptation was released in 1966, written by Ernest Lehman, directed by Mike Nichols, and starring Richard Burton, Elizabeth Taylor, George Segal and Sandy Dennis.

The Shanachie Theater / Re:
« on: February 04, 2019, 12:47:17 PM »

The Woman In Black
The Perfect Winter Ghost Story
4th to 16th February, 2019

The Woman in Black is a 1987 stage play, adapted by Stephen Mallatratt. The play is based on the book of the same name, which was published in 1983 by English author Susan Hill. It is notable for only having two actors perform the whole play. It was first performed at the Stephen Joseph Theatre in Scarborough, in 1987. The production opened in London's West End in 1989 and is still being performed there, becoming the second longest-running non-musical play in West End history, after The Mousetrap.

The Shanachie Theater / Re: The Woman In Black
« on: February 04, 2019, 12:46:55 PM »

Act I

The play opens in an empty Victorian theatre, where an old Arthur Kipps is reading aloud from a manuscript of his story. A young actor whom he hired to help dramatise the story, enters and criticises him for his poor delivery. After an argument, they agree to perform the story, with the Actor playing a younger Kipps, and Kipps himself playing all the other characters and narrating the play. When they run through the play, however, things begin to go terribly wrong.

Young Kipps learns of the death of the elderly and reclusive widow Mrs Drablow. He travels to Crythin Gifford to sort through her private papers. On the train, he meets a local landowner, Mr Samuel Daily, who tells him a little about Mrs Drablow. Upon their arrival at Crythin, Mr Daily drops off Arthur at the local inn where he is to stay the night.

The next morning, young Arthur meets with a local man enlisted to help him, Mr Horatio Jerome. They go to Mrs Drablow's funeral together, where Arthur first sees the Woman in Black. At first feeling sorry for the young woman, who was apparently suffering from some dreadful wasting disease, he asks Mr Jerome who she is. Mr Jerome is visibly terrified and hurries Arthur away from the church, insisting that there was no woman.

After their return to the inn, Mr Jerome recovers somewhat, and says that a local man will arrive presently to escort Arthur to Mrs Drablow's house.

The local man, a villager named Keckwick, arrives a few moments later. To Arthur's delight, Keckwick drives Arthur in an old-fashioned pony and trap out to the house. Arthur spends the day sorting through Mrs Drablow's papers, and is amazed to find out how many there are. He also finds an old cemetery outside the house, where he again encounters the Woman in Black. Later that day, a thick fog settles on the marsh, cutting Arthur off from the mainland. He tries to return across the causeway on foot in the fog, but quickly becomes lost and is forced to retrace his steps to Eel Marsh House. Before he gets there, he hears the sound of a pony and trap on the causeway. Assuming that it is Keckwick returning, he turns back into the fog. It soon becomes apparent that the pony and trap are in trouble, and he hears it drive off the causeway onto the marsh. Arthur listens helplessly as the pony and trap get stuck in the mire and its occupants, including a young child, are drowned. Arthur returns to the house in a state of shock. Whilst he is exploring the house, he discovers a locked door. Due to his emotional state, he becomes distressed when he is unable to open it. He is surprised when Keckwick returns a few hours later.

Act I ends with a monologue from young Arthur in which he explains that he is sure, although he does not know how, that the sounds he heard were from neither Keckwick nor any living thing, but from things that are dead.

Act II

Arthur seeks the help of Mr Jerome, either to accompany him back to Eel Marsh House or to send him someone else to help. Mr Jerome becomes profoundly terrified, and insists that nobody in the village would willingly accompany him to the house. Arthur later meets Sam Daily and tells him of his experiences. Sam is concerned and invites Arthur to his house, where he gives Arthur his dog, Spider, as a companion. (The dog, though real within the plot, is imaginary and is not portrayed by either actor.)

Returning to Eel Marsh House, Arthur finds that the locked room is a child's nursery, abandoned but in perfect condition. Later that night, he hears a knocking sound in the nursery. He and Spider investigate. The nursery has been ransacked, and in one of the play's most iconic scenes, Arthur sees an empty rocking chair rocking back and forth as if somebody had just left it. Arthur fearfully returns to his bedroom.

The next day Arthur finds correspondence from almost sixty years ago, between Mrs Drablow and a mysterious woman who is apparently her sister. The woman, Jennet Humfrye, unmarried and with child, was sent away by her family. A son was born to her in Scotland, and her family immediately pressured her to give him up for adoption. Despite her strong resistance, Jennet ultimately relented and gave the child to Mrs Drablow and her husband.

Unable to bear being parted from her son, Jennet returned to Crythin Gifford after a time and stayed with her sister. She was allowed to see her son provided that she never reveal her true relationship to him. The child became attached to Jennet. She planned to run away with him, but before she could manage it, a tragic event occurred.

The child, his nursemaid, and his dog went out onto the marsh one day in a pony and trap driven by Keckwick's father. A fog suddenly descended upon the marsh and they became lost. Riding blindly, they became stuck in the quicksand, and all were drowned. Jennet, driven mad by grief, contracted a terrible wasting disease and died several years later. Immediately after her death, she returned as the Woman in Black.

Arthur suddenly becomes subject to a series of terrifying events in Eel Marsh House, and eventually collapses on the marsh when trying to rescue Spider. He is found and taken back to Crythin by Sam Daily, who assures him that Spider is all right. He tells Arthur the story of the Woman, and explains that many of the local people he has met (Jerome, Keckwick and Daily himself) have all lost a child after seeing her.

Kipps returns to London and marries his fiancée, Stella. At a country fair, Stella and their infant son Joseph go for a ride on a pony and trap. Arthur sees the Woman in Black. Joseph is thrown out of the trap,and hits a tree, killing him instantly. Stella then dies 10 months later due to injuries.

Having come to the end of their rehearsal, Kipps and the Actor sit down to rest. Kipps wonders if performing the play for his family will exorcise the Woman in Black.

A twist is added at the end of the play; the Actor asks Kipps about the actress playing the Woman in Black. Mirroring the earlier scene with Mr Jerome, Kipps, terrified, denies that anyone else had been in the theatre, implying that the real Woman in Black had been present. The play ends with the rhythmic knocking of the rocking chair as the lights fade to black. An image of the face of the Woman in Black lingers behind the gauze for a few seconds.

[size=9]((Look, I very nearly did it on time for once! Here's where you can add your experiences, my lovelies - respect the setting and have fun!))[/size]

The Shanachie Theater / The Woman In Black
« on: February 04, 2019, 12:46:18 PM »

Arthur Kipps - Marcus Spencer
The Actor - Jakob

((Note - The Woman In Black herself goes uncredited, but is performed by Annabeth Caldwell.))

The Shanachie Theater / Re:
« on: November 24, 2018, 11:35:30 AM »

The Foreigner
by Larry Shue
26th November to 8th December 2018

The Foreigner is a two-act comedy by American playwright Larry Shue. The play has become a staple of professional and amateur theatre.

Following its premiere at Milwaukee Repertory Theater, the play opened off-Broadway on November 1, 1984 at New York City's Astor Place Theatre where it ran for 686 performances. It was directed by Jerry Zaks. The opening night cast included Shue (as Froggy), Anthony Heald (Charlie), Patricia Kalember (Catherine), Robert Schenkkan (David), and Sudie Bond (Betty). The play eventually won two Obie Awards and two Outer Critics Circle Awards, including Best New American Play and Best Off-Broadway Production. Larry Shue died in a plane crash the following year, not living to see the continued popularity of The Foreigner.

The play has been revived a great many times, from the high school to the professional level.

The Shanachie Theater / Re:
« on: November 24, 2018, 11:34:57 AM »

In a resort-style fishing lodge in rural Georgia, the plot revolves around the visit of two guests, Englishmen Charlie Baker and Staff Sergeant Froggy LeSueur. Naturally shy, Charlie is also depressed because his beloved wife may be dying. He tells Froggy, "I should have stayed with Mary, at the hospital. When a man's wife is dying, he belongs with her, not – not in Georgia." He begs Froggy, "Please. Try to understand. I can't—talk to anyone now."

To help his friend, Froggy tells Betty Meeks, who owns the lodge, that Charlie is the native of an exotic country who does not understand a word of English. Betty, who has never traveled, is delighted to cater for a stranger who is "as foreign as the day is long." At first, Charlie is appalled by Froggy's fabrication and protests that he can't pretend, only to be talked into it.

At once, though, Charlie overhears a private and emotional conversation (Catherine discovers she is pregnant), and decides he had better perpetuate the ruse.

Before long, Charlie finds himself privy to assorted secrets and scandals freely discussed in front of him by the other visitors. These include spoiled but introspective heiress and Southern belle Catherine Simms and the man to whom she is somewhat reluctantly engaged, the Reverend David Lee, a seemingly good-natured preacher with a dark side. Her younger brother, Ellard, a somewhat "slow" boy (often thought of as a young Forrest Gump) is a simpleton who tries to "teach" Charlie how to speak English. Owen Musser, the racist county property inspector, plans to oust Betty and convert the lodge into a meeting place for the Ku Klux Klan. Catherine appears at first to be hysterical and sarcastic, but later proves to be brave and loving.

While Act I establishes the various characters, from Charlie's sweetness and apparent naivety to David Lee's duplicity, Act II swings into action and suspense.

When Charlie overhears David and Owen plotting the takeover by declaring the lodge buildings condemned, he spends the weekend pretending to learn a great deal of English very rapidly under the tutelage of Ellard. (He also pretends to speak his "native" language, with much repetition of the phrase "blasny, blasny" and other words that sound vaguely Russian.) Owen finds Charlie alone and threatens him, saying that when the Ku Klux Klan is in power, they will kill all the foreigners. Charlie cheerfully babbles some words, then sets out to frighten Owen.

Panicked, Owen yells for the others. He exclaims that Charlie was speaking "weird zombie-talk" and that "rays" were coming from his eyes. David tries to calm him and to ask Charlie some questions about his land and language, but Charlie, using broken English and pretending only friendliness, taunts them. Owen furiously exits, promising to bring the Klan to deal with them all. David follows him, ordering Catherine not to call the police. Instead, Catherine calls Froggy's office and leaves a message, begging him for help; then the electricity is cut, and night falls. Through the window they see headlights and torches as some Klan members approach. Charlie devises a plan, but Ellard is almost paralyzed with fear. Charlie encourages him by saying that Ellard looks like the king of his country – "King Buddy."

Charlie sends Catherine and Ellard upstairs, and he and Betty face five men wearing sheets over their heads. Owen says that they will kill Charlie and destroy the house with the munitions in the van outside, and that Betty, Catherine and Ellard will disappear. Charlie, recalling the science fiction he has read, alarms Owen with more "Hoodoo talk".

With the help of the trap-door to the cellar, Charlie appears to disintegrate a Klansman, and the rest run away in terror. David is unmasked, confesses all to Catherine (he was marrying her for her money), but exclaims that he can start again from scratch as long as he has the weapons in the van. Froggy appears in the doorway, arms his detonator and blows up the van. With the threat vanquished, the protagonists celebrate. Froggy takes Charlie aside to give him a telegram, saying that perhaps Charlie can remain at the lodge a little longer. Betty expects that he has received news of his wife's death. Froggy explains, "No. It was from 'is wife. No. She recovered completely. Ran off with a petrologist." Catherine urges Charlie to stay with them, and he agrees.

[size=9]((As always, loves, here is where you can add your own experiences of this production. Respect the setting, and have fun, whatever you do!))[/size]

The Shanachie Theater / The Foreigner
« on: November 24, 2018, 11:34:17 AM »

Charlie Baker - Jakob
S/Sgt. "Froggy" LeSueur - Marcus Spencer
Betty Meeks - Kiri Calderon
Rev. David Marshall Lee - Laurence Hale
Catherine Simms - Annabeth Caldwell
Ellard Simms - Byron Warren
Owen Musser - Cary Lyons

The Shanachie Theater / Re:
« on: October 09, 2018, 02:57:30 PM »

Six Characters In Search Of An Author
Absurdist Metatheatrical
8th to 20th October 2018

Six Characters in Search of an Author (Italian: Sei personaggi in cerca d'autore) is an Italian play by Luigi Pirandello, written and first performed in 1921. An absurdist metatheatrical play about the relationship among authors, their characters, and theatre practitioners, it premiered at the Teatro Valle in Rome to a mixed reception, with shouts from the audience of "Manicomio!" ("Madhouse!") and "Incommensurabile!" ("Incommensurable!"), a reaction to the play's illogical progression. Reception improved at subsequent performances, especially after Pirandello provided for the play's third edition, published in 1925, a foreword clarifying its structure and ideas.

The play had its American premiere in 1922 on Broadway at the Princess Theatre and was performed for over a year off-Broadway at the Martinique Theatre beginning in 1963.

The Shanachie Theater / Re: Six Characters in Search of an Author
« on: October 09, 2018, 02:57:06 PM »

An acting company prepares to rehearse the play The Rules of the Game by Luigi Pirandello. As the rehearsal is about to begin, they are unexpectedly interrupted by the arrival of six strange people. The Director of the play, furious at the interruption, demands an explanation. The Father explains that they are unfinished characters in search of an author to finish their story. The Director initially believes them to be mad, but as they begin to argue among themselves and reveal details of their story, he begins to listen. The Father and The Mother had one child together (The Son), but they have separated and Mother has had three children by another man - The Stepdaughter, The Boy and The Child (a girl). The Father attempted to buy sex from The Stepdaughter, claiming he did not recognize her after so many years, but The Stepdaughter is convinced he knew who she was the entire time. The Mother walked in on The Father and The Stepdaughter shortly after The Father's proposal and informs The Stepdaughter that he is her ex-husband; they both express their disgust and outrage. While The Director is not an author, he agrees to load it their story despite disbelief among the jeering actors.

After a 20-minute break, The Characters and The Company return to the stage to perform some of the story so far. They begin to perform the scene between The Stepdaughter and The Father in Madame Pace's shop, which the Director decides to call Scene I. The Characters are very particular about the setting, wanting everything to be as realistic as possible. The Director asks The Actors to observe the scene because he intends for them to perform it later. This sparks the first argument between The Director and The Characters over the acting of the play because The Characters had assumed that they would be performing it, seeing as they are The Characters already. The Director continues the play, but The Stepdaughter has more problems with the accuracy of the setting, saying she doesn't recognize the scene. Just as The Director is about to begin the scene once more, he realizes that Madame Pace is not with them. The Actors watch in disbelief as The Father lures her to the stage by hanging their coats and hats on racks, and Madame Pace follows, "attracted by the very articles of her trade".

The scene begins between Madame Pace and The Stepdaughter, with Madame Pace exhorting The Stepdaughter, telling her she must work as a prostitute to save The Mother's job. The Mother protests at having to watch the scene, but she is restrained. After The Father and The Stepdaughter act half of the scene, The Director stops them so that The Actors may perform what they have just done. The Characters break into laughter as The Actors try to imitate them. The Actors continue but The Stepdaughter cannot contain her laughter as The Actors use the wrong tones of voice and gestures. The Father begins another argument with The Director over the realism of The Actors compared to The Characters themselves. The Director allows The Characters to perform the rest of the scene and decides to have the rehearsals later.

This time, The Stepdaughter explains the rest of the scene during an argument with The Director over the truth on stage. The scene culminates in an embrace between The Father and The Stepdaughter, which is realistically interrupted by the distressed Mother. The line between reality and acting is blurred as the scene closes with The Director pleased with the first act.

The final act of the play begins in the garden. It is revealed that there was much arguing among the family members as The Father sent for The Mother, The Stepdaughter, The Child, The Boy, and The Son to come back and stay with him. The Son reveals that he hates the family for sending him away and does not consider The Stepdaughter or the others a part of his family. The scene ends with The Child drowning in a fountain, The Boy committing suicide with a revolver, and The Stepdaughter running out of the theater, leaving The Son, The Mother, and The Father on stage. The play ends with The Director confused over whether it was real or not, concluding that in either case he lost a whole day over it.

[size=9]((Sorry I'm late, lovelies! Here's the place, as always, to include your own experiences of this production - respect the setting and have fun!))[/size]

The Shanachie Theater / Six Characters in Search of an Author
« on: October 09, 2018, 02:56:44 PM »

The Father  - Asher Price
The Step-Daughter - Kiri Calderon
The Mother  - Annabeth Caldwell
The Son  - Jakob
The Director  - Marcus Spencer
The Boy  - Doran Ilnaren
The Child  - Mairead Harker
Madame Pace  - Leah Fuller
Leading Lady - Helen Payne
Leading Man - Byron Warren
Second Lady  - Phyllis Miller
Juvenile Lead - Cary Lyons
Prompter - Laurence Hale

The Shanachie Theater / Re:
« on: September 08, 2018, 10:26:53 AM »
Hey, all! The majority of the new Roll Call is up, as is the new roster for STARS (which I have been shamefully lax with, I do apologize).

There won't be any acceptance letters going out this year, purely because I'm struggling enough right now without adding more work for myself! ~chuckles~ What you need to know is -

- If you're Theater, rehearsal starts on Monday 10th September.
- Repertory, rehearsal starts on Monday 17th September.
- Ballet, group training building to rehearsal in the fullness of time begins 8th October (but you are encouraged to make use of the facilities before then).

Love you guys - should be an interesting year!

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