Friday, December 9, 2011
Monday, October 24, 2011
MACBETH--Company Bios
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Musician
Davey Morrison has been working with Grassroots Shakespeare since the beginning, and has loved every second of it. Davey played Dogberry in GSC's 2009 production of "Much Ado About Nothing," in the 2011 summer tour he played Touchstone in "As You Like It" and Hermia in "A Midsummer Night's Dream," and he's excited to be back to help as a musician for "Macbeth." Davey has performed at the Hale Center Theater Orem, the SCERA Center for the Arts, BYU, and New Play Project; some of his favorite roles include Kilroy in "Don't Drink the Water," Seymour in "Little Shop of Horrors," George Spelvin in "The Actor's Nightmare," Mr. Martin in "The Bald Soprano," and Dromio of Syracuse in "The Comedy of Errors." Davey will be graduating from BYU in April 2012 with a degree in film.
TOPHER RASMUSSEN
Malcolm
This is Topher Rasmussen's first Grassroots Shakespeare show, and he is loving every second of it. Topher is currently studying theatre at UVU. Recent credits include Demetrius in "A Midsummer Night's Dream" (DAC), Brian in "Borderlands" (Plan-B Theatre Company), The Artilleryman in "Jeff Wayne's Musical Version Of The War Of The Worlds" (The University of Utah), and William Holloway in Ray Bradbury's "Something Wicked This Way Comes" (Utah Valley University). Other favorites include Leonardo in "Blood Wedding", Benedick in "Much Ado About Nothing", Autolycus in "A Winter's Tale", and Tiresias in "The Burial At Thebes". He would like to thank his friends and family for their support, and especially Javen Tanner for his brillince and mentoring through the years.
Witch/Murderer
Wes Tolman is excited to be a part of a Grassroots Shakespeare mainstage production once again! He was a member in the Original company when it was founded several years ago and has participated in many workshops since. Wes graduated from UVU last year with a Bachelors in Performing Arts. Most recently, you may have seen him as Gangster #2 in "The Drowsy Chaperone" at the Hale Center Theater. He has a great love for Shakespeare's works and hopes to do them all his life! Much thanks to my teachers and mentors over the years, namely Chris Clark and John Graham, and my parents for always supporting me in every role I take.
CAMERON BENCH
MacDuff
Cameron Is excited to come play with Grassroots at long last. He is from Orem, Utah and is currently studying theatre at BYU. Recent credits include Louis XIII in "The Three Musketeers," Curtis in "Yellow," and Romeo in "Romeo and Juliet;" as well as directing "The Importance of Being Earnest" and "All's Well That Ends Well."
Porter/Gentlewoman
Zoe Wilde is thrilled to be apart of her first Grassroots Shakespeare Company show! Zoe is a Sophomore at UVU majoring in Theater Performance and has been seen in "What the Moon Saw," at the Edinburgh Scotland Fringe Festival, Pimple in "She Stoops to Conquer," at UVU, and Adelaide in "Guys and Dolls" at MVHS. She thanks her fellow cast members for all their brilliance and her family for the never ending support. Enjoy the show.
DAVE MORTENSEN
Co-Producer
Dave is an independent producer and advocate for Utah theater based in Salt Lake City. He holds a BA in Theatre Studies from Brigham Young University with an emphasis in directing and dramaturgy. During the past 5 years, he has produced 19 plays including 11 new works by local playwrights. He is a co-founder of Mortal Fools Theatre Project in Provo, and the founder of UtahTheaterBloggers.com. Directing credits include LITTLE HAPPY SECRETS, and WITHOUT FEAR.
Musician
Nicole Allen has a BFA in dance from Brigham Young University, where she performed and choreographed with a modern dance emphasis. She is not an actress, but loves all things Shakespeare and especially Grassroots. She has had a blast working with this cast, and playing around with the music. May the Bard be with you.
HEATHER MURDOCK
Lady Macbeth
Heather Murdock loves theater, especially Shakespeare. Her first performance was in "Twelfth Night," and she has been hooked ever since. Heather has been participating in Grassroots from the moment she heard about them. In their 2011 summer touring company she played Rosalind in "As You Like It," stayed involved as an ensemble member during "Midsummer," and stepped into the role of Lady Capulet in the remount of "Romeo & Juliet." Heather is delighted to be a company member in Grassroots' Halloween production of "Macbeth," and hopes that you enjoy the show. She would like to thank the UVU Theater Department for all the support they have given over the last four years. Especially, Christopher Clark who has been an incredible mentor and friend.
Witch/Muderer
Robbie X Pierce is delighted to be returning to the Grassroots Shakespeare Company after having performed in Romeo and Juliet. He is a founding member of Laughing Matters Sketch Comedy. He recently played Julien in UVU's "Tea With Mint or Lemon" and Ralph in "Frozen" and will next be seen as Ben Weatherstaff in UVU's "Secret Garden." He wants to thank an awesome company. This process has been insane and endlessly rewarding.
JORDAN KRAMER
Witch/Murderer
Jordan Kramer is super stoked to be a part of such an amazing production. He has spent the last year working with Grassroots' sister company, Utah Shakespeare in the Park, where he performed in "Romeo and Juliet" (Peter), "Uncle Vanya" (Serebrekov), "The Importance of Being Earnest" (Algernon), and "the Merchant of Venice" (Shylock). Other favorites include "Urinetown" at UVU and "Aida" at the Scera. Jordan would like to thank the entire Grassroots family for all their love and support! *Sparkles*
Co-Producer
Alex is one of the founding members of The Grassroots Shakespeare Company. He has been seen onstage in Company shows as Benedick, Lord Capulet, Orlando, Titania/Hippolyta, and Peter Quince. Other Shakespeare credits include: Orsino (TWELFTH NIGHT, Utah Valley University), Gonzalo/Stephano/Caliban (TEMPEST, UVU), Pericles (PERICLES, BYU Young Company), and Baptista (TAMING OF THE SHREW, Utah Shakespeare Fest. Touring)
NICK GROSSAINTBanquo
Nick Grossaint couldn't be more excited to be in another Grassroots production. Nick enjoys loud music, fun, and a good party. After 4 years and 15 shows Nick will be graduating from Utah Valley in the Spring. Nick thanks his friends and family for getting on this rollercoaster with him and enjoying the ride.
Lady MacDuff/Fleance/Doctor
Lily Hye Soo Dixon received her BFA in classical acting at SUU. Recently she was involved with The New York Theatre Int. & EST. Shout out to my husband Eric and to our son Lennon! Love!
ANATASHA BLAKELY
Ross
Anatasha Blakely has a BFA in classical acting from Southern Utah University and has recently been seen at The Neil Simon Festival, The Kingsmen Shakespeare Company and The New Conservatory Theatre of San Francisco. Bam! Shakespeare!
Duncan/Siward
Leviticus Brown is the largest of the grassroots company. You may have seen him in the summer tour as Oberon, Theseus, William, and Charles the wrestler. His other production credits include, Othello (Othello{understudy}), Twelfth Night (Sir Toby Belch), She Stoops to Conquer (Tony Lumpkin), Holiday Night LIVE! (Various), and many more. Leviticus is currently finishing his BA in Theatre Arts at UVU, and would like to thank his instructors there for the support and mentoring they offer. He hopes that you all have a wonderful time and remember, "Prose before hos."
ERIC D. GEELS
Macbeth
Eric D. Geels is excited to be joining the cast of Macbeth as his first Grassroots Shakespeare show. Since 8th grade, when Eric was first introduced to theatre, he has had an undying passion for the arts and the role they play in every persons life! Eric has been seen in roles including Beethoven from "Dog Sees God", Malcolm in SUU's production of "Macbeth"' and Dexter in "Darkly Dreaming Dexter". He would like to thank his wife Lily Hye Soo Dixon-Geels for loving and supporting him in everything he chooses; and to their son Lennon for being the greatest thing that has ever happened to him. Also, I love you buddies!
Friday, October 14, 2011
Why Be a 'Groundling'
So, you are going to come and see Macbeth by the Grassroots Shakespeare Company. There’s no question about that. But why should you buy yard tickets and come as a ‘groundling’ and stand the whole time? Well here are
Nicole Allen’s Top Ten Reasons Why You Should See Macbeth as a ‘Groundling’:
10. It’s cheaper. In this economy? seriously.
9. You are literally inches away from the actors and all the action.
8. Audience participation. You can’t avoid it when you are leaning on the front of the stage.
7. You’ll be perfectly situated to throw bread and rotten fruit at your least favorite characters.
6. Its COLD outside. Why not stand close to your fellow patrons and actually stay warm?
5. You stand up at rock concerts don’t you?
4. You’ll be in spitting distance. Everyone loves the splash zone at Sea World don’t they?
3. You’ll be called a ‘groundling’. Seriously. How cool is that?
2. Ever wanted to look into the eyes of a murderous lunatic? You’ll get you chance! (without the real danger of actually getting murdered)
1. Feel like you want to take part in the ‘Occupy Wallstreet’ protests, but can’t? Come be like the 99% of Shakespeare’s day, and stand brother to brother, while getting entertained!
Convinced? Here’s how you get tickets!
Go to www.grassrootsshakespeare.com/macbeth and click on the ‘Buy Tickets’ link.
Not convinced? Then there are still seated gallery seats as well, for the weak of heart.
Tuesday, September 6, 2011
The Skinny on Auditions: MACBETH
What you should know:
We're an original practice company--this means we're exploring producing and performing Shakespeare the way it would have been done in his day. How does this apply to our upcoming production of Macbeth?
CASTING
- We Have No Director. Directors didn't show up on the scene until two hundred years after Shakespeare kicked the bucket. Macbeth will be produced and staged entirely through the collaborative efforts of the Company.
- "Whoa whoa whoa! Hold on a minute--how will the show be cast?" Open auditions will seen by current members of the Grassroots Board of Producers, who will make a preliminary determination as to who will be invited to callbacks.
- Callbacks: Actors invited to callbacks will have the opportunity to participate in a series of exercises designed to approximate the experience of being a member in the collaboratively staged production.
- Voting: At the end of the callback, ballots will be distributed and each participant will be asked to nominate 10 of their peers present at the callback to join the company.
- The Tally: The 10 actors receiving the most votes from their peers will be asked to join the company of Macbeth.
- Assigning Roles: The newly formed company will meet to conduct readings for specific role assignments in the play. The final cast list will be determined by several rounds of reading, voting, and discussion.
REHEARSALS
- The Crunch: Historical documents indicate that renaissance companies had very little rehearsal time. In some cases, it appears that the actors opened a show without ever having rehearsed that show together before, having learned their lines independently and coming together only to run the fights or music on the morning of the performance.
- 12 Rehearsals: In an attempt to recreate some of the madcap frenzy of creativity and collaboration that would have existed under such conditions, we will rehearse Macbeth in just 12 short rehearsals.
- Con Your Lines: Actors come memorized to the first rehearsal. Casting is completed two weeks prior to allow time for learning the lines.
- Collaborative Staging: Actors come prepared to the first rehearsal with a fully-fleshed out rough draft of their performance. Rehearsals are the time for coordinating those choices and for developing relationships as a company that will translate into performance.
- Try it Once: All members of the company are expected to contribute to developing the show through assertive input and feedback. If one actor suggests an idea to another actor, he or she is obligated to try it at least once in rehearsal to see if it works for them. Final decisions regarding all choices are left to the individual actor. Call it 'cooperative anarchy'.
- Actor as Artist: Actors are responsible for the creation of their own characters, including costuming. This is an opportunity for actors to express their vision of the character and their position in the unique world of the play independent of an over-arching concept or design. Costumes and props are all furnished by the actors and are often anachronistic or atypical.
PERFORMANCE
- A Stone 'O': Performances will take place at the Castle Amphitheatre in a set-up reminiscent of The Globe theatre. Two types of tickets will be available: standing tickets for the yard, and limited ticketing for seating in the galleries.
- Lose the Fourth Wall: This production will be highly interactive and engaging for all members of audience, but especially for the groundlings who will be mere inches away from the action.
AUDITIONS:
Tuesday Sept. 13th
4pm-7pm
UVU rm. GT631
Please come prepared with a one minute monologue from Shakespeare.
If you are unable to attend during the open audition, please email:
Bard@GrassrootsShakespeare.com
to schedule an appointment.
For further insights into the Grassroots Casting process, check out:
and
Thursday, August 25, 2011
The Grassroots ethos in action
At the end of our penultimate rehearsal, mere days away from opening night, we were gathered into a huddle to hear some news and make a decision. There were a couple faces looking worried and stressed, and it seemed like there must be something really bad about to happen. Did the park revoke our permission to perform? Did somebody’s relative die, and they have to be at the funeral?
Turns out that one of our own, the fabulously talented Holly Davies (who has created perhaps the sexiest Puck in the history of the world) has been offered the most tremendous opportunity. She’s been given a role in a BBC pilot without even auditioning! (yep, she’s just that good.) There’s just one problem:
Filming goes late into the night on both Monday and Tuesday, our scheduled opening night and second performance. She hasn’t told them yes, because she wanted to talk to all of us first. She didn’t want to let us down.
We all looked at Holly. There were tears in her eyes as one of her cast mates held her shoulders and we all cried out how marvelous! How amazing! Congratulations! Eve spoke perhaps for all of us when she said, “It never even occurred to me that you wouldn’t TAKE it! Of course you should do it! We’re all behind you.”
That’s Grassroots. That’s the magic of a group of people working for free at what they love, with people they respect, with this as the highest aim: to make great theatre from scratch with nothing but the script, the company and the passion we all share, and bring it to the people of London because it’s what we love to do.
We’re all behind Holly 100%, with pride far outweighing any envy or sadness because we’ve also decided we’re not canceling. Oh no, not Grassroots. We’re going on! We’re putting off opening until Weds, and performing Monday and Tuesday as open dress rehearsals with our friend Adam Elliot standing in as Puck. At the end of these previews there will be a chance to get feedback from the audience and a Q & A about Grassroots and “original practices”. In losing Holly for those two performances, we’ve all gained a deeper sense of community and support, a serious pride in our cast mate’s brilliant gig, and the chance to “perform” for an audience while still rehearsing!
How did that happen? We ALL won!
And this, perhaps, is what I love most about Grassroots. When 12 gorgeous and talented people have your back, you go out feeling like a champion and knowing that your world will be rocked by the people you’re playing with. You go out expecting surprises and gifts, spontaneity and wonder and damn fine work from all your fellows. When 12 generous and creative performers have your back, you’re safe to open your heart or even fall on your ass. You’re even safe to leave, knowing it won’t be the same without you but that you’re also not letting us down.
I call that magical. I call that one of the best things I’ve ever been a part of.
Thank you, Grassroots Original London Cast, for being who you are. Congratulations Holly, we love you and will miss you and will do our best to rock those shows in your honor. Thank you in advance to the audiences who watch us wrangle with an unexpected situation and still come out punching!
And while we’re at it, thank you Mr. Shakespeare. You wrote a damn fun play.
Wednesday, July 27, 2011
A peek inside the Grassroots audition process!
We all know what a typical audition entails; you walk onto a bare stage, introduce yourself to a vaguely discernible casting director sitting somewhere out in the fourth-wall ether, and then (if you're lucky) launch headlong into a monologue that you have spent weeks preparing. Almost immediately, you finish, head out the door, and await the results with baited breath for days, sometimes weeks. Grassroots auditions are... different.
From the very first moment of auditions, you are part of an ensemble. You're encouraged to give and take feedback from your fellow auditioners. You're urged to speak directly to them during your performance, and to notice and use the surrounding environment effectively. In some ways it's a bit daunting, trying to stand out and be heard in the middle of a vast park, and having your audition piece openly scrutinized by strangers. But in other ways, it can be quite satisfying to let the energy of an audience enliven your performance, and to foster a sense of community with your peers. Auditions are never easy, but Grassroots auditions are, at the very least, unique.
The most difficult, and perhaps the most important part of the Grassroots auditions, is the voting. After devising a few scenes in small groups, and performing them for each other, the recalled group of actors write up confidential ballots, listing the people they would most like to work with. After that, a simple tally determines the company. For those who, for whatever reason, don't make the final cut, it can be pretty disappointing. But those who do make the company find an instant network of supportive, trusting, enthusiastic friends, each of whom are there because of each other's votes.
The instant bond created by this exciting, if harrowing process, allows us to jump straight into rehearsals. And for Grassroots, that's an absolute necessity. We only have ten days, after all. There's no time for trust-falls or bridge-building. The connections have to be there from day one. If we're trying to approach Shakespeare the way his original players did, then we need an incredibly cohesive, tight-knit group, like they had. So, although it can be dispiriting for those who feel rejected by the voting (and the difference between total validation and total rejection is often just a single vote), it is incredibly beneficial to the creation of an enthusiastic and sincerely collaborative ensemble.
If you like what we do, please help us by sharing with your friends and family! In England, follow us at Grassroots Shakespeare · London on facebook, or @grassroots_lon on twitter. Our upcoming production of A Midsummer Night's Dream promises to be a surprising and enchanting event!
Sunday, July 24, 2011
The First Blog Post of the New Grassroots British Shakespeare Company
The First Blog Post of the New Grassroots British Shakespeare Company
It’s been an interesting road to get to this point. I’ve never gone through an audition process quite like this: so relaxed, open. From the instant we all met, the method seemed almost designed to make us into a company. Performing monologues in front of each other was an audition experience I’d had only once before, auditioning for drama school (at the end of which, I got in). It’s amazing the difference it makes to your performance to have a supportive audience. Nerves melt away with the laughter or rapt attention that accompanies the performance. By the end of the day, I felt like I knew everyone and they al l knew me. There was no worry about who would get in and who wouldn’t because we all felt we’d been given an equal opportunity. We knew that no matter what, whoever made up the company would be talented and fun to work with.
I could talk about the recall but I would basically be repeating myself: the exact same enjoyable experience except with fewer people. By the end of it, however, there was an excitement: only thirteen of us could make it and every one of us (you could tell) desperately wanted to get in. Not just to act but because it would be so much fun to act with these people.
And so it was with much joy that I discovered I was to be part of the group. Additionally, I would be fulfilling a life long dream of mine: to perform Shakespeare in London in the open as Shakespeare intended. From a very young age, I have enjoyed Shakespeare’s work and wanted to perform it in the country of its origin. That’s why I went to drama school here and it is the reason I decided to start my acting career here. A year out of drama school, doing mostly film work, I am now back doing what I love - Shakespeare’s theatre - and I cannot think of a better company with which to start.
We had our first meeting as a company last week and it felt like I was meeting old friends. We all indicated openly the roles we wanted to play and quite naturally it seemed that everybody got what they wanted.
So as I eagerly embark on our first week of rehearsals, I am full of confidence, not just in myself but in the whole group. I already feel trust in every actor and that together we will create something truly amazing.
Aaron Tavaler
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