Open Rehearsal: The Court Theatre Blog
September 19, 2008
What’s it like under water?
Brittany A. Little, Production Dramaturg:
Let me tell you, this has been a fantastic experience for me—hectic and a little intimidating, but fantastic. Being a third-year History major at the University of Chicago and an artist, the chance to really dig deep into a work like Kushner’s, with a cast and production team as wonderful as this one (Charles Newell and E. Faye Butler…what more can you ask for in life?) has allowed me to bring my academic and artistic lives together.
I’ve been working with Court for a while now. I started as an intern in the Development office (hey guys!), went on to work as the Assistant Director of last season’s The First Breeze of Summer with Resident Artist Ron OJ Parson (One of my favorite people) and then I found myself trusted with this position, one usually handled by someone older and with a lot more experience than I. But that’s why I love Court—they give younger people like me, the opportunity to learn new things and grow under their guidance.
So, it was either sink or swim and I was determined to swim because I could not let Court down. I must admit, it was daunting at first. I had to balance a fellowship with a theater across town, make time to wrap my head around all of the complex themes that are featured in Caroline, and present them in the most informative and beneficial way possible.
Complexity is a feature of Tony Kushner’s work and Caroline is no exception. This musical touches on so many topics that are rarely seen in theater that my job was difficult (rarely, for instance, do we see African-American women at the heart of a full-scale show). With Caroline, I found myself elbow deep in books, microfilm and documentaries trying to find images and written accounts of these silently suffering Southern maids who seldom got to tell their stories. Add that to other themes like the Civil Rights Movement, racism, segregation, poverty, JFK, Jewish/Black relations, music of the 1960s, the Jewish American, Louisiana and domestic appliances and you end up with stacks and stacks of some of the most interesting material that a Dramaturg could ask for.
To work on such a huge show with a cast and crew this experienced made me nervous, and I rarely doubt my abilities. How much is too much and how much is too little? These worries plagued me until I sat down with Charlie and realized that he liked his research short but informative. Answer his inquires, send out anything that I find interesting to the team and give the actors a 20-page packet with lots of great pictures. Charlie gave me freedom to explore and share my findings and I really began to fall in love with the material.
By the time rehearsal came along, I was so excited that I was ready to share everything with the cast (whether they were interested or not). So, I put up a table full of books and historical research in the rehearsal room but honestly thought that the cast wouldn’t even glance at. I was wrong—they actually checked items out and wanted further information! That is what is so great about having an extraordinarily talented and intelligent cast. They really worked at their characters so that they could present the best show possible. They asked such fascinating questions that I was excited to find the answers for them. The cast and the entire production process motivated me, as a student and an artist.
There is nothing like watching the indescribably fabulous E. Faye Butler and Music Director Doug Peck work through a song note by note, Kate Fry find the subtlety in a phrase, Harriet Nzinga Plumpp flow effortlessly between characters, Iris Lieberman execute perfect comedic timing or the child actors scramble through their hilarious first act number. Being able to add to that experience in my small, complicated way feels amazing. As I sit and watch the final product, I can see a little Martha and the Vandellas in the Radio, know the significance of the oil that fries the latkes, and understand the desperation in Caroline. It makes me realize how much insight Caroline, Or Change has to offer to the audience.
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