Something Familiar, Something Peculiar: A Chat with Jessica Stone about her All-Male 'FORUM'

I love theater. And I have learned over the course of my career that great theater is adaptable; a great play or musical, when approached in a new way, will reveal new facets that can illuminate the whole with fresh insight. One of my favorite examples of this is our upcoming production of A Funny Thing Happened on the Way to the Forum, which I had the good luck to see in its earlier incarnation at the Williamstown Theater Festival in 2010. As always, the show (which is perhaps the greatest musical farce of all time) was hilarious and delightful. But this time around something was different; director Jessica Stone chose to stage the play with an all-male cast. I sat down with Jessica during a recent rehearsal of the show to talk to her about why she made this choice, and how it affects both the actors and the audience. 
        -Anika Chapin, Two River Theater Literary Manager

Jessica Stone

     

Which came first—the idea of doing the show or the idea of doing it with all men?

The idea happened before I ever started directing, when I was still working as an actor. Almost six years ago, [Williamstown Theatre Company Artistic Director] Nicky Martin was going to put it in his season, and he asked me to be in it. My first thought was, I don’t want to be in that show—and then I started thinking about why I had that response, because I’ve known the score since I was a kid, and I love it. But I thought about these stereotypes that have been passed down to us from Plautus, who was a male playwright writing for male actors (women weren’t allowed to act). These stereotypes are still with us today in plays, movies, and sitcoms. Female actors have become very familiar with the ‘dumb hottie,’ the ‘shrewish wife,’ and the ‘overly sexed, scantily clad vixen.’ I suggested to Nicky that he should do an all-male production, because it would be interesting to see what happens to the comedy if you make what’s basically an all-male show, actually all-male.

I’m not suggesting this is the only way Forum can be done now; I certainly think there are plenty of people who would be happy to see an old man chasing after a scantily clad woman. (Laughs) I’m not even suggesting that enjoying a traditional execution of the show is shallow. It is of its era, or two eras: both Ancient Rome and the 1960s. Not only is the source material written by a man for men but the adapted musical was written in the ‘60s by a bunch of men for a bunch of men. So it’s fine and delightful to do it in a traditional way, but why not try it this way and see what happens to the comedy if we’re not having to actually think about female slavery; or about the fact that this character doesn’t say a word, she’s just naked all night and gyrating; or, ‘oh, it’s interesting that the woman that Hero wants is an illiterate hooker but she’s still highborn so his honor is still intact.’ They are all male constructs: it’s basically an all-male show already. When I presented this argument to Nicky, he said, all right you do it. It was the first thing I ever directed, though I had been assisting directors for a while, (particularly Nicky) and he had always encouraged me to go in this direction.

It’s such a strong and wonderful approach to the show, to flip those archetypes

around. And to make a nod to its origins with Plautus and that era of theater.

We’re setting it in Ancient Rome, in the age of Augustus, who was the first Roman emperor after the assassination of Julius Caesar. The time is a little after Plautus, but it’s once there were permanent theaters in Rome—the idea is to establish that we are watching a scrappy troupe of Roman actors (hence the all-male thing) telling our tale. I also wanted it to be a company of guys that were somewhat in the same ballpark age-wise—late 20s to late 40s—so that we have this unified palette that’s playing all ages and all sexes, to highlight their virtuosity. And it works fairly well because Roman comedy itself was fairly self-conscious; the actors were constantly talking to the audience, and commenting on themselves and their parts.

And as you were working on the show, did anything surprise you?

I knew it was a really funny book with a great score, but I discovered how impeccably crafted it is. I think the book in particular is one of the best constructed books in musical comedy. And the score is so elegant it elevates the entire evening, it’s not just Borscht Belt humor. There are a thousand things that make Sondheim a theater legend. Lyrically, there’s no one who touches him; no one is the puzzle master that he is. But musically, Sondheim is both intellectual and emotional; I feel awe and admiration when hearing complex melodic structures while still feeling moved by the beauty.

When did you know the all-male casting would work?

Not until the first preview in Williamstown. The thing that’s interesting to me is that all of what works about Forum still works: the jokes are so fantastic. What we didn’t know until the first preview audience saw the show was how beautifully they responded to the courtesans—it became less about “look at that beautiful woman, and Pseudolus wants her so badly and he just can’t buy her yet.” But more, “look at that man working so hard to play that woman for real. This is just so silly and delicious.” It’s not drag at all, which is a totally different art form. It’s about actors really playing all of these different women, even the wordless ones, for real, with all of their stakes. And also, how fun would it be for the same guy who’s playing Senex, the dirty old man, to also be a courtesan? It makes it silly and interesting to watch the leering man also be the other side of the leer. “Everybody Ought to Have a Maid” is a spectacular song. Some today might argue that it’s very sexist. I’m not making that argument because it’s too complex a matter to delve into here. I will say that we really get to enjoy how spectacular the song is on a totally different level when they maid they’re singing about is played by a guy.

I totally agree. Seeing men play those roles and wear those archetypes made the characters come alive and highlighted ideas of femininity in ways I had never seen before. Later in the season we’re doing I Remember Mama with all women and that illuminates the specific femininity of the mother-daughter relationship and provides a different insight into that play the way that this all-male casting provides an insight into this play.

We can’t be afraid to take an existing thing and turn it inside out and explore it. Otherwise we’re not doing our job as artists.

Internship! the Musical

A New Musical About the Life of an Intern at Two River Theater

Starring Matt Yee as The Intern at Two River Theater

            Hello! I am Matt Yee and I am the new marketing intern! I am a Theater Major at Brookdale Community College. I am an actor – who has performed in shows such as Mary Poppins, Rent, and Godspell – and a playwright who just had his first One Act play, Don’t Let Me Go, performed in Asbury Park, NJ this past August.

Now, you may be asking yourself, “Matt, you’re so fabulous, how did you ever get to be an intern at Two River Theater?” Well, I’ve been attending shows at Two River since A Year with Frog and Toad all the way back in their 2008-2009 season. Wow. Sadly, my next show at Two River was during their 2012-2013 season for The Electric Baby and Present Laughter. Both shows were spectacular and The Electric Baby easily became a favorite of mine. After that I’ve seen shows like Third, Camelot and the soon-to-be-cult-musical: Be More Chill.

Speaking of Be More Chill, can we acknowledge how fabulous that was? The people in the office call me a “Super fan” because I saw that show seven times. Everything about that show was so perfect. It needs to make a transfer ASAP.

But how did I see all these shows when ticket prices are so expensive? Firstly, tickets at Two River Theater are significantly cheaper than on Broadway, but there’s this thing called “Under 30.” We offer $20 to any show, sitting anywhere in the theater, the only catch is that you need to be under the age of 30. It’s definitely worth it. The thing you need to understand about Two River Theater, though, is that it’s an Equity house which means that the talent we get on stage, behind the scenes, and in production is essentially Broadway talent so you don’t want to pass up this offer. Ever.

Also, shout out to the Marketing Team. They are some of the coolest people to work with. Because of them, I have been presented with awesome opportunities such as opening nights for shows, meeting professional actors and techs, and seeing all the ins and outs of an Equity theater. All the staff members of Two River have been so welcoming and helpful that it’s going to be hard when my internship is done in December after A Funny Thing Happened on the Way to the Forum.

That reminds me! Make sure to follow and pay attention to all of our social media because I will be posting on the Instagram, Twitter, and Snapchat! You may remember my take over for Seven Guitars, well, expect much more for Forum! We have a lot of awesome stuff planned.

Want to see more? Follow me on Instagram: @DailyDoseOfMattYee and @MatthewBrysYee. Want to ask me questions or suggest stuff for me to do? Ask me on Twitter: @MatthewBrysYee with the hashtag #InternMattAttack.

Guest Post: Being Assistant Director of A LITTLE SHAKESPEARE

FROM KATE CORDARO, DIRECTOR OF EDUCATION FOR TWO RIVER THEATER:

Since 2013, Two River’s education department has produced a 70-minute adaptation of a Shakespeare play, directed and designed by theater professionals and performed by talented high school students. It is called A LITTLE SHAKESPEARE. There are many backstage opportunities through this program as well – stage crew, assistant stage managers, assistants to each of the designers and the director.

Annie Zucker has been a part of the Two River Theater family for many years, writing and performing in various education programs as well as being a 2013/14 Metro Scholar. Annie has served as the Assistant Director for both A Little Shakespeare: As You Like It and A Little Shakespeare: A Midsummer Night’s Dream, working with adaptor/director Jason McDowell-Green. She graduated in May ‘15 from Ocean Township High School and will begin studying at Boston University in January ‘16, completing general studies through their January Boston-London program, and studying film after that. When asked to write about working with Jason and being the first (and second) Assistant Director for Little Shakes, Annie had some lovely and insightful things to say about the program. We will miss working with her for the upcoming A Little Shakespeare: Pericles, and we wish her the best!

THE CAST AND CREW OF
A LITTLE SHAKESPEARE: MIDSUMMER

From Annie Zucker:

Nothing can compare to the sense of accomplishment during the curtain call of the Little Shakespeare’s last performance.  All the hard work that the assistant director does during the course of the rehearsals, tech week, and actual shows is all worth it when the actors take their final bow. Jason McDowell-Green is undeniably one of the best directors to shadow if you have any interest in this field. In many cases teen interns are the assistant TO the director, where as in Jason’s case you are truly the assistant director. Throughout rehearsals you get to bounce ideas back and forth with him, and he always is willing to listen and try your point of view.

His work environment is a very relaxed atmosphere, but with that privilege comes a lot of responsibility. As the assistant director, you are expected to have read the show before the first rehearsal and have a prior understanding of what is going on in the script (trust me, this really helps). As rehearsals go from talks to actually having the actors on their feet, you do get to be more interactive and be more of a vital player in the game. Additionally, you listen in on meetings with the costumers and set designers.

During the tech week, which is my personal favorite time of a show, you are Jason’s notetaker. You sit with him as he watches his show. He is looking at a hundred things going on, so it is really important to be his scribe, so when he gives notes at the end of the run, he’ll remember to tell the actors the little things that probably would have slipped his mind otherwise. The actual run of the show is really fun as well, obviously. Staying backstage you are there to run down the dressing rooms if someone forgot their hat, help with quick changes, and just truly be that extra set of hands that someone needs. Your duties of director are gone, and you step into the role of joy. Especially during the show, you must just be present and enjoy every second, yes that is a part of this job! If the opportunity comes up for a chance to work with Jason, always take it. You will learn more than you ever thought you could. Being the assistant director in the Little Shakespeare program at Two River Theater is one of the best things you could do during high school. So don’t pass it up!

ANNIE ZUCKER

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CLICK HERE FOR AUDITION & CREW INFO!

A Teenager Shares his Thoughts on 'BE MORE CHILL'

We here in the offices of Two River Theater deeply love our latest production, of the new musical BE MORE CHILL. It was a commission by the theater to the writers Joe Tracz (book) and Joe Iconis (music and lyrics), and we watched it take shape over the course of a few years, finally flourishing (with the guidance of director Stephen Brackett and choreographer Chase Brock) into the full production that's lighting up our stage right now.

But with any piece of theater, you're always hoping that it will connect with the audience whose message it's most for. We knew the themes with CHILL were universal - who hasn't felt unsure about who they were and wished for a magical path towards social ease and status? - but we felt especially like the show would resonate with teenagers, who were actively experiencing the struggles portrayed in the show. 

Luckily, we had a stellar group of high school interns (whom we called the "SQUIP Squad") who immediately connected to BE MORE CHILL and loved the show as much as we did. One of them, Myles Columbo, wrote this piece about the show. Like Myles himself it is thoughtful, smart, and full of heart. We couldn't wait to share it with you. 

Myles Columbo

Right now, there are two main ways that the media treats teenagers. We’re either big inappropriate kids or small irresponsible adults. And we’re always self-absorbed, apathetic, and technology-obsessed. But honestly, teenagers are our own thing. We have our own forms of communication and attitudes about the world, which most forms of media don’t want to tackle. So when Two River Theater advertised its new musical, BE MORE CHILL, as a story about teenagers, I was a little skeptical. Then I actually watched the show, and I saw a shockingly accurate look at my life. It didn’t shy away from the weird things my peers and I do and say and think. It didn’t try to clean up the mess of life as a teenager. BE MORE CHILL still surprises me with its honesty and fearlessness, and I’ve seen it three more times since then. The story is science fiction but relatable. It’s about a high school junior named Jeremy Heere. He finds out about a supercomputer called a SQUIP that would help him through every situation in his life if he just swallows it. A SQUIP would remove all Jeremy’s self-doubt and needless fear. Honestly, it sounds too good to be true. Who wouldn’t want that at least a little? Humans live in perpetual states of discovering ourselves, and it’s hard to be confident as a teenager. It feels like everyone around you already knows who they are. Jeremy certainly feels that way.

BE MORE CHILL is the story of an “average teenager.” That by itself is a surprisingly common trope, but Jeremy didn’t make me want to roll my eyes or bang my head against the wall. Jeremy Heere actually is an average teenager, because average doesn’t mean “purposely vague so you can insert yourself into the story.” He’s not some cookie-cutter protagonist. He’s a human being with complicated opinions, feelings, and relationships. And you see yourself in him anyway. That’s something I think adults forget: the stories of teenagers are the stories of adults too. Teenagers may not be adults yet, but we have the same kinds of emotions and problems. We all live in the same world and are just trying to get through it together. Joe Iconis, who wrote the music and lyrics for the show, said in an interview in American Theatre Magazine, “When you’re an adult you’re better at hiding the fact that these things feel so huge—but when you’re kid you wear it on your sleeves, because you don’t know how to cover it up.” BE MORE CHILL reminds adults of that. I’ve brought people between the ages of 15 to 75 to see this show, and every one of them has seen themselves in it. It’s resonated with my peers, my parents, and my grandparents because everyone was a teenager. High school has always been a place of clashing personalities and gaining independence. And an experience like that isn’t easily forgotten. Just like this show. It reminds us of what “human” means by showing the unrestrained humanity of the very young. It makes both Jeremy and the audience really look at some tough questions about what makes us who we are. It does it in a way that made me laugh so hard my stomach hurt and has me humming the songs pretty much every waking moment of the day. BE MORE CHILL is a show that’s both enjoyable and important. Teenagers: you’ll see yourselves onstage in a way you may never have before. Adults: you’ll see yourself as you were as a teen, and you might understand the teenagers in your life better. It, in a good way, brings out the teenager in everyone.

This show is about teenagers. But it’s for everyone.

Myles Columbo is a senior at Biotech High School and a member of the “Squip Squad” at Two River Theater, where Be More Chill is having its world premiere through June 28.

Myles observing a film shoot

Myles & Squip Squadders at work!