Monday, March 5, 2012

Artistic Inspiration—Past and Present—with Donald Margulies

Sight Unseen Returns Home
  • 1990: NewSCRipts reading at SCR
  • 1991: World premiere at SCR
  • 1992: New York premiere at Manhattan Theatre Club (with Laura Linney as Grete)
  • 2004: Broadway revival by Manhattan Theatre Club (with Laura Linney as Patricia)
  • 2012: SCR revival
By Kelly L. Miller

Since Sight Unseen premiered at South Coast Repertory in 1991, it has become a modern classic in the American theatre.  The result of Donald Margulies’ first commission from SCR, Sight Unseen was his breakout play, garnering both an OBIE Award and a Pulitzer Prize nomination following its New York premiere at Manhattan Theatre Club in 1992.  In The New York Times, Frank Rich called it “a smart and sad new comedy…about the 1980's art scene, the loss of love and the price of assimilation, both ethnic and intellectual, in an America where authenticity often has little to do with an artist's—or anyone else's—rise to the top.”

Margulies’ play centers on protagonist Jonathan Waxman, a provocative American painter who has exploded onto the New York art scene—and who has a line of patrons waiting for his newest work.  Waxman is in London, on the cusp of his first European show, but something is missing.  Yearning to reconnect with his personal and artistic past, Jonathan searches out Patricia, his first love and artistic muse, who now lives in the British countryside with her husband Nick, working on ancient archaeological digs.

Margulies' first SCR commission and world premiere
was Sight Unseen in 1991 with Stephen Rowe,
Randy Oglesby and Elizabeth Norment.
SCR's second Margulies premiere was Collected Stories
with Kandis Chappell and Suzanne Cryer in 1996.


















Margulies’ structurally inventive play doesn’t unfold chronologically.  Rather, it moves back and forth in time, charting Jonathan and Patricia’s turbulent past and unexpected reunion, as well as Waxman’s London interview with a German art critic named Grete, who ultimately questions the artistic integrity of his controversial work. 

In Sight Unseen, Margulies explores numerous thematic concerns—including the nature of artistic inspiration, creation and first love; the value of art as a commodity; the impact of an artist’s cultural identity and family on his work; and the powerful effect time and memory can have as one revisits his past loves and successes.  In his review of the 2004 New York revival, Ben Brantley of The New York Times wrote: “Mr. Margulies has never been merely a satirist. His plays are usually about how time and memory transform feelings, relationships and the perception of the past.”

Margulies returned in 2004 with Brooklyn Boy
featuring Adam Arkin and Ari Graynor.

In 2007 SCR premiered Margulies most recent
commission Shipwrecked! An Entertainment
with Melody Butiu and Gregory Itzin.

















When asked about his inspiration to remount Sight Unseen, director David Emmes cited Jonathan Waxman’s quest to reconcile his own past in order to understand his artistic future.  As Emmes continues his lifelong artistic journey at SCR—a theater he co-founded with Martin Benson in 1964—it’s a challenge that resonates with him.  How does the past inform your present and future artistic success?  How does your artistic viewpoint change and evolve over time?  And most importantly, “how do you continue to live a challenging and fulfilling life in the theatre” as an artist, as time goes by?

We hope you’ll join us as we welcome one of our favorite playwrights, Donald Margulies, back home.

Playwright Donald Margulies.
About the Playwright


SCR has had a long and successful artistic relationship with playwright Donald Margulies.  He’s the author of four plays that were commissioned and premiered by SCR:  Shipwrecked! An Entertainment (2007); Sight Unseen (1991) and the Los Angeles Drama Critics’ Circle Award-winner, Collected Stories (1996), both of which were finalists for the Pulitzer Prize for Drama; and Brooklyn Boy (2004). His play Dinner with Friends, which originated at Actors Theatre of Louisville, went on after its West Coast premiere at SCR to win numerous awards, including the 2000 Pulitzer Prize.  This revival of Sight Unseen will mark Donald’s seventh production at SCR, putting him near the top of our most-produced playwrights list. 

Margulies was the recipient of the 2000 Sidney Kingsley Award for Outstanding Achievement in the Theatre by a playwright.  He is currently adapting the novel Middlesex by Jeffrey Eugenides into an HBO miniseries and he is an adjunct professor of English and Theatre Studies at Yale University.



Friday, February 24, 2012

A Sight for Sore Eyes

Erin Anderson, Nancy Bell, Andrew Borba and Gregory Sims.
 
Sight Unseen, which premiered here 20 years ago, is coming home, and bringing with it both familiar faces and new friends to meet the SCR family.

Erin Anderson has done television stints as a nurse on “Strong Medicine”  and a hooker on “Criminal Minds,” and now she’ll make her SCR debut as journalist Grete, who gives Waxman the toughest interview of his life.

Though she plays Waxman’s muse and one-time lover Patricia this time around, last time SCR audiences saw Nancy Bell, she was hamming it up as Belinda Blair in Noises Off.

Andrew Borba hasn’t stayed away for too long—he graced the SCR stage last season as Dr. Givings in In the Next Room or the vibrator play. This season, he’ll appear as Patricia’s husband, Nick.

Gregory Sims will make his SCR debut as celebrity artist Jonathan Waxman, though moviegoers may recognize him from last year’s hit Real Steel, starring Hugh Jackman.


Meet Nancy Bell and Gregory Sims, along with director and SCR Founding Artistic Director David Emmes, at a free seminar Thursday, March 1, at 7 p.m. on the Julianne Argyros Stage.

Sight Unseen runs March 11 – April 1.


Poor Dog Group Uses New Media to Tell Old News

Studio SCR turns serious this weekend when Poor Dog Group presents The Internationalists, a fascinating examination of the race to space through the eyes of a generation brought up with near endless access to up-to-the-minute information.

Creator Jesse Bonnell was first inspired to create the show in 2008, when an economic crisis once again threw America’s global position into question. “I was deeply taken by our country’s surge of nationalism and the growing interest in the future of our public good,” he says. “That national pride felt akin to the type of political power that established itself post-9/11, and, looking further back into our history, during the race to space during the Cold War. I wanted to make something about the difference between the actual history of the event and the way in which my generation interacts with that history.”

The multimedia performance, which utilizes vintage newsreels, NASA flight records and other historic data, began to take shape after Bonnell stumbled upon a 1959 YouTube clip of the press conference that introduced the Mercury 7, NASA’s first astronaut class. “I like the idea of celebrity and information-sharing as theatre,” says Bonnell. “This conference is the genesis for the show—it grounds the reality of the event.”

The Internationalists runs March 2-4.


Monday, February 13, 2012

These Clowns Want to Play

Raymond Lee as Angry Clown, Amir Levi as Nervous Clown, Alexis Jones as Sad Clown
and Kevin Klein as Mischievous Clown.
 
Angry, Mischievous, Sad and Nervous, the characters in Studio SCR’s Four Clowns, may not be fit for a kid’s birthday party, but they definitely will make you laugh. The show’s creator, Jeremy Aluma, gives us a sneak peek:

Alexis Jones as Sad Clown
Q: With which clown do you most identify?

A: I am the mischievous clown in my work as a director, but I use the angry clown to fuel my passions. I feel the sad clown when I am in need of a good cry, or as an audience member at a good play. And I am the nervous clown on the rare chance that I perform!

Q: Why clowns?

A: I have always been interested in the relationship between the audience and the actors. As we push towards watching our entertainment on smaller and smaller screens and in more isolated places, the need for a dialogue between audience and performer grows stronger. Clowns get to live completely in the moment, and they get to bring the audience into the moment with them.

Raymond Lee as Angry Clown
Q: What kind of audience interaction can we expect?

A: We like to play with the audience, and we will play with those who want to. Those who don’t are welcome to enjoy from afar. We take suggestions, we talk to the audience. We play with them, and we pursue their laughter.

Q: What if we have a clown phobia?

A: Well, I’ve learned to not try and talk coulrophobists into coming to the show. I think they would enjoy themselves but it’s not easy to shake a phobia. We’ve had many people who are “scared of clowns” come to the show and love it. Our pursuit is of laughter. The clowns are violent, vulgar and sexual, but they aren’t scary.

Four Clowns runs Feb. 17-19 in the Nicholas Studio.


Photos by Cameron McIntyre.

Friday, February 10, 2012

A Trumpet Fanfare for "Elemeno Pea"

When the curtain fell on First Night of Elemeno Pea on February 3, the audience cheered and trumpets sounded!  That is, the audience clapped mightily during a standing ovation, and metaphorical trumpets sounded at the Cast Party, just across the way in the Wyndham Orange County’s new restaurant, The Silver Trumpet.

As they congratulated the playwright—Molly Smith Metzler, making her SCR debut—and all the Elemeno Pea artists, First Nighters enjoyed a clambake-themed party à la Martha’s Vineyard. Generously sponsored by the restaurant, the party was replete with sailboats, birds, shells and sand.  Strolling through the beach-y setting, guests sipped the signature drink, “Nantucket Red,” and feasted on lobster rolls, clam chowder, crab cakes and s’mores.

Honorary Producers Valerie and Geoff Fearns led the playgoers’ chorus of raves. “Molly is a phenomenal playwright and has such a gift for dialogue,” Geoff said.  Valerie added, “It was wonderfully written, directed and acted.  Tonight couldn’t have gone better, as displayed by the abundance of laughter and the standing ovation!

They were perfectly in sync with reviews, which followed in the days to come.  Leading the critics’ chorus was Backstage:  “Smart and sassy!  This splendid production represents an auspicious bow for (Marc) Masterson … SCR's new artistic director.”



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