The Wonderment of "Charlotte’s Web"

“[Charlotte’s Web is about] friendship on earth, affection and protection, adventure and miracle, life and death, trust and treachery, pleasure and pain, and the passing of time. As a piece of work, it is just about perfect, and just about magical in the way it is done.”

–Eudora Welty, The New York Times Book Review

E. B. White’s beloved children’s book Charlotte’s Web tells the story of Wilbur—a young, runt of a pig—whose life is saved by the friendship of a young girl named Fern and a gifted, grey barn spider named Charlotte.

Nursed to health by Fern with bottles of milk, Wilbur soon goes to live on her Uncle Homer’s farm, where he grows up surrounded by a lively barnyard full of animals.

His motley crew of friends includes a scheming rat named Templeton, a prim and proper Goose and Gander, an ancient Sheep, and Charlotte, a wise, barnyard spider who concocts a brilliant plan to spin words into her web to save Wilbur’s life.

Seeing a series of incredible words—“Some Pig,” “Terrific,” and “Radiant”—written in Charlotte’s web, Uncle Homer declares them a miracle and takes his special pig to the County Fair to compete for a blue ribbon. If Wilbur wins, Homer promises that he’ll live a long and happy life, but he’ll need Charlotte’s help to make it happen.

Director Laurie Woolery returns to South Coast Repertory to direct Joseph Robinette’s stage adaptation of this classic, heart-warming tale of love, friendship and life on a farm. 

“SCR is my artistic home,” Woolery says. “Just as Fern has a coming of age in Charlotte’s Web, I had my own coming of age here.”

Woolery got her start in theatre through SCR’s Theatre Conservatory program in 1989, Where she served as director of the conservatory from 1999 to 2005. She wrote and directed many shows for SCR’s conservatory and went on to serve as the associate artistic director of Cornerstone Theatre in Los Angeles. She is currently the associate director of public works at the Public Theatre in New York City.

Costume renderings for Templeton, Wilbur and Charlotte by designer Soojin Lee

Woolery has assembled a phenomenal cast and creative team to adapt E.B. White’s classic book for the stage, including actors Larry Bates, Brad Culver, Fran De Leon, Lovelle Liquigan, Zila Mendoza, and Nicholas Mongiardo-Cooper. The designers include scenic designers Nephelie Andonyadis and Trevor Norton, costume designer Soojin Lee, lighting designer Jeremy Pivnick and sound designer Corinne Carillo.

E. B. White—His Life, Work and Inspiration

E. B. White, the author of such beloved children's classics as Charlotte's Web, Stuart Little and The Trumpet of the Swan, was born in Mount Vernon, New York. He graduated from Cornell University in 1921 and, five or six years later, joined the staff of The New Yorker magazine. White authored seventeen books of prose and poetry and was elected to the American Academy of Arts and Letters in 1973.

In addition to writing children's books, White also wrote books for adults, as well as poems and essays, and he drew sketches for The New Yorker magazine. Some of his other books include: One Man's Meat, The Second Tree from the Corner, Letters of E. B. White, The Essays of E. B. White and Poems and Sketches of E. B. White.

Funnily enough for such a famous writer, he always said that he found writing difficult and bad for one's disposition but he kept at it!

“All that I hope to say in books, all that I ever hope to say, is that I love the world.”
—E. B. White

White won countless awards, including the 1971 National Medal for Literature and the Laura Ingalls Wilder Medal, which commended him for making “a substantial and lasting contribution to literature for children.”

During his lifetime, many young readers asked Mr. White if his stories were true. In a letter written to be sent to his fans, he answered, “No, they are imaginary tales… But real life is only one kind of life—there is also the life of the imagination.”

White lived on a farm in Maine where he kept animals; some of these creatures made their way into his stories and books, like Stuart in Stuart Little, or Charlotte in Charlotte's Web. White said, “I like animals, and my barn is a very pleasant place to be, at all hours!”

White said of his inspiration for Charlotte’s Web: “I had been watching a big grey spider at her work and was impressed by how clever she was at weaving. Gradually I worked the spider into the story that you know, a story of friendship and salvation on a farm.”

Source: http://www.scholastic.com/teachers/contributor/e-b-white

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“Words That Rest on My Heart:” Charlayne Woodard Talks About the Power of Zealot

Alan Smyth and Charlayne Woodard in Zealot.

Actor Charlayne Woodard is drawn into the world created by playwright Theresa Rebeck in the new play, Zealot. Woodard portrays Ann Haddad, United States undersecretary of state.  “She speaks the words that rest on my heart,” Woodard says. “I totally identify with her passion to be of use and to help make things a little bit better for women globally.” We caught up with Woodard after Zealot opened at South Coast Repertory and asked her a few questions to delve into her love of theatre and this new play.

Nikki Massoud, Woodard and Smyth.

What attracted you to acting—and once there, did you have a mentor?
When I was in tenth grade, living in Albany, N.Y., I had a teacher who turned us on to the Greek tragedies and to Shakespeare. His name was John Velie and he was also the head of our Albany High School theatre club. He also introduced me to his favorite modern playwrights, like Tennessee Williams and Eugene O'Neill, by casting me in their plays, from tenth grade through graduation. Mr. Velie also encouraged me to write and create for the theatre, because at the time, there was very little for a young black girl to work on as an actress.

What three words describe you?

• Passionate. Life doesn't seem worth living if you don't put your whole heart and soul into it. This is the only day I have; I always try to make it count for something. Day by day. I believe, as artists, we don't have the luxury of remaining in our safe little bubbles. We must stretch and go exploring in different communities, various cultures and disciplines.
• Curious. We are as interesting as our choices. Why not know as much as we can about everything and everybody and then bring it to our work. Let our explorations inform and enhance our work.
• “Funster.” And of course, all work and no play makes Charlayne a very dull creature. So, I never forget to include joy in my day. I love the feeling of just throwing back my head and laughing out loud. I came to live out loud. Didn't Goethe say that?

What attracted you to Zealot?
I have been a fan of Theresa Rebeck's brilliant work for years now. Zealot is a bold, courageous, important play. My character, Ann Haddad, speaks the words that rest on my heart. I totally identify with her passion to be of use and to help make things a little bit better for women globally. We have a responsibility to our tribe. And there it is: a play with a feminist at its center. Her writing style and use of language poses a particular challenge to any actor. Every night I take on that challenge. Why are we working, for heaven's sake?

Woodard and Smyth.

What are some of the delights and challenges you found in creating “Ann” in Zealot?
I delight in sparring with Alan Smyth during eight shows a week. He is a great scene partner: funny, gifted and full of heart. He is dangerous as Edgar Featherstone. I have to say that one of the challenges of doing Zealot is the commute from LA! I am a New Yorker at heart and freeway driving is scary to me. Alan suggested we carpool. Brilliant! We ride to work together, taking turns with the driving. Those trips to and from work could be the material for a new two-character play. We tell each other the best stories. Sometimes we just drive home in the dark listening to great music, and one night we even sang. Needless to say, we discuss every nook and cranny of Zealot.

What do you hope audiences come away with having seen Zealot?
I hope they see the brilliance of Theresa Rebeck's writing. This play is about the times we are living in. The debate is fierce and all of the characters feel they are right. We are all zealots. I hope Zealot opens people's hearts and minds to the fact that not everyone is blessed to live as we do. That the “Boys' Club” is running the show now, women must share in power if we are ever going to change this world for the better. Change is good...for everybody.

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"Charlotte’s Web:" Six Actors Spin a Beloved Tale of Friendship

The cast of Charlotte's Web: (left to right) Zilah Mendoza, Nicholas Mongiardo-Cooper, Lovelle Liquigan, Brad Culver, Fran De Leon, Larry Bates.

E.B. White’s cherished classic, Charlotte’s Web adapted by Joseph Robinette, will be brought to life and kick off SCR’s 2014-15 Theatre for Young Audiences series. The cast is a mix of new and familiar faces including an actress who has performed for the United Nations Associations, three actors returning from The Stinky Cheese Man and Other Fairly Stupid Tales and an actress who works with an organization that uses the arts to enrich youth in communities.

Larry Bates (Wilbur) returns to South Coast Repertory where he has appeared in numerous productions—including Mr. Marmalade by Noah Haidle, Jitney by August Wilson and Top Dog/Underdog by Suzan-Lori Parks—and he has been in Theatre for Young Audiences productions such as Tales of a 4th Grade Nothing and last season’s The Stinky Cheese Man and Other Fairly Stupid Tales. He says he loves being part of productions that reach out to younger audiences. His television credits include “NYPD Blue,” “The Unit,” “Sabrina, the Teenage Witch,” “Huff,” “Dark Blue,” “Numb3rs” and “Boston Public.”

Brad Culver (Mr. Arable/Templeton/Lurvy/Judge) returns to South Coast Repertory after his debut in last season’s The Stinky Cheese Man and Other Fairly Stupid Tales. He started acting when he was a child. At the age of five, he appeared in The Giving Tree by Shel Silverstein and fell in love with the stage. He is active in theatre, film and television, and has voiced characters on Cartoon Network’s “Regular Show.” He has performed in around the world, in venues in Croatia, Germany and Scotland. He writes music and is a bass player in a band. Culver grew up in Pasadena and earned a bachelor of fine arts degree from the California Institute of the Arts.

Fran De Leon (Mrs. Arable/Sheep/Edith Zuckerman/Reporter/Spectator) is making her South Coast Repertory debut. She was inspired to act when her mother took her to see Jesus Christ Superstar. She enjoys traveling and recently was able to tour her one person show Faces of America across the United States and for the United Nations Associations. She runs Will & Company with her husband Colin which performs at schools in the L.A. and Orange County areas. Her television credits include “Charmed,” “Titus” and “That’s So Raven.”

Lovelle Liquigan (Fern/Goose/Spectator) returns to South Coast Repertory after last appearing in Life is a Dream. Past credits include Romeo and Juliet at the Independent Shakespeare Company, Steel Magnolias at East West Players and Cymbeline at Santa Clarita Shakespeare Festival. She credits SCR for reinvigorating her as an actress after taking the advanced actors workshop lead by Karen Hensel.

Zilah Mendoza (Charlotte) is making her South Coast Repertory debut. She has performed across the country and has toured with MAPP (Mentor Artists Playwrights Project) whose focus is arts enrichment for youth and developing programs in their communities. MAPP has taken her to places such Idaho (Lapwai and Coeur d’Alene), Alaska and Canada. Her television credits include “The King of Queens,” “Modern Family” and “One on One.”

Nicholas Mongiardo-Cooper (Avery/Homer/Gander/Uncle the Pig) is a Theatre for Young Audiences veteran at SCR. He appeared last season as a gaggle of characters in The Stinky Cheese Man and Other Fairly Stupid Tales. Mongiardo-Cooper also appeared at SCR in The Night Fairy, adapted by John Glore, The Borrowers by Mary Norton, adapted by Charles Way; Lucky Duck by Bill Russell and Jeffrey Hatcher, music by Henry Krieger and lyrics by Bill Russell; and Junie B. Jones and a Little Monkey Business by Joan Cushing. A favorite production of his was Ferdinand the Bull—where he portrayed Ferdinand—at the Lewis Family Playhouse. Born in New York City, Mongiardo-Cooper appeared there in numerous plays and musicals before moving to California. He attended the High School of Performing Arts and New York University.

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A Great Play Provokes Discussion: Alan Smyth Talks About Theatre, Acting and "Zealot"

Demosthenes Chrysan, Charlayne Woodard and Alan Smyth in Zealot. Photo by Ben Horak.

Irish actor Alan Smyth has an acting resume that spans the ocean—from Ireland to the United States. South Coast Repertory first encountered him as Geoffrey, the architect, in Alan Ayckbourn’s Absurd Person Singular. He brings stage, film and television experience to the role of Edgar in the world premiere of Zealot by Theresa Rebeck. We caught up with him after a show to dig deeper into his life and work and his approach to this world premiere work.

What originally brought you to the stage and acting?
Being a fan brought me to acting; being affected by performers. I have always adored movies and, as a kid, I would obsessively watch the same ones again and again. I remember saving my money and when Indiana Jones and the Temple of Doom came out; I went to see it 13 nights in a row! I always wanted to be in those worlds. Then, as a teenager, I would go watch local amateur and school productions and want to be up there doing it. My uncle was an English teacher at an all-girls school and he brought his class to see a production of The Plough and the Stars by Seán O'Casey in Dublin; I was allowed to tag along. That was it! I was in!

Alan Smyth

Who has been your mentor?
Without question a guy named Alan Stanford is responsible for me having a career. He is one of Ireland's leading actor/directors. He was my main tutor in drama school and he took me under his wing: he introduced me to his agent (who became mine) and gave me my first jobs in the business. He certainly nurtured me and truly helped me develop as an actor, directing me in many of my favorite roles to date. Our relationship progressed through the years and we became as much collaborators as colleagues, acting together, writing together and working on almost 20 productions together. Nobody has done more for me than Alan has. I am eternally grateful.


What three words describe you?
Confident. I used to think it was the thing to be self-deprecating and humble about what you do and how you do it, but now I know that’s inhibiting and prohibitive when it comes to creativity. But just trust in yourself, your abilities; to be confident in your own potential is something I feel blessed to have. Passionate: I give a shit! I really do. [About] my job, my family, my friends, my joys, my woes ... all if it! Nothing is worth doing without passion. Curious: I'm interested in so many things—in people, the world, possibilities ... all of it. I don't know a lot, but I love finding it out, whatever it is.

What drew you to Zealot?
Zealot was one of the most affecting scripts I had read in a long time. It covers so much in such a short space of time; it is funny and tragic; It is both optimistic and, not pessimistic as such but...realistic. I performed a staged reading of it back in April here at SCR and I liked it so much I gave up the last four days of my parents visit here to participate (which is precious time for me) because that’s how much I like this play. Some plays you have to do. With a play like this, you change your plans.

What’s the quick synopsis of the play from your perspective?
An innocent girl willingly involves herself in something that ends with people losing their life. She feels like she was doing the right thing and should only be answerable to God. Then, the political system takes over and it is a race against the clock to see whether or not she can survive the consequences of her actions. This play exposes the consequences of our choices, and the positive and negative influence that politics and religion can bring to bear. It also explores how the definition of civil rights can differ vastly depending upon your belief system/geographical location.

What have been some of the delights and challenges of creating the character of Edgar? 
Theresa [Rebeck] writes characters every actor wants to play; they are a gift. The challenge is to mine those characters for everything they are worth. You do not want to leave anything unexplored because these characters are rich, complicated and terribly flawed. And you are seeing them in a much-heightened state of operation, so you must fully understand them in order to know how they will behave in these circumstances. This is both a joy and a challenge. Oh, and the lines! There are a million lines to learn. But, because they are this well written, it makes that process much, much easier. The particular challenge for me in playing Edgar is not being afraid of him. I mean that at times he behaves seemingly awful toward his 'guests', he can be unlikeable, but I cannot shy away from that. I cannot want nor need the audience to like “me” at all times, I have to allow myself to be the mess that this guy is sometimes. What's delightful about Theresa's writing is that there is always a reason for people behaving in the way that they do. Also that people cannot simply be characterized as “good guys'/'bad guys.” People are people.

What do you hope audiences will take away from their experience at Zealot?
I really feel like everyone who sees this play will think about it for some time to come. It could not be more topical. It's a “debate” play as much for the audience as for the characters. I want people to be challenged by what they see, question their own opinions on things and ask "what would I do in that particular situation?" The strength of a great play is the power to provoke discussion and a revisiting of ideas or ideologies that we maybe too embedded in. The power to open ones mind and use ones imagination. That's the purpose of the artistic endeavor. And, honestly, Zealot provides it in spades.

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First Night of "Venus in Fur" Sizzles ... Onstage and Off

On Friday, October 10, all the First Nighters—and their guests—gave Venus in Fur a rousing (and, standing!) ovation before heading out to Ela’s Terrace for a party that captured the play’s mood—sexy, mysterious, and a just a little bit kinky.

First Nighters were invited to relax in the Argyos lobby, transformed into a sensuous lounge with black furniture and lusterous red pillows.  Tons of red roses—some with black feather “ticklers”—abounded, along with touches of black vinyl linen, black sheer table cloths over red satin linen and, here and there, a pair of handcuffs or a whip!

It was all in good fun, and served as backdrop for the director and actors, who bathed in praise, led by Honorary Producers Geoff and Valerie Fearns.  “Venus in Fur was simply terrific theater! Casey did an excellent job directing the play, and the superb performances by Jaimi and Graham made it exceptional.”



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