Circus Barker

Kathy, this is why, after 12 years, I recognize a down draft/tornado about to happen. http://harvardpolitics.com/culture/the-alabamafication-of-america/ You may feel that anything from Harvard is somehow slanted, but it sums up what we have been witness to. I have thought a lot about it on my own, away from commentators. Our local newspaper is slanted to protect these guys. I really respect that you enter into exchange about all our worries. We are all surely worried. I want you to know that, since the day Trump got elected, it has not been about wanting Hillary instead. She lost. It's over. For me it's about protesting a force that endangers my hard won rights and those of my family. For example family planning. Alice got a gynecological exam and birth control pills from Planned Parenthood in LA while she was working here in AL because Alabama would not permit her any. Also when I was in college, girls died from infections following backstreet abortions. Nobody likes abortion, but it is a godsend to have safe, legal abortion in our country. I always argued with Penny that there were alternative abortions happening in the streets when unwanted babies grew up into young black men murdered on some parking lot. I have believed this for almost 50 years and watched unwanted babies shoot each other all over the country, everywhere I've lived, for every one of those years. For my part, I had the National Health in England. Dr Helena M. Reckless who referred me to the Migraine Center where I found out birth control pills were giving me crippling migraines. I had to use another form of birth control. Thank god for the National Health. So those are two things I respect that are targeted to be dismantled.

I WITNESS WOMEN'S MARCH

At least 200 people were there. Believe me, I can count a crowd/audience. Our theatre holds almost 800. I've seen 3,800 at the Met. What I saw was a hundred times a full house at our theatre: 80,000 to view. 80,000 in front of me, 80,000 behind me when we were at a standstill for the rally watching a big screen that was blocked by a tree and thousands of pink wool hats. 80,000 anyway I could see. We were packed in tighter than we had been on the Metro getting there. Any request to find a friend or go over the concrete barriers or hold onto a child seemed unreasonable. But all requests were accommodated. We broke down and helped, even if it meant budging off your good spot. Some stood on the concrete protection barriers which had a slim ledge at the top giving about a three foot vantage. Some sat determinedly on that ledge with a water bottle beside them. I thought those standing were like contestants on "Survivor" trying to endure and maintain balance. The sight of the vast crowd sustained balance. We suddenly heard that a four year old boy with a pink bandana was lost in the thick throng. The word was passed from ahead of us and shouted back and back again and again. Then fingers pointed to where he was found. A crest of pointing fingers followed his movement forward to his parent. A doctor near us was called for in two directions. Her first visit was away from us. All was well. Then there was a call of "doctor" near us. When she was assisted over the barrier near us and up into the hedge we were proud to help her, just to see her. It was the picture of universal health care.
A speaker told us that "in a few hours" we would march to demonstrate peacefully. The thought caused a visible shrinking in listeners. We had been there since 8:30, three hours already. Amazingly more people were wriggling into the pack all the time. How could the group thicken anymore? The Pre-March Rally opened with a piercing Native American chant swelling with bravery and touching emotion. It was a moment of beauty clarified. She had no mike for her drum but, thank god, did not wait for technical adjustment. The arrow of her voice fell straight into our hearts. Then America Ferrera was so clean in her introduction of the march. No ego.There was a song, a kind of rap corridos, which I could not hear well.Then Charlie welcoming us and then the organizer of the march with her new baby and then Gloria Steinam. After Gloria Steinem we could not stay still. We had to find Alice's friend Stephanie for whom we had been waiting since 8:30 at the FedEx Office on 10th and Independence. And we had to find answers for the call of Nature. We tried to edge through the sardine pack, back to the Hirshorn where a bank of toilets was. There were slipstreams to join, one moving horizontally across the crowd, two haphazardly parallel down the street. NOT ONE CAT FIGHT!!!! In an ocean of woman for eight hours, and yes, there was edginess in the bathroom line, but never a scratching, never a hissing, hackle-raised moment. No fashion competition. Something about those hats. Like taking the veil, there was a higher purpose than what we wore. Herding cats meant something different than stampeding horses. The symbol of the day was sinew clothed in softness. Image may contain: 1 person, smiling, standing, sky and outdoor

PROCESS AND TEXT

I'm an actor and a theatre director. I love watching my actors come away from the pages into their performance. As an actor it is tougher for me because I want to be word perfect. I over respect the script. You can't embody the text without being on your feet. While you are working the text into your being, you carry the text around. Then you start dropping it down all over the place. Some actors keep carrying it down their shirt or in their back pocket or up a sleeve or in their belt. This idea that you are not an actor unless you start rehearsal off text is a being inhibitor! They ain't kidding when they say "It's a mystery." Some keep their mystery to themselves, some are show offs, some only live when the audience shines on them. Demanding actors be "off script" at first blocking rehearsal seems inorganic and exclusive. There are all types of brilliant actors and they have many differing ways of reaching their performances. It can annoy you how they do it. You may feel they are not cooperating with the way you are working to fashion your performance or to fashion your show. But once you are actually in the performance with them, you will benefit from the energy and connection they have accessed in their own way. As a director I can appreciate a show that turns out even better than I anticipated.

...we'll tak a cup 'o kindness yet...

http://www.amazon.com/Zen-Ghosts-Jon-J-Muth/dp/043963430X/ref=sr_1_1?ie=UTF8&qid=1329973540&sr=8-1#reader_043963430X

The main thing I've always loved in England since I lived there for a decade in the 70's is the magical quality of the light. In all my times returning there for visits to Geoffrey's family from when our daughter was a toddler until his mum's death, I've been enchanted repeatedly by that light, how it falls and glows through the softly mossy brilliant greens of the landscape and down the city ivy in London. I find the country very Peter Pan and Midsummer Night's Dream...Pre-Raphaelite.
Long shadows, elongated shadows. Everyone needs a shadow says Carl Jung!
When I returned from Windsor in December, I told Peter about the light. I am so pleased he caught that in the luminescent set. You see, I'm in love with the whole thing already.
Now we just need the people and the text! The main ingredients.
I will ask Brenda Van der Weil to email you a Falstaff costume rendering. I know she is working on colors this weekend. His headpiece is kind of comic opera right now with realistic horns.
Some ideas Brenda sent to me for the final scene were abstracted Art Nouveau masks and also children with plump rose wreaths on their heads -- Isadora Duncan look -- somewhere in here is the answer.
I checked on Gilbert and Sullivan performances in the early 1900's -- running strong into the 1920's!
Yours,
Diana

Links in the general area of music and movement:

Isadora:
http://www.youtube.com/watch?v=mKtQWU2ifOs

Below not the Mikado but puts me in mind of two little maids from school
Sumi Jo & Ah-Kyung Lee - Delibes - Lakme - Flower Duet

Check out this video on YouTube:

http://www.youtube.com/watch?v=U4MmatVblDk&feature=youtube_gdata_player

Letter to an actress:

Merry Wives is set in 1905-15 Windsor, England enhancing and extending the idea of ASF's "British Season" with 39 Steps, Travels With My Aunt and Henry VIII.
The set for Merry Wives is in autumnal colors (the text has an autumnal feeling) with a distinct pop-up book look in Art Nouveau/Tiffany window style. The town houses are framed by a proscenium arch in abstracted stained glass rendering of autumn trees. The houses are movable rotating carts - one side exterior, other interior. The distant vista is of the green grounds surrounding Windsor Castle and a view of the castle itself. The final scene of the play, which shifts to Windsor Great Park, features a Herne's Oak that is very much in abstracted Tiffany style!
It's a middle class play. Unlike most Shakespeare, not a noble in sight. I'm thinking about having Royals pass in an imaginary progress so Falstaff can bow. After all, Windsor is the royal seat.
As you know, I was over there, In early December collecting impressions.
Mistress Page and Ford are younger and sexier than often portrayed. Maybe a little touch of the Absolutely Fabulous. But wives of shopkeepers of Windsor, a town totally in service to the castle.I loved the feel of the original publicity shot. The ladies are completely delirious companions!!
There will be cuts -- for the sake of clarity and time.
Looking forward to your presence in our fair city!
Diana