Every now and then, we are forced to bid farewell to someone who has become quite special to us. This season is one of those times as our dear friend and colleague Abbie Cathcart has chosen to move on from the Commonweal. If you’re a Commonweal regular, you’ve seen her in several roles over the past three years including Shelby Eatonton in Steel Magnolias, Kitty Verdun in Charley’s Aunt and Ragna Monson in The League of Youth. In this edition of Drama Unfolds, Abbie shares a short reflection on her Lanesboro chapter.
I am pleased to announce and am very excited to start graduate school work to earn a Masters of Fine Arts Degree in Acting from Michigan State University. As I prepare to leave Lanesboro and Commonweal, little things here and there keep reminding me of my first experiences at this theatre and the ways it has positively impacted my life. I joined Commonweal in 2015 as a member of the apprentice class for the season. I was 21, fresh out of undergrad and had zero professional experience under my belt. I was also pretty nervous. I remember the first show I saw at Commonweal, which was Woody Guthrie’s American Song. I was struck by the immense love and support that reverberated throughout the theater during that performance. From the cast onstage to the patrons who clapped, smiled and jumped to their feet to sing along to familiar favorites, I felt immediately at ease in this joyful environment. The next day, I had my first of many waffles at Spud Boy diner, then walked on the trails and introduced myself to the exceptional beauty of the Driftless Region.
I had initially only moved to Lanesboro for a job, but what I found once I got there was a delightful, unique gem of a community. Over the past three years, I have performed on Commonweal’s stage around 300 times and learned a lot in the process. I have grown to love my fellow resident company members like family, and believe they have shown me what it means to be a good human and artist. Taking this next step away from Commonweal to begin my graduate school career is very bittersweet. I am so thankful to my coworkers at Commonweal, our amazing patrons and the community at large for welcoming me and letting me collaborate with them for a few years.
Abbie leaves for Michigan at the end of the month after the closing performance of Silent Sky, her last show with us…for now. Bidding farewell to Abbie by sharing a performance with her is only one of the great things to do in Lanesboro in June. Need another idea? Commonweal resident ensemble member Eric Lee suggests a drink on “the deck.” Whether it’s a beer at the High Court Pub, a martini at Riverside on the Root or a glass of wine at Old Village Hall, an evening on an outdoor deck in Lanesboro will not soon be forgotten.
Abbie is currently in both spring rep shows…but not for long!
GET TICKETS —> CLICK RIGHT HERE!
Thanks for reading; I’ll see you at the theatre.—Jeremy
Eric is currently in his third year in the resident ensemble at the Commonweal. For this post, he offers his insight and perspectives on being a “repertory actor.” If you’re not aware of just what that means…read on.
I am now entering the final weeks of my rep schedule of performing in both Silent Sky and The 25th Annual Putnam County Spelling Bee. Now what, you may ask, is the rep? Rep is short for repertory. Merriam-Webster gives two definitions that are useful here:
a company that presents several different plays, operas, or pieces usually alternately in the course of a season at one theater
the production and presentation of plays by a repertory company acting in repertory
The Commonweal Theatre Company is a repertory theatre company, and for a large portion of our season, an audience member can come and see the company perform two different productions in the same weekend. One of the possible treats this affords is the opportunity to perform two characters in two different plays at the same time, or “in repertory.”
Currently, Abbie Cathcart, Elizabeth Dunn and I are enjoying the opportunity of doing the rep between Silent Sky and The 25th Annual Putnam County Spelling Bee. I imagine I was given the distinction of writing about my experience as I have the most extreme transformation between the characters in the two plays.
As Peter Shaw
In Silent Sky, I portray Peter Shaw, a Junior Fellow in Astronomical Research in the Harvard Observatory, circa the early 20th Century. I get to wear a three-piece suit, and the costume certainly informs some of how my character inhabits his world. I’m also the only man in that cast, and so I take advantage of a fairly luxurious preparation for the show. On the other hand, in The 25th Annual Putnam County Spelling Bee, I play Mitch Mahoney, the reluctant Comfort Counselor, performing his community service. My appearance is, well, a bit less put together for Mitch. And that preparation affects me in an altogether different way.
As Mitch Mahoney
The first question I generally get is a variation on, “Do you ever forget which play you’re in?” It’s actually pretty hard to get confused onstage, and definitely in this rep. The plays and characters are so very different, as are the circumstances the characters find themselves in. Plus, one is a musical, and the other is not, so that’s certainly helpful.
The memories that are built up in rehearsal are so deeply ingrained within the worlds of the different plays, and our physical observations, that it would be very difficult to suddenly find the other jumping into mind, or even worse, out of my mouth. The one time that it can be difficult is simply in getting to the dressing room, and remembering which play to get ready for. But one quick glance at the calendar and even that is remedied fairly easily.
One of the wonderful things the Commonweal affords us as actors is the opportunity to exercise our craft, and to stretch ourselves in new ways. And it is certainly tremendous fun to get to share the very different things we can do with the family that is our great and loyal theatre-goers. I am so grateful for all the support we receive for the work that we get to do here.
Witnessing Eric’s amazing transformation on the Commonweal stage is just one of the many great things to do in Lanesboro, MN. Need another idea? Commonweal board of directors member Joan Ruen suggests a tour of the Minnesota Amish countryside with Bluffscape Amish Tours. And Joan should know, it’s her company!
Our spring rep is currently running through June 23rd and features two outstanding productions. GET TICKETS —> RIGHT HERE.
Thanks for reading and I’ll see you at the theatre—Jeremy
Paul is a professional, live theatre lighting designer and the creator of the design for our version of “Silent Sky” by Lauren Gunderson. In this post, Paul provides a behind the scenes glimpse into his creative process.
“If you can’t see the actors, it’s my fault” is my usual response when I’m introduced as the lighting designer, but of course my job is so much more. I start with the script. Always the script. Not just the basics—time of day, interior or exterior, season, locale, reality vs. memory vs. dream—but also meaning, emotion, message. I am constantly thinking of the audience and what I can I do to help you feel and understand what the director, creative team, and performers want to share. Ideally, you won’t notice the lighting design as a separate element (at least most of the time) as it enhances the story we’re all trying to tell you.
After reading the script, it’s time to talk with the director and other designers to get their perspectives. That’s when a whole list of questions must be answered. How realistic will the scenery be? How much work will lighting and props do to define time and place? What will be at the back of the stage: black masking, the sky, a projection surface, or an abstract scenic element? How will video and lighting interact to complement rather than interfere with each other? As the design takes shape, I’ll be thinking about specific cues in terms of how each scene, or moments within scenes, should look. Does the director plan staging that calls for light cues beyond what the script or design concepts require? What about transitions between scenes? Precisely when do the changes start, and how long do they take? Watching rehearsal further informs these choices as I come to a deeper understanding of the play as well as see how the actors use the stage.
Only then will I move on to technical decisions such as which instruments to use, the direction they will point along with what color filter or other effects to utilize. Once the lights are all in place—a 2-3 day process at the start of the 2 weeks leading up to opening—I’ll begin to create the cues for each look of the show. It is through these technical rehearsals that the world is truly created and the further decisions are made. As the actors and director move from rehearsal room to actual set, what needs to change? Should the rate of each change be what I thought, or does it look too fast? Should it start a second later? Do I need to change or move some of the lights? Add others? Add or remove cues? And what do we learn from you, the audience—do we need to hold the action, or the lighting changes, for your reactions? Or give you a moment to absorb what you’ve just heard or seen?
Last season, one of the dramatic lighting touches I created was the ceiling fan in Steel Magnolias. If it hadn’t been there, nobody would have missed it. A real fan, at a realistic height, would have cast multiple distracting shadows on the actors. Could I do it with lights—the shadow of the fan blades, lazily turning (just how fast?). Just enough to emphasize that it’s a hot summer day, or not turning when it was Christmas.
For Silent Sky, a small moment that changed once we moved into the theatre was at the end of Henrietta’s introductory scene, as she transitions into the scene with her sister Margie. Questions raised in this moment ranged from how the lights should shift at the end of the introductory monologue or wait for Henrietta to move, sit and watch the night sky for a bit, then slowly change to daytime as Margie breaks in. Should I include the sky, which necessarily silhouettes scenery that has nothing to do with the yard in Wisconsin, or leave the backdrop dark since the scene is completely downstage? Through trial and error and feedback from the entire team, those questions are answered.
One of the big moments in Silent Sky was director Adrienne Sweeney’s early vision for the end of the play, the moment when Henrietta finally looks through the Great Refractor telescope that she was never allowed to use during her time at Harvard. The image Adrienne started with hearkened back to the swags of lights used in The Elephant Man last season and whether or not we could we extend those points of light beyond the confines of the stage to encompass the audience. We tossed around several ideas during early meetings, then I did an experiment at the start of rehearsals. It eventually led to the final result, but even that changed just a day or two before the first preview. We decided to adjust the sequence and timing, but I said “wait a moment” and programmed a slightly different cue sequence than we had just settled on. When I ran my version, the response from the team was “Right! That’s it.” You’ll have to decide if it works for you, too.
Experiencing Paul’s brilliant lighting design in Silent Sky is just one of the many great things to do in Lanesboro, MN. What’s another? Commonweal resident ensemble member Hal Cropp suggests a kayaking trip along the Root River. Bring your own or call on one of Lanesboro’s great outfitters for all river and trail equipment needs.
Silent Sky closes within the month with the closing performance coming soon on June 23. GET TICKETS —> HERE.
Thanks for reading and I’ll see you at the theatre—Jeremy