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Take a Chance on This Classic: Don’t Let Theater Die.

Over 10 years ago someone told me we should produce “12 Angry Men.” They suggested that we have a cast of all women and another cast of all men. They thought it would be a clever marketing ploy. I declined for several reasons. One of them being that I didn’t think I had 12 men that could pull off the acting that this show requires. I put it on the back burner of my mind and waited. In the meantime, I saw the Theater in Chicago production with Brian Dennehy and George Wendt and John Boy Walton…oh, I mean, Richard Thomas as Juror # 8.  I also spent the time visiting local community productions and waited until the time was right.

As I  have complained about for now, over a year, Covid has really done a damage to our theater. In our area, several shut their doors for good as they couldn’t continue with the costs of rent etc. while they just waited to entertain again. We were able to produce an original Biblical drama that kept us going with 50 audience members a night until we thought everything was getting back to normal. Not quite trusting, I decided to mount a smaller musical, The Marvelous Wonderettes, for the summer. It was fantastic, but the audiences didn’t come. A summer show usually brings over 2500 to our doors. This summer we didn’t even get 1500. So, what better time than now to pull out that old marketing ploy? We decided that we would mount two shows with two casts. We would have four directors, two of each gender that  would each be in the play and direct the opposite version of the play.

At auditions, we were thrilled. People came. We even had to turn people away. (Which always makes me sad.) We began the character studies and blocking and somehow in the middle of the process I stopped enjoying it. It was difficult. Why didn’t I notice that we were actually going to be producing two shows at the same time? One is hard enough…but two? I think I might be a little crazy….

What made matters worse is that I’m not sure that any of the other directors were enjoying it either. We were all feeling the stress of having to be in two places at one time plus carry on with our outside duties. The creative experiment of working together didn’t gel the way I thought it would. Instead of being inspired by each other we did the opposite. At times we were afraid to speak up, or at times we didn’t want to make an issue about something, or at times we felt competition, or that we weren’t as important as the other directors. Emotionally, it was difficult. One week ago. I would have told you that this theater experiment was a failure

12 Angry Women

12 Angry Women opened last week and if you asked me now I would tell you that I probably wouldn’t want to direct with four directors ever again, but that I did learn. That’s a good thing. I want to learn each and every time I decide to be involved with a production.  

Here are some facts:

12 Angry Men is the play many of us, of a certain generation, had to read in high school. This  courtroom drama by Reginald Rose has been around since 1954; first as a live Television play, then in its more well-known incarnation, the 1957 film, starring Henry Fonda, directed by the great Sidney Lumet. (Did you know the film was nominated for three Oscars?)

Question #1 that we faced:   Isn’t it dated? What relevance does it have today?  Come see the play and you will soon find our that Juror #10 leads the way with his immigrant and minority comments.  Unfortunately, we all go in to any conversation with a great deal of bias and maybe realizing this would help all conversations end more peacefully. We can learn from each other. We adopted a tag line #Don’t confuse me with the facts. Sadly, many times we don’t care enough to step out of our own selves and into someone else’s. 

Reba Hervas (Juror #10) and Jessica Means (Juror #7) discuss how miserable Juror #8’s thoughts are.

The drama begins when a lone holdout, Juror #8,  believes there is a reasonable doubt in the case of a youth “from the wrong side of the tracks” on trial for the murder of his abusive father. The stakes are high and the jury is mandated by the judge to think about it wisely and carefully, because the punishment for conviction is the death penalty. Since the decision must be unanimous the deliberation begins. The Jurors range greatly in personality, economic and educational background and ethnicity.  A thrilling ride when you realize this is real life. Every jury is made up randomly and everyone does walk in with different  personalities, educational backgrounds and ethnicities.  

As Jessica Means (my co-director) and I watched the 12 Angry Men rehearsal last night we were thrilled. It was tense, riveting and thrilling–just as people had told us the women’s production was last week. Every juror looks as if they walked in off the street in 1959 Manhattan. The set is beautifully simple; it manages to be both artful and authentic. The cast is constantly moving to almost be “the camera” and allow the audience to see the jurors from each angle.

12 Angry Men. It is amazing how different a play can be based gender.

Why 12 Angry Men/Women?

It is a bucket list love of a classic theater piece that I always wanted to tackle.

To learn from a totally unique theater experiment.

To take an old classic and see that even after years some things never change. 

People. It’s simply great theater. 

So, the marketing ploy?  Unfortunately, things haven’t changed since this summer. Our tickets sales are horribly low. Even with 24 people in the cast–I’m not sure we will even hit our numbers from the summer. I’d like to ask for a little help. Don’t let Covid kill this theater. If this is a play you weren’t planning on attending…could you decide to come? If you are seeing one of the versions could you decide to see both? Could you spread the word? Please tell your friends and neighbors that this is one show that should not be missed. 

One last thing: 12 Angry Men is a timely, riveting drama that will get you thinking about your preconceptions and stereotypes. It is a reminder that we must question apparent facts before making tough decisions. I don’t think that’s such a bad thing.

Okay. I lied…one more last, last thing. My co-director’s are all brilliant and now that we’ve all gotten past the hard parts we all admit it was a crazy great experience. Thank you, Jessica Means, Brad Holloman, and Mike Larsen for sharing your time, creativity and inspiration with us all.

Now, will you all please go to Overshadowed.org and buy tickets? Let’s show everyone there is still a place for theater!

I’d love to hear your thoughts!

Until next time, this is just me, talking to you from the wings.

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The Finishing Touch

When Overshadowed first opened its doors sixteen years ago we started with a Christian play I had adapted from a novel “Silent Star“. It was a hard hitting, dramatic, cry your eyes out- kind of play with the gospel message strong within it. Why? Why would I start a brand new theater company with something like that instead of a light funny, everyone leave smiling -kind of show?

The very mission of what Overshadowed is- calls to BOTH types of plays. I wanted to declare boldly that I would never shy away from a play that would bring you to your knees even though much of what we do includes the feel good stories.

Twelve years ago we performed Noah! for the first time and it instantly became a show that people talked about and requested over and over. In fact, when our ten year anniversary came around I asked our audiences to pick the season by vote and Noah! came in second….but barely.

So, in 2019 when I was picking the season for 2020, I decided it was time to mount this production again. Who knew that it would tell the story of the first quarantine and reach the depths of our hearts because of the year we recently had?

Well, God did. He is the author, planner, sustainer, comforter and guide. It was the perfect choice.

Noah! has now become the longest running show Overshadowed has done. Not most attended (Because we are limited to 50 audience member still.) But, we have now scheduled 26 shows and we will add more if  we sell Easter weekend out. Did I mention this show would be a fantastic show to see Easter weekend?

Recently, I wrote about the set design of Noah! You may read that post here:

https://fromthewings.org/2021/01/29/the-stage-is-a-blank-canvas/

A great production requires more than a great story, fabulous actors and an amazing set. It also requires a fantastic costume design. Since Overshadowed began, our philosophy has been that we might not have a real stage, or all of the bells and whistles of a professional theater, but that within our power we would make the production elements that we could afford be fabulous. Costumes became the element that we consistently spent more money and time on. We had super talented people who poured their hearts and souls into some pretty fantastic pieces. We knew that one choice alone would set us apart from other theaters close to us. We wanted to “look” professional and we knew that “clothes make the man” or in this case–the character.

It is amazing to me how often an actor really cements his character once he puts those costumes on. It is indeed the “finishing touch.” Perhaps it is the most important touch.

I had the chance to interview Debra Schott and Margaret Sahli for this week’s episode of From the Wings. I love their vision and can’t wait for you to hear what this process has been like for them.

https://youtu.be/HKPFQXR-BKw

I’d love to hear what your favorite costume experience has been? Would you like to join our costume team? We would love to have you!!

As always, it would be such a help to me if you would subscribe to this blog and share it!

Until next time!

Reba

P.S. A special thanks to Rebecca Leland and Brianna Valentine for their help with the recording of Fromthewings!