Showing posts with label Death of a Salesman. Show all posts
Showing posts with label Death of a Salesman. Show all posts

Monday, August 26, 2013

Charlie Robinson: Who Can Resist Willy Loman?

Charlie Robinson
Charlie Robinson, veteran of stage and screen—you might remember him from last season’s SCR production of Jitney—portrays Willy Loman in Arthur Miller’s Death of a Salesman. We asked him a few questions about the play and the character.

Artistic Director Marc Masterson says that you zeroed in on Willy Loman in Death of a Salesman as a role you wanted to take on. Why this role and play? 
Marc and I have been friends and colleagues since Houston's Studio 7, more 45 years ago.  I had never done an Arthur Miller play before, so I was eager to tackle this exceptional, renowned American legend's dialogue.  Who could resist rehearsing and performing a play written by this country's most quintessential playwright?   

How do you approach the character of Willy?
Willy Loman, is one of the most well-written, tragic figures of our time, and for that matter, probably of all time.  Death of a Salesman is considered a "perfect" play, if anything can be labeled as such. Many a playwright has tried capturing this enigma, called Willy, but they have been only tributes to Arthur Miller's writing.  I consider it an honor to have the opportunity to play this tragic figure. It is an adventure in true character study. The idea of an ever-changing reality for this man—who doesn't like his reflection in the mirror, nor in others, so much so, that death would be convenient—speaks volumes to the layers within his soul, when life becomes too much to bear.  

Why does this play endure? Why is it so universal?
Death of a Salesman resonates globally, regardless of ethnicity, because it speaks to the question of success: the ability to achieve it, maintain it, lose it and be deceived by it. We see the struggle of a man to judge his worth by the coins in his pocket, and a further struggle with himself as age and death creep up on his doorstep.  Also, the pressure for a man to leave his mark on the world, is universal, and if not by success, then how?  That question transcends time.

If you could have lunch with Arthur Miller and talk about Death of a Salesman, what would that conversation entail?
If I had been fortunate to have known the great Arthur Miller, I would ask: “At what moment in your life … did ink masterfully find paper, and Willy and his world suddenly appear?”

What do you want audience members to come away with after having seen this production?
I hope audiences will enjoy our production and that it also will move them to hold life a little dearer. I hope that they can release themselves from the pitfalls of expecting their loved ones, especially their children, to follow in their footsteps, as well as teach them not to live vicariously through their children's lives.  I would say: ‘Learn a lesson from the tragedies of all Willy Lomans; be true to yourself, accept defeat graciously and courageously, and embrace any and all success humbly. ‘

For our MyStage audience members (ages 15-25), what would you say about how to get the most out of this play? 
In preparing a young audience for this production of Death of a Salesman, or any production, I would ask that they look beyond the time and space with which the dialogue manifests itself upon a stage; instead, hear the words in the context of their own lives.  We all know people like the Lomans.  It is never too late to pick yourself up, and brush yourself off, because the alternative is fatal.  Listen mindfully, and act accordingly.


Saturday, August 17, 2013

The World of Death of a Salesman

“From Slavery Through Reconstruction” by Aaron Douglas (1934)
Michael Raiford's set design.
Director Marc Masterson has assembled a top notch team of designers to tackle Arthur Miller’s classic play, Death of a Salesman.

While the play generally takes place in the late 1940s when Miller wrote it, Masterson was interested in the overall production emphasizing the universality of the plays themes rather than an absolutely faithful historical reproduction. He and set designer Michael Raiford were inspired by the Brooklyn neighborhood setting and its increasing urban density as it encroaches upon the Loman’s diminutive home. Raiford abstracted the overlapping buildings, skylines, and fences of the city into the many linear angles and slats you can see in the set.

Holly Poe Durbin's costume design for Willy
Raiford was also inspired by the African-American casting choices which led him to the work of muralist Aaron Douglas. Douglas painted murals in the Harlem Renaissance of the 1930s, and some of his murals can be found at Fisk University and the 135th Street Branch of the New York Public Library, now called the Schomburg Center for Research in Black Culture. His work is modernist and typically abstracted from West African and Ancient Egyptian art, featuring flat forms and repeated geometric shapes.

Lighting designer Brian Lillenthal will set the mood and tone, working with rich light and the shadows cast by the set.

Costume designer Holly Poe Durbin is challenged with evoking the sense of the late 1940s and early 50s within this abstracted set. Sound designer and composer Jim Ragland will be creating a jazz infused score for the production.

Pictured: Initial ideas and renderings from Raiford and costume designer Holly Poe Durban. These are a starting point that will evolve over time until you see the final pieces at showtime.

Monday, August 12, 2013

Familiar and New Faces Arrive for Death of a Salesman Rehearsals


Thirteen actors are now full into rehearsals for the season-opening production of Arthur Miller's Death of a Salesman.The cast is a mix of new and familiar faces.

Larry Bates as Happy. He has appeared at South Coast Repertory as Ralph D in The Motherf**ker with the Hat. His other SCR credits include Booth in Topdog/Underdog, Cory in Fences, Cactus in Mr. Marmalade and Youngblood/Darnell in Jitney, for which he won the Los Angeles Drama Critics Circle (LADCC) Award for Best Featured Actor. He is a graduate of The Theatre School, DePaul University.
Chris Butler as Biff.  Butler is a two-time Ovation, NAACP, LADCC and Garland Award winner for his work in Yellowman (The Fountain Theatre) and Stick Fly (The Matrix Theatre Company).  He is making his SCR debut. Other theater includes the Broadway revival of 110 In The Shade (Roundabout Theatre Company); Gem Of The Ocean, One Flew Over The Cuckoo's Nest (Rubicon Theatre); A Raisin In The Sun, The Piano Lesson (Oregon Shakespeare Festival); Blue (Pasadena Playhouse); A Midsummer Night's Dream (The Globe Theatre); and The School For Wives (La Jolla Playhouse). Butler holds an MFA in theatre from the University of California at San Diego and a BA in dramatic arts from University of North Carolina at Chapel Hill.
Gregg Daniel as Uncle Ben. He is returning to SCR after previously appearing in August Wilson's Jitney and Fences. He recently appeared in the Mark Taper Forum's production of Joe Turner's Come and Gone. His other SCR appearances include A Christmas Carol (Jacob Marley) and Theatre for Young Audiences production of James and the Giant Peach. He is a founding member and artistic director of Lower Depth Theatre Ensemble.
Celeste Den as Miss Forsythe She returns to SCR after appearing in the Broadway international tour of Chinglish at SCR, Berkeley Repertory Theatre and the 2013 Hong Kong Arts Festival.  Her other theatre credits include the world premieres of Wild Swans at American Repertory Theater and Young Vic in London; Between Two Friends and Island at Actors Theatre of Louisville; 11 Septembre 2001 and Peach Blossom Fan with Center for New Performance; Spit, Shine, Glisten! with Cotsen Center for Puppetry; and Laws of Sympathy with Playwrights' Arena. Den received her BFA in theatre from the University of Florida and MFA in acting from the California Institute of the Arts.
Tracey A. Leigh as The Woman. Her previous appearances at SCR include In the Next Room (or the vibrator play), Safe in Hell, the NewSCRipts reading of The St. James Infirmary and the Pacific Playwrights Festival readings of Happy Face and Tough Titty. She recently appeared as Titania in Shakespeare Center Los Angeles' A Midsummer Night's Dream, in Lower Depth Theatre Ensemble's production of Elmina's Kitchen, and in The Many Mistresses of Martin Luther King at Ensemble Studio Theatre/LA.
Becca Lustgarten as Letta. She is her South Coast Repertory debut. Her past credits include work at the Williamstown Theatre Festival, Primary Stages, Hangar Theatre, and the Actor's Studio NYC. Lustgarten received her BFA in theatre arts from Boston University and studied at the Accademia Dell'Arte in Arezzo in Italy. She is a graduate of the 2013 South Coast Repertory Acting Intensive Program.
Georgina E. Okon as Jenny. She grew up in Lagos, Nigeria, and Essex, England. She moved to the United States to attend the American Academy of Dramatic Arts and “live”out a dream. She recently performed in To Be or Not at Actors Art Theatre, and The Changeling at Long Beach Playhouse. Other roles include The Snake in The Little Prince and Esther in Amazing Grace.
Tyler Pierce as Howard Wagner. Pierce returns to SCR where his credits include How to Write a New Book for the Bible and Death of the Author (NewSCRipts). He has appeared in tours of Legends with Joan Collins and Linda Evans, Barriers and A Midsummer Night's Dream. His selected regional theatre credits include I'll Be Back Before Midnight (The Colony Theatre Company); How to Write a New Book for the Bible (Berkeley Repertory Theatre and Seattle Repertory Theatre); Good People (Geffen Playhouse); Gronholm Method (Falcon Theatre); Death of a Salesman (The Old Globe); and A Streetcar Named Desire (Guthrie Theater).
Christopher Rivas as Stanley. The New York City native recently finished a great run and romp in The Assassination of Leon Trotsky, A Comedy at the Odyssey Theatre Ensemble. His other stage credits include Helen at the Getty Villa, Songs of Bilitis with Rogue Artists Ensemble at the Bootleg, and Camino Real at The Theatre@Boston Court. His Indie film Public Law is making the festival circuit now, and he's just shot a pilot titled "Clandestine." Next to acting, Rivas lives creatively through his poetry.
Charlie Robinson as Willy Loman. His work at SCR includes The Piano Lesson; My Wandering Boy; Fences, which earned him a 2006 Ovation Award for his portrayal of Troy; and Jitney, which earned him a Los Angeles Drama Critics award nomination for his portrayal of Becker. He is received an NAACP's Theatre Image Award for Best Actor in a Play for The Old Globe's The Whipping Man. Another theatre home for him has been the Oregon Shakespeare Festival. See him soon in the feature film, Hoovey, to be released this year.
Kim Staunton as Linda Loman. She last appeared at SCR as Berniece in The Piano Lesson. Staunton has been a guest company member at the Denver Center Theatre Company for the past 13 seasons. She represented the Colorado company as an inaugural Lunt-Fontanne Fellow at the Ten Chimneys Foundation. Staunton has also appeared regionally at Ebony Repertory Theatre, Center Theatre Group/Kirk Douglas Theatre, Syracuse Stage and the O'Neill Theatre Center. She is a native of Washington, D.C., and a graduate of The Juilliard School.
James A. Watson Jr. as Charley.  He last appeared at SCR in August Wilson's Jitney. Watson trained at the Royal Academy of Dramatic Arts (U.S. Extension) and his television and film work earned him an Emmy nomination, and NAACP Image Award. His other theatre work has included National Pastime (The Fremont Centre Theater, Pasadena) Dream on Monkey Mountain (Mark Taper Forum) Lemon Meringue Façade (Best Supporting Actor nomination, San Fernando Valley Awards), In White America, Room Service (A.C.T., San Francisco), and Rashomon/Outrage, Golden Boy, Calculated Risk (Marla Gibbs Theater).  
Tobie Windham as Bernard. His last appearance at SCR was in A Midsummer Night's Dream. His other stage credits include The Whipping Man at Marin Theater Company, Seven Guitars (San Francisco Bay Area Critics circle nominee for best actor), Blues for an Alabama Sky, American Buffalo, Balm in Gilead, Slither, The Brothers Size (SFBATCC nominee for best actor), Marcus; Or the Secrete of Sweet and Two Coons. He has performed on the stages of The American Conservatory Theater, Magic Theater, California Shakespeare Theater, Chalk Repertory Theatre, South City Theater Company, City Equity Theater and Birmingham Park Players.  He is a native of Birmingham, Ala.
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Tuesday, July 9, 2013

Marc Masterson Talks Theatre, SCR and 50th

Charlie Robinson as Willy Loman in Death of a Salesman.
.
Masterson on Segerstrom

“Great actors deserve great roles.”
—about Arthur Miller,
Death of a Salesman

“Her work is subtle and smart. She is one of the bright lights in American theatre.”
—about Amy Herzog,
4000 Miles


“Piazza is a lovely musical—a beautiful story, elegantly told.”
—about Craig Lucas’
The Light in the Piazza,
with music and lyrics
by Adam Guettel.

“Sam is a rising star in the American theatre. The compassion and love in this play is breathtaking.”
—about Samuel D. Hunter,
Rest


“Here is a fierce, dark, and funny take on a classic by Moliere by one of the most inventive directors working today.”
—about Moilère’s Tartuffe,
which was the first production (1964) done by South Coast Repertory.
The Stage is Set: Segerstrom Stage for SCR’s 50th Season

For Marc Masterson, many things factor into programming a theatrical season. One of them came up over a lunch with actor Charlie Robinson.

“I asked him the question, ‘What roles do you want to play? What are the great roles that you feel challenged by?’” Masterson recalls. It was a great lunch topic for SCR’s artistic director and his long-time actor friend. “I believe that when an artist is challenged, they have the opportunity to do their best work. And Charlie said he wanted to do Arthur Miller’s Death of a Salesman.”

And that’s the work that opens SCR’s 50th Season.

Early in the summer, Masterson gathered a group of actors, including Robinson, to do a reading of the play to hear it.

“Out of this initial reading, the challenges, strengths and universality of it were apparent and clear to us,” he says. “It’s a classic play that has been produced in almost every language, in different cultures and different contexts. I think we demonstrated that the play is deserving of a great cast.”

Masterson says the variety of offerings on the Segerstrom Stage is exciting: classics like Death of a Salesman and Molière’s Tartuffe (which was SCR’s first production in 1964), the highly acclaimed 4000 Miles by Amy Herzog, and the world premiere of Samuel D. Hunter’s Rest.

“I’m extremely excited about Rest,” says Masterson. “It’s compassionate and loving in a way that is breathtaking. He’s got the ability to write a story with characters in it that you deeply care about. They have problems that are so human and so understandable. It’s a beautiful, beautiful work of art. Sam is definitely a rising star and has had a great deal of success already. I think this play is going to launch him into the stratosphere.”

Masterson also looks forward to what he calls one of his favorite musicals: The Light in the Piazza, by Craig Lucas, with music and lyrics by Adam Guettel.

“South Coast Repertory has had a great relationship with Craig from early in his career,” Masterson relates. “And I’m also a fan of Adam. They have created something beautiful in The Light in the Piazza: it’s a lovely story, elegantly told. I can’t wait to share it with our audiences.”

Find out more about the Segerstrom Season

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