Monday, November 23, 2009

Meanwhile, in England...

This weekend, while the Grassroots Shakespeare Company performed its EPIC original-practices treatment of Romeo & Juliet, I found myself experiencing a strangely similar theatrical adventure: a 24-hour Shakespearean marathon beginning with the random selection of a Shakespeare play, and culminating in a fully-staged, uncut, off-book performance of that play. This nod to original-practices at the University of Exeter is called "Shake-in-a-Day."

As fate would have it, the play that was randomly selected on Friday was Two Noble Kinsmen. The reason you've never heard of it: there's not a more obscure Shakespeare play that actually shows up in the Complete Works. Act 1 and Act 5 were written by the Bard, but the middle was actually penned by a guy named Fletcher. The story is based on Chaucer's Knight's Tale, and the play basically fits in the "Romances" category, with Pericles, The Winter's Tale, Cymbeline, and The Tempest. It's essentially a story of courtly love gone awry, when two noble kinsmen (the title is so apt) both fall in love with the same fair maiden, and end up being forced to duel to the death for her hand. There's also a crazy girl, a dancing troupe roaming the forest, and a baboon. It's a rare gem.

The play was cast, and parts were given out at 7pm on Friday night. Then, rehearsing scene by scene, the show was blocked over a roughly 18-hour process. When you weren't on stage, you were memorizing, and when you weren't memorizing, you were fading in and out of consciousness. Yes, it takes a special kind of insanity to enjoy this.

Unlike our Grassroots workshops, this play was cast in the typical fashion, with any given role being played by a single actor, and plenty of doubling. Also, the rehearsal process was overseen by the "Master of the Play," a term taken from Shakespeare's day to describe someone roughly responsible for stage management. On the Shakespearean stage, a different play taken from the company's repertoire was performed nightly, with a new play being introduced every couple of weeks, and there was very little company rehearsal - probably 9am to noon at best. Those rehearsals were less about simple staging, and more about fights, dances, and other group scenes. These rehearsals were overseen by different people, including a "prompter," who had a full copy of the script, and probably acted like Peter Quince in A Midsummer Night's Dream, who seems to manage the "mechanicals'" rehearsal. That was essentially the role of our "Master of the Play."

As night turned imperceptibly into a dreary, stormy day, rehearsal continued, until finally we reached the last scene. Then, after having run each scene a few times in rehearsal, it was time to put down the scripts and run the show. This is where, as you can imagine, things get interesting.

There is no way to memorize 15-25% of a Shakespeare play in 24-hours. Not word-for-word, anyway. So the run-through, and the performance at 7pm on Saturday, became a raucous, improvised, interactive experience much like a Grassroots workshop strung out on Thrillionaires. It was by turns a delightful, obscene, hysterical, and even touching evening of theatre, in much the same spirit as I believe Romeo & Juliet was played that same night.

This riff on original-practices further confirms my notions about its relevance in today's postmodern theatre landscape. It's not necessarily about a reconstructed Elizabethan space, authentic Early Modern clothing and instruments, or facsimiles of Folio texts. While those things are all really fascinating , I think original-practices is really about the spirit of play, of collaboration, of experimentation and improvisation in a safe, supportive setting, employing some of the foundational practices of English drama, not as a constraint, but as a context.

But what do you think? Do you feel like Grassroots is providing that kind of experience? What do you like about what we do, and what can we improve on?

Thursday, November 19, 2009


Fast-paced, funny, thrilling, and touching!
Come see the one-time only performance of The Grassroots Shakespeare Company workshop production:


It's the culmination of a manic
3 hour rehearsal process
involving 31 actors,
61 parts,
and a 1 hour cutting
of a 400 year old play.

You've never seen Shakespeare done quite like this before!

Nelke Theatre
Harris Fine Arts Center at BYU

(Voluntary Donations will be collected after the show)

Wednesday, November 11, 2009

Co-founder gets hit by Emma Thompson!

Emma Thompson, one of the great Shakespearean actors of our time, hit me in the gut last week. As part of a visit to the University of Exeter, Emma gave the MFA students in Staging Shakespeare a wonderful two-hour workshop, during which we explored a couple of key scenes from Romeo & Juliet. As part of an exercise designed to unleash the monsters within us, she walked around hitting each of us in various places, inviting us to let that "hurt" develop into a monstrous, deformed character. As you can imagine, it was a memorable day.

But there are only a few insights from the workshop that I think will be of interest to the Grassroots lot. The first of which is a little gem of wisdom, stated simply enough by Ms. Thompson, "whenever you can use modern intonation while speaking Shakespeare's lines, do it!" In other words, communicate.

I'm going to write, now, as if I know everything. Please, read this with a grain of salt, and understand that it's only out of pure excitement that I tell you these things. Take the good stuff and chuck the rest.

When actors received their cue scripts, they typically had a couple of weeks in which to memorize their part. From this script, they had everything they needed to inform character choices, including rank and status, emotional developments, and relationships. They didn't agonize over a character's background or subtext or motives, they simply let the text guide them. If the text was especially grand, staccato, or full of exclamations, they knew that the scene demanded heightened emotion. If it was low, or silly, or meandering, or menacing, it informed their performance directly. So, when they all got together to rehearse (for what few hours that rehearsal may have been) their characters were probably as fully developed as they would ever be.

What does this mean for us grassrooters? To me it means: trust the text. If you're getting a sense of panic, a sense of superiority, a sense of bawdiness, or a sense of cruelty from a particular line or thought, commit to it 100%. And when you do, you'll be reflecting the text in the same way that Shakespeare's players did, and you'll be amazing.

Now back to Emma's notion of speaking with "modern intonation." Of course this assumes the actor understands what he or she is saying. If you find yourself getting lost in a speech or scene, check out sparknotes. They're a great resource when you need a quick, literal translation into plain, present-day English. But the key - what I'm really trying to say - is that simply understanding what you're saying isn't always enough! You also need to say it in such a way that your meaning is easy to follow. Try not to speak as if you're speaking Shakespeare. Whenever you can, try to say things as you would in real life.

Simple, I know. But it's not as easy as it sounds. Nor is it a better or worse way of doing Shakespeare than any other way. But for grassroots, it seems appropriate, because we are indeed trying to "bring Shakespeare back to the common man" as Mel Sundquist observed. So try it. Follow Emma Thompson's advice, and "speak the speech" with the same fluency, meaning, and intonation with which you typically speak English. As you do this, you'll notice that the text will really start to inform your character, and your performance will rock.

Of course, to do this in the grassroots workshops, you'll need to be nearly off-book. So please take some time to memorize! Your experience at the workshop, I guarantee, will be vastly more rewarding if you do.

Now, on to the second observation from Emma Thompson. Go for the bawdy, the surprising, and the fun. Follow your instincts, banish your inhibitions, and just play.

If original practices has one truly rewarding aspect, it is the absence of a director. Rather than letting this scare you, let it free you! Indulge in the sudden ideas, the impulses, and the feelings that grow from the text. Latch on to meaningful words and see what they can do for your body, your blocking, and your voice. Don't be afraid to fail big. The most memorable moments from our past workshops have been the big, outrageous choices, rooted in the text, and totally committed to by the actors.

Alright, let's review:

  1. Shakespeare should be understandable for everyone. Whenever you can use modern intonation, do it!
  2. Shakespeare should be vibrant. Whenever you can make brave choices on stage, do it! Stay rooted in the text, of course, and present with your scene partner/audience. But go big or go home.

Those are the two main lessons I got from Emma, that I felt could benefit the Grassroots Shakespeare Company. Her workshop was great, and she was remarkably gracious and genuine. Truly a delight!

Spread the word.
Spread the love.
Spread the grassroots.

Wednesday, October 28, 2009



E-Mail: to participate!

So....What is this?

-This is an open-enrollment workshop immersion in "original-practice" Shakespeare--That means no director, no designers, and minimal rehearsal!

-Actors will receive scripts and roles six days prior to rehearsal and performance.

-On the day of performance, actors will meet for an intensive three hour rehearsal which will culminate in the performance of an abridged, one-hour cutting of the play.

-The process is fast, demanding, and rewarding.

-Your job: Sign Up. Memorize. Show up.

You MUST email us at:
if you want to participate as an actor.
Workshop cost is $5, payable on the day of performance.
An optional meal will be provided at an additional minimal cost.


Saturday November 14th:
Registration Deadline

Monday November 16th:
You will receive your casting assignment, and your very own cue script.

Saturday November 21st:

Rehearsal -- 5:00pm to 8:00pm.
Dinner -- 8:00pm to 9:00pm
Performance -- 9:00pm

Come join us for food, fun, and friendship -- a taste of fast-paced collaboration that the Bard would have loved!

If you want to be involved, you MUST email ASAP!


Tuesday, September 8, 2009

Enrollment for MACBETH opens today!

The next Grassroots workshop, MACBETH, is going to be a bit special. First of all, it's my farewell to all you Grassrooters, as I'll be moving to England just a few days afterward to begin a two-year MFA in Staging Shakespeare. So, tender moment! But still, let's not make this a long, drawn-out affair, let's just remember what we had. And second, we're going to make this the biggest, craziest, and funnest original-practice Shakespeare workshop Utah County has EVER SEEN! Invite your friends, come to the 8pm Barbecue, wear crazy costumes, bring fake blood!! Whatever you can do to help make this the most engaging, creative, and surprising version of MACBETH we can possibly imagine, you do it!

Now, for those of you who are new at this, here's the skinny:

1) You sign up for the workshop by emailing on or before the 12th of September, whereupon you will receive part of a script, with lines which you will be required to memorize!

2) You arrive at SCERA Park in Orem, just off 600 N and State St., at or before 5:00PM on September 19th. There, we shall rehearse. We'll warm up, play with scene and character choices, and basically throw it together like a hot Elizabethan meat pie!

3) You eat at the delicious Barbecue, provided by the GSC for a mere $5, and talk with your comrades about how awesome you all are.

4) You perform your 1-hour cutting of MACBETH, start to finish, for a real live audience. You stun the world. You go on to greatness. Our lives are changed forever.

That's basically it. Sound crazy? It is. But hey, that's how they did it back in the day, and we think it makes for a supremely entertaining, educational, and enjoyable evening for everyone involved. So sign up, invite your friends, and let's go play in the park!

Thursday, August 27, 2009

who are we now?

This summer, theater students from UVU and BYU teamed up to create the Grassroots Shakespeare Company. Originally, their goal was to create an original-practice production of a Shakespeare play. After the unexpectedly brilliant success of that little venture, a few of the grassrooters wanted to share the original-practice experience with everyone! So, the GSC became an educational experiment as well. On a monthly basis, Grassroots now produces workshops in which literally anyone can explore what it was like for actors in Shakespeare's day to perform. They memorize cue scripts, rehearse for a few hours, and perform to outdoor audiences for free. It's lively, fast-paced, and a little motley, but most of all, it's fun.

As you can probably glean from the reviews, the news, and the photos, we're having a good time playing with Shakespeare's original performance methods. And we're all about inclusion, so if you have ever had a desire to step on stage and try your hand at acting, or even if you just want to watch some very entertaining theater, check us out! We send out regular updates to our fans on facebook, and special workshop invitations to our email list, so join both today!

So far, our workshops have included Hamlet, The Winter's Tale, and A Midsummer Night's Dream, and we plan to produce a Macbeth workshop in September! So check out the photos, send us an email, and become a fan on facebook. And let's play!

Friday, August 7, 2009

A Midsummer Night's Dream - ONE NIGHT ONLY!

Thaaaaat's right, ladies and gents, we're doing it again. On Saturday, August 29th, the Grassroots Shakespeare Company is performing a one-night-only showing of A Midsummer Night's Dream, and you're invited to participate!

Try your hand at original practices, and be a part of the fastestand funniest rendition of A Midsummer Night's Dream since 1595!


1) If you'd like to participate, email immediately. If the workshop fills before you sign up, you are invited to come observe the process, but you might not be on stage.

2) If you
sign up and pledge a $5 dollar contribution before Saturday August 22nd, you'll receive your very own cue script, taken from a particular scene in A Midsummer Night's Dream. Memorize it. I can't stress this enough. In order for original practices to work, you've got to be memorized before our first and only rehearsal.

3) Arrive at Scera Park at 5:00pm SHARP on Saturday August 29th, memorized and wearing whatever costume you'd like. You'll then participate in the most invigorating and collaborative rehearsal ever. With the others in your scene, you'll figure out your relationships, your place in the play, your blocking, and everything else about your performance. It's fun, fast-paced, and so 400 years ago!

4) At 8:00pm, we're going to take a little break to enjoy a delicious barbecue! So bring your appetite!

5) At
9:00pm, we will run the entire 1-hour show, from beginning to end. Your scene will fall somewhere in there, so you'll need to be listening for your cue line!

6) Casting is gender-blind, just as it was in Shakespeare's day (because only men were allowed to perform), and you are encouraged to invite friends/family/lovers/bosses to come see your show!


Monday, July 13, 2009

The Winter's Tale - This Thursday Night ONLY!

This Thursday's performance of The Winter's Tale will feature seasoned actors, English teachers, novice performers, and everything in between. In a mere 3 hours, this motley group will conduct its one and only rehearsal, and immediately following that frenzied process, the show will begin.

And, believe it or not, that's how Shakespeare's original performances happened, more or less. The actors would get together with their own lines and cues memorized, and have an incredibly brief rehearsal. Then, they'd perform the show. There was no director. There were no designers. There were only the actors, the space, and the audience. That's the way we like it!

Now, in case you didn't know, The Winter's Tale is one of Shakespeare's "Romances," which essentially means there's at least one shipwreck, a plot spanning decades, and a very "deus ex machina" ending. You may recognize those plot devices from The Tempest, another of Shakespeare's so-called Romances. These plays were particularly popular duing the Jacobean era, and are known for thier perplexing mixture of deep psychological drama and light slapstick comedy. They also reflect the burgeoning popularity of the masque, and often contain elements of magic and redemption. So, look for that stuff.

Also, you should know that the Grassroots Shakespeare Company began in May 2009, and is funded solely by donations. If you like what you see, please consider making a contribution.

We'll see you on Thursday, July 16th, 9pm at SCERA park in Orem, for our One-Night-Only performance of The Winter's Tale!

Monday, July 6, 2009

The Winter's Tale: A Midsummer Workshop!

Thaaaaat's right, ladies and gents, we're doing it again. Next Thursday, July 16th, the Grassroots Shakespeare Company is performing a one-night-only showing of The Winter's Tale, and you're invited to participate!

Try your hand at original practices, and be a part of the fastest and funniest rendition of The Winter's Tale since 1611!


1) If you'd like to participate, email immediately. If the workshop fills before you sign up, you are invited to come observe the process, but you might not be on stage.

2) If you
sign up and pledge a $5 dollar contribution before Saturday July 11th, you'll receive your very own cue script, taken from a particular scene in The Winter's Tale. Memorize it. I can't stress this enough. In order for original practices to work, you've got to be memorized before our first and only rehearsal.

3) Arrive at Scera Park at 6:00pm SHARP on Thursday July 16th, memorized and wearing whatever costume you'd like. You'll then participate in the most invigorating and collaborative rehearsal ever. With the others in your scene, you'll figure out your relationships, your place in the play, your blocking, and everything else about your performance. It's fun, fast-paced, and so 400 years ago!

4) At
9:00pm, we will run the entire 1-hour show, from beginning to end. Your scene will fall somewhere in there, so you'll need to be listening for your cue line!

5) Casting is gender-blind, just as it was in Shakespeare's day (because only men were allowed to perform), and you are encouraged to invite friends/family/lovers/bosses to come see your show!


Tuesday, June 23, 2009

spread the grassroots, spread the love!

The following article was printed in the UVU Review on Monday, June 22nd. It appears here without permission, so if it gets taken down, that's why. Enjoy!

The Bard is Back
New Shakespearean company
uses old techniques
to make the story new

Culture Writer

The newly-founded Grassroots Shakespeare Company is a rare treasure of Utah Valley theater. Created and peopled by local college students, Grassroots uses the techniques that acting companies used in Shakespeare's day to create plays that are "fast-paced, funny, intriguing, and simple," according to

Grassroots is currently performing Much Ado About Nothing, one of Shakespeare's most loved comedies. All performances are outdoors in natural light. Check the sidebar for dates and times.

Utah Shakespeare fans have seen the bard's plays at the Shakespearean Festival in Cedar City, and among several traditional theater venues in Utah Valley. However, the Grassroots' production of Much Ado About Nothing is the most enjoyable Shakespeare production Utah theatergoers have had the chance to see in at least the last five years.

The actors are unapologetic. Generally, performing without a stage, so close to the audience, and with makeshift costumes and sets is too embarrassing for actors to handle. This embarrassment often comes across as a continual, agonizing apology to the audience for subjecting them to the performance. However, this particular group of young actors have chosen to perform under these conditions, and the jury-rigged, ad hoc design features serve the story surprisingly well.

The play has been shortened to run at a little over an hour. Despite the amputated script, the plot comes across with startling clarity. This simple coherence is thanks to the actors' denial of several theatrical traditions, specifically their rejection of a "fourth wall" between the stage and the audience. Here, the story is told to audience members, rather than at them, as plays that take themselves more seriously are wont to do.

Shakespeare's plays have in general become over-intellectualized and haughty. However, they were originally written to be enjoyed by all classes of society - from the poor and uneducated to Queen Elizabeth. The Grassroots Shakespeare Company has brought Shakespeare back to the common man - you don't have to ge an English major or an intellectual prick to understand and enjoy this story.

To read more reviews, or to write your own, check out the "Reviews" tab on our Facebook fan page!

Monday, June 22, 2009

Cast Biographies!

Check out the accomplishments and aspirations of the Grassroots Shakespeare Company! We may look motley, but it turns out that most of us actually know what we're doing...

Alex Ungerman - Benedick
Alex most recently appeared as Jacques in the Hale Center Theater Orem's production of As You Like it, as Orsino in Twelfth Night at UVU, and as the title character in Pericles, Prince of Tyre with BYU Young Company Shakespeare. He is currently pursing a BA in Theater Arts at Utah Valley University where he has been a four time Irene Ryan Nominee.

Becca Ingram - Hero/Watchman Becca hails from the far away land of Connecticut and has now made her way to American Fork, Utah. She is so excited to be living the dream with Grassroots and has been seen most recently as Rosalind in As You Like It (HCTO), Chris in Dancing at Lughnasa (BYU), and Hilda Manney in Room Service (HCTO). She loves her family...a lot.

Cherish Caldwell - Margaret Cherish hails from Sandy Utah where she first began performing and directing. She teaches Middle school and High school Theater at Meridian School as well as Liahona Academy. She has won many awards for directing and choreography at the Utah Shakespearean Festival. She Assistant Directed at the Edinburgh Fringe Festival in Scotland last summer and was nominated this year as a director with Meridian School. She has been the recipient of acting scholarships and two Irene Ryan nominations this year at BYU where she is pursuing a BFA in Acting.

Davey Morrison - Dogberry/Verges Davey has loved Shakespeare for a long time, and is delighted to be working with the Grassroots Shakespeare Company! Davey's most recent credits include lead and supporting roles in As You Like It, Room Service, and Don't Drink the Water, all at the Hale Center Theater Orem. Other favorite roles have been Seymour in Little Shop of Horrors, George Spelvin in The Actor's Nightmare, Mr. Martin in The Bald Soprano, Bottom in A Midsummer Night's Dream, and Dromio of Syracuse in The Comedy of Errors. Davey and his lovely fiancee Bianca run a weekly playwriting workshop together at New Play Project (Thursdays from 7-9pm at the Provo Theater Company); he has also had a number of plays he's written produced with NPP. In addition to his work in the theater, Davey is an award-winning filmmaker, poet, artist, and musician; you can see his work at

Jason Sullivan - Conrade/Friar Francis Jason, from Orem, is a student in the Theater program at Utah Valley University, and an Irene Ryan finalist. He recently performed as Orlando in As You Like It at the Hale, and as Hutter in UVU's Nosferatu. He and Mark Oram rode the same bus to school for a while, but they never spoke, because they didn't know each other. Also, he's a big 24 fan, and allegedly freaked out a lot during season 3.

Joel Petrie - Don John/Sexton From Canada, Joel is a connsumate director, actor, and cinematographer. He recently worked as the technical director of UVU's nationally-acclaimed Nosferatu, and is producing a film project during the run of Much Ado About Nothing. He has also directed a mixed-media version of Romeo & Juliet, and performed as Gonzalo in UVU's The Tempest. He was a semifinalist in the Irene Ryan scholarship competition in 2008, and is excited to be performing with Grassroots!

Jyllian Petrie - Beatrice/Watchman Jyllian didn't want anyone to write her bio for her. I can tell you, though, that she's a very beautiful and talented actress, costume designer, and also a fan of 24.

Kacey Spadafora - Don Pedro Kacey recently performed with BYU's Young Company Shakespeare Troupe in Pericles, Prince of Tyre, and sometimes misses the good old days. He enjoys writing, can quote funny lines from Up, and recently turned 21.

Mark Oram - Claudio From Kaysville, Mark has a BS in English from Utah Valley University, and is moving to England in September to pursue an MFA in Staging Shakespeare at the University of Exeter. His recent credits include Touchstone in As You Like It at the Hale, Knock in UVU's Nosferatu, and Helicanus in BYU's Pericles. He is excited for his return to Sundance Summer Theater as Mortimer in The Fantasticks this August. Mark is also a two-time Irene Ryan nominee, and co-founder of the Grassroots Shakespeare Company. He wishes to thank this astonishingly talented cast, our gracious audiences, and his lovely and talented wife Stephanie.

Tyler Harris - Leonato/Boy A realtively recent graduate of Orem High School, Tyler has been acting for many years. He was most recently seen at the Hale Center Theater Orem as Silvius in As You Like It, in which he also played a pig, a sheep, a goat, and a dead deer.

Wes Tolman - Borachio/Messenger Wes heralds from Grand Haven, MI, where his acting career bloomed into something he would want to do the rest of his life. Shakespeare has always been a favorite playwright of his ever since reading/seeing Hamlet and he is very excited to be a part of Grassroots! He has lived in the Utah Valley for a few years and attends UVU pursuing a Bachelors in Theatre Arts, which he plans to complete next year! He has been in various productions while here, most at UVU, one of the most memorable as playing Bottom in A Midsummer Nights Dream last summer. After he graduates, who knows! "Hollywood here I come!"

Special Thanks:

Christopher Clark - Chris is a mentor/inspiration to each of us. He teaches acting at UVU, choreographed our Elizabethan jigs, and let's face it, gives us all a reason to live.
Kate McPherson - Kate was the Grassroots Shakespeare Company's first donor. She teaches English at UVU, and has been greatly supportive throughout our entire process.
Daniel Whiting - Daniel is the stage manager of our production. His help has been invaluable at every step.

Thursday, June 18, 2009

The Show Must Go On

Last Saturday night we had the first (and, I hope--and fully expect--only) performance of our run canceled. Here's a brief timetable:

Late Friday Night: Wes sends out a message to everyone informing us that he was feeling ill, and Without Voice.

Saturday Morning: The clouds gather--both literally and figuratively. Several of us debate via Facebook the pros and cons of going on with the show, and feel like Wes should probably make the final decision whether or not he feels up to it.

4:00PM: After an afternoon of uncertainty, a verdict is reached--we'll do the show, with our stage manager, Daniel Whiting, on book as Wes' characters.

4:30PM: We congregate at Wes' place for our pre-show barbecue, as planned. Wes decides he'll play Borachio, while Daniel will read The Messenger. The skies clear figuratively, if not literally.

7:00PM: It's time to ship out, and, two-and-a-half hours later, we still haven't generated enough of a flame for any of the hamburgers to cook (except for one lone, medium-well-done burger right in the middle of the grill, which may or may not have actually ever been eaten by anyone). We load everything up (including the grill) in the back of the truck and head over to the park by Springville High School where the Art City Days events are going on, to appease the Muse with our theatrical passions and our unfilled bellies.

7:15PM: Joel and I arrive first. We head on in to the festivities, and, after scouring the premises for twenty minutes or so, conclude that this thing is contained within practically a square foot--there's absolutely no place to set up and do the show, except, perhaps, on the perimeter by some parents enjoying a peaceful chat on a bench by the playground as their wee ones frolicked. That, or on the edge of a parking lot, with our audience sitting in the street, a chain link fence between us, and competing with a classic rock cover band.

7:30PM: We return to the Springville High parking lot, and report the bleak news to our comrades-in-arms. The more enthusiastic rally us round and convince us that the show must indeed go on.

8:00PM: After lugging my 40 lb. accordion for what seems like (and could possibly have been) a half a mile, we set up in the field just outside the festival, where our stage may or may not be invaded by either, a) some kids playing soccer, or b) some kids in a Shetland pony-drawn carriage. We struggle to find a spot that isn't either overshadowed by the giant glowing rollercoastery circle-of-wonder, or made up entirely of mud (since we also have an audience to consider--we hope), all while trying to make as much use as possible of the limited foot traffic we have.

8:15PM: Against all odds, the show begins.

8:30PM: Cue torrential downpour.

8:45PM: Our audience of ten-or-so stalwart souls cowered under umbrellas, the guitar getting soaked, the accordion having fled into its plastic case, those of us wearing glasses now rendered blind either with or without them (covered in obscuring droplets of water as they are), all of us freezing and those in dresses ultra-freezing, the tambourine incapable of producing a decent jangle because the head is so saturated from the moisture, we have, after a hard day's night of fighting the good fight against the anti-Shakespearean gods, finally been defeated. We gather behind the scenes and discuss the best plan-of-attack, and, at the conclusion of Wes and Joel's evil conspiracy scene, step out and thank the audience for their gracious weather-enduring--as we struggle to laugh in spite of the buckets of water being poured down our lungs--then let them know about our next show and where they can find our schedule online (i.e., here).

9:00PM: We retire to the parking lot, bruised, battered, beaten--and, by golly, very beautifully bonded by the shared experience of doing our darndest, by gum. Never has the phrase, "The show must go on" meant so much; and, oddly enough, never have I felt closer to all those in our wonderful little cast.

9:02PM: I search my drenched pockets frantically for five minutes, thinking I've lost my keys.

9:07PM: Phew. I drive home.

Sunday, June 14, 2009

Help us advertise for the BIG SHOW!

Do you love the Grassroots Shakespeare Company? Well, we're flattered, and we love you too. If you would like to show your love, enlarge this image:and then print a million copies of it to distribute - anywhere and everywhere! Do it this week, and let's see how many people we can entertain on the 22nd!

Thanks, friends! And as always, check our fan page and facebook event for more info!

Friday, June 12, 2009

Hamlet: One Night Only!

That's right, friends. We're tired of having all the fun. We want you to get up on stage with us and try this! The Grassroots Shakespeare Company invites you to try original practices by helping us stage a 1-hour production of Hamlet in ONE NIGHT!

Here's the skinny:

1) If you'd like to participate, email immediately. If the workshop fills before you sign up, you are invited to come observe the process, but you might not be on stage.

2) If you sign up before Sunday June 14th, you'll receive an email with your very own cue script, taken from a particular scene in Hamlet. Memorize it. I can't stress this enough. In order for original practices to work, you've got to be memorized before our first and only rehearsal.

3) Arrive at Scera Park at 6:00pm on Thursday, memorized and wearing whatever costume you'd like. You'll then participate in the most invigorating and collaborative rehearsal ever. With the others in your scene, you'll figure out your relationships, your place in the play, your blocking, and everything else about your performance. It's fun, fast-paced, and so 400 years ago!

4) At 9:00pm, we will run the entire 1-hour show, from beginning to end. Your scene will fall somewhere in there, so you'll need to be listening for your cue line!

5) Casting is gender-blind, just as it was in Shakespeare's day (because only men were allowed to perform), and you are encouraged to invite friends/family/lovers/bosses to come see your show!

We hope to see you there! Even if you don't want to perform, it's incredibly entertaining and enlightening to watch this process unfold. Theater without a director is quite a sight. And Shakespeare in the park is certainly worth the price of admission: Free.

As usual, we will be accepting donations, and encouraging you to invite, invite, invite!

See who else is going to be there on our facebook event.

Tuesday, June 9, 2009

Mr. Shakespeare, or how we learned to stop worrying and love the cue scripts.

There were a couple things about this project that were a bit of a tough sell. I mean, granted, I was asking a bunch of actors to completely abandon just about every notion they had about theater. No director, no design team, no full copy of the script, and no money... That's a lot to swallow, I get it. But I was still pretty surprised when the "cue scripts," one of the most exciting parts of "original practice" in my mind, was met with more skepticism than anything else.

But, in fairness, cue scripts can be really confusing at first. See, a cue script is nothing more or less than a) an actor's cue lines, b) an actor's own lines, and c) an actor's exits and entrances.

Here's an example from my script:


Why, how now, count! wherefore are you sad?

Not sad, my lord.

How then? sick?

Neither, my lord.


Speak, count, 'tis your cue.

Silence is the perfectest herald of joy: I were
but little happy, if I could say how much.


County Claudio, when mean you to go to church?

To-morrow, my lord: time goes on crutches till love
have all his rites.


My lord, I am for you,

And I, my lord.


So, as you noticed, there are portions of text missing, in which Claudio says nothing, and therefore has nothing written in his cue script. As a result, there's no Act/Scene breakdown, and no overall sense of when lines occur in the play. Everyone's script is only as long as their part, so Beatrice and Benedick have about 20 pages, while someone like Antonio or Margaret has closer to 5. So, when an actor first picks up a cue script, it can be kind of jarring. Like, we're doing a 20-minute play, and I have every other line!?

The other hurdle was the actual creation of these cue scripts. Imagine taking all 22 characters from the play, one by one, and combing through the script to find their cues, lines, entrances and exits, then compiling them into individual cue scripts. All while distilling these 22 characters into 12 roles, and making sure that nobody ends up talking to another version of themselves on stage. It took a long time to do this. Luckily, I have one of those absurdly laid back day jobs, so in one 9-hour day, the cue scripts went from start to finish.

By the time I handed these out to the group, I was pretty attached to them. So when confusion began to set in amongst the actors, I assured them that it would all make sense during our first read-through. Then I prayed that such would be the case. Turns out, they work.

In fact, they're every bit as awesome as I hoped they would be. See, the idea here is that these plays were actually written with the whole "cue script" thing in mind, making it possible for the actors to perform the play with next to no rehearsal! All the relationships, all the entrances and exits, all the action and setting and time of day, are embedded within the lines of the play. So, as long as the actors showed up with their cues and lines memorized, the play could be performed on the spot! It just required heinous memorization skills, and intense listening from everyone. The result, of course, is an immediacy and freshness that helps make original practice so refreshing and energetic.

Our production, because we're good but not that good, was put up in 8 rehearsals. But in spite of all that preparation, the fact that we used cue scripts is pretty evident, at least to us, because they've given us a unique sense of the play's construction. For example, almost all of my entrances are cued by a line similar to "here comes Claudio!" Also, notice the blatant obviousness of the cue lines in the section of script above: "speak count, 'tis your cue!"

As I've rehearsed and performed this way, I've come to really appreciate just how flooded with cue lines and stage direction Shakespeare's text really is. They're everywhere! And they had to be, because in the absence of a director, the actors relied implicitly on the text to tell them what to do.

So, if you're looking for a unique and challenging way to enliven a Shakespeare play, try cue scripts. They're time-intensive, and a bit scary, but in the end they serve to galvanize the actors and enrich the overall experience immensely.

Saturday, June 6, 2009

Opening Night

Tonight's performance at the Riverton Arts Festival marked the beginning of an exciting and unpredictable month for our troupe. In less than two weeks, we have gone from the first read-through of our cue scripts, to the first performance of our show. And what a performance it was...

The biggest foe we faced tonight was the weather. Luckily, we avoided rain, but the wind was strong, loud, and constant. Worried that our audience would be unable to hear us, we essentially had to yell through the entire performance. It was an hour and ten minute fight with the elements, but the crowd definitely came along for the ride.

In spite of the stiff breeze, the performance was energetic, quick, and accessible, and the feedback we received from audience members and from the Riverton Arts Festival staff was overwhelmingly positive. Kids and adults alike were enchanted and surprised by our little show, and we had an absolute blast performing it!

So, here's to a few more weeks of successful shows! If you'd like to schedule us for your event, email us at, or contact us via our facebook fan page. And if you have pictures or video of our performances, feel free to send them our way too!

Tuesday, June 2, 2009

Down to the Wire: A Sneak Peek into the Company's rehearsal process

It is both thrilling and daunting to think that after just nine short rehearsals the Grassroots Shakespeare Company will be premiering our first production this Friday.
The past week has been one of the most enjoyable and demanding of my life, and I can't wait to see what new discoveries our last three rehearsals will bring--The process has been richly rewarding.
Here's a sneak peek, in a nutshell, of what we have attempted so far:

1-Last Monday, we assembled our cast for a read-through to determine our estimated runtime and check the continuity of the cue scripts. Mark did a beautiful job assembling them and they read with barely a hitch. Our time came in at about one hour twenty minutes. Perfect.

2-On Tuesday we blocked the first third of the play.

3-Wednesday produced the middle third.

4-On Thursday we built a few set pieces. We replaced a cast member. We also got nearly through to the end of the play.

5-On Friday we trained a replacement, filled Wes in on the things he had missed on Tuesday, Wednesday, and Thursday, and finished blocking the play.

6-Saturday was a long haul. We papier mached each other's faces to make masks for the doubled roles, had our first full run, enjoyed a barbeque dinner, began exploring orchestration, and cleaned the first third of the show.

7-Monday we were rained out and had to move from the park to the gym at Meridian School (many thanks to Cherish for procuring the space) where we cleaned the rest of Wes's scenes--we will lose him again until Thursday.

We are hoping to be totally ready before Thursday night. We have invited Chris Clark, John Graham, Kate McPherson, and Rosanna Ungerman--all local Directors, Professors, and Shakepearean Scholars to give us some feedback before we open on Friday.

I am amazed at how well our troupe has bonded and also at the level of trust and co-ordination this has produced. I had serious concerns going into this experiment about what sort of hang-ups could result from having anywhere between zero and eleven directors at any given moment--but the results have been marvelous and I think you'll see that our work will speak for itself. Our process has been similar for both blocking and cleaning scenes and has played out as follows:
--We run the scene once for sense, to get an idea of what we're looking at and what needs to happen. The actors follow impulses, explore, feel it out.
--Those who are offstage give feedback on what they saw, what they liked, and what could be toyed with. The scene is then run again from moment to moment until all of the pieces come together and everyone is satisfied with the agreed upon directions.
--The scene is then run a final time to "lock it in" and help the actors remember what was agreed upon.
There is surprisingly little disagreement in all of this. Everyone is respectful and patient. Ideas are freely shared and explored. The actors are trusting and open to direction. It's nothing short of magical, and so much more than gratifying.
When it comes down to it, I may miss this cast and our rehearsal process more than anything else. Our performances will just be icing on the cake.

Sunday, May 31, 2009

"the play's the thing"

It's difficult to describe the unique spirit of camaraderie that has developed this week within our company. The rehearsal process has been more of an exploration than a recitation, and each night the spark of creative ingenuity becomes brighter and more energized. We have constructed set pieces, explored blocking choices, glued wet newspaper to each other's faces, and grilled quite enough burgers to go around.

With a cast of only eleven actors, and without the help of a director, design team, or stage crew, we have begun to discover some of the surprising realities behind original practices. Each scene and each character, every night, are being imbued with more life and creative energy, as our eleven cast members share insights and ideas to help make the show as engaging and lively as possible.

The result, so far, is a truly vibrant work of collaborative art - a moving collage of colors, shapes, characters and time periods that seems to grow organically from the grass on which we perform. The enthusiasm is becoming infectious, and our company is increasingly unified by it. It's joyous, effervescent, and genuinely playful.

It is, after all, a play. And how aptly named. In fact, that may be the best word to describe this process: play. It is deep, childlike, adventurous play.

And the process has been so affecting, so liberating and fun, that I think it would indeed be a shame for anyone to miss out. Please, come play with us! Our first show is Friday at the Riverton Arts Festival!

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See you at the play!

Tuesday, May 26, 2009

"here is a marvelous convenient place for our rehearsal!"

Last night, the Grassroots Shakespeare Company met for its first rehearsal, in a small corner of Canyon Glen Park, just a few miles up Provo Canyon. This is a photo of the stage, discretely sequestered from the rest of the park, and nestled against a wooded slope with a few rows of gnarled benches for an audience. It was here that we met to explore our cue scripts for the first time, and I'm happy to report that, excepting two minor errors, they work.

Relying on cue lines alone to signal entrances, exits, and our own dialogue, each of us stumbled giddily through the play, discovering relationships and plot developments as they happened. Of course, some believe that Shakespeare's players performed in much the same way - discovering events as they unfolded - but with no rehearsal at all! They would simply memorize their cue scripts, arrive the morning of the performance for a quick fight call or choreography session, and then perform the play for the first (and often ONLY) time, right then and there!

Using cue scripts, you get a sense of just how much embedded stage direction exists in Shakespeare's work. His text tells the actor EVERYTHING they need to know about the action, the plot, and the characters, because the text is all the actors had! It's already been a rewarding process, just to explore the way these cue scripts work, and I think it will translate into a very immediate and fresh portrayal of Much Ado About Nothing.

If you're excited to participate in our production as an audience member, please share your excitement with your friends and family by sending them a link to this post, or to our facebook fan page! We hope to see all of you soon!

Our performances will be every Monday, Friday, and Saturday night in June, with the exception of the 15th, 19th, and 20th. We'll begin performances around 7pm, in local parks and at arts festivals. To stay appraised of our schedule, become a fan on Facebook, or email us at

Tuesday, May 12, 2009


So now this great experiment has officially begun.
That was by far the most outrageous and fast-paced audition I have ever been a part of. For those of you who weren't there, it went something like this:
Fourteen actors and one patient stage manager gathered together on the top floor of the library at Ten 'o Clock. Some had prepared sides, others had not. Some were familiar with the text, some were not. Everyone was given a chance to read and then we voted. And voted again.
When the dust settled, we had a cast.
The process was both democratic and anarchical. A strange blend of co-operation, competition, and concession.
And boy was it entertaining.

If we can be just half that interesting when we get on stage, we'll have a fantastic show on our hands.

Sunday, May 10, 2009

Who are we?

Hello, world.

Or, to be more accurate: hello, Utah.

We are the Grassroots Shakespeare Company.

We are here to bring Shakespeare's plays to Utah's masses in their most accessible, and most authentic form.

We perform outdoors, in natural light, with hardly any rehearsal beforehand. Our plays are fast-paced, funny, intriguing, and simple. Just as they were in Shakespeare's day, four-hundred years ago.

You see, Shakespeare's players were an interesting bunch. None of them had a whole copy of the script, for one thing. Instead, they had "cue scripts," consisting only of their cues and their lines. This meant they had to listen extremely carefully to each other in order to perform their parts. On top of that, their rehearsal process was unbelievably short - in fact, some people believe they didn't rehearse at all!

Also, they had no director, no designers, and no "concept." Instead, the actors directed themselves, brought their own costumes and props, and relied on the sun to light them. As a result, the plays they performed were probably nothing like what you'll see today at, say, the Utah Shakespearean Festival. At the Globe, Shakespeare's plays probably had anachronistic costumes, very high audience interaction, and a lot of improvisation.

In the spirit of these original practices, the Grassroots Shakespeare Company was born to explore the text of Shakespeare's plays by performing them under similar conditions. We use cue scripts, we use the sun, we improvise, and we bring our own costumes and props. What you'll see, if you come to one of our shows, is a vibrant, high-energy performance of some beautiful language and fun music, probably in a grassy, sunlit park.

All of our performances are "Pay-What-You-Will," meaning if you hate the show, it's free! Our inaugural performance, appearing at local arts festivals during the month of June, is Much Ado About Nothing - a charming comedy with something for everyone!

If you'd like more information, or would like the Grassroots Shakespeare Company to perform for any reason at all - festivals, fund-raisers, company parties, drama/english classes - send your inquiry to today!