Michiana Meditation, or a Break in the Action

We’ve flown to the midwest to meet up with our Sophie who’s been hanging with the grandparents in Chicago since the day after Opening Night. We’ve had a wonderful reunion and now we’re at the summer home in Michiana Shores, on the Michigan/Indiana border, two blocks up from the beach, and we have the shin-burns and the knee-burns to show for our first time out in the sun. It’s the 4th of July today, or what our Treplev, Alexander Strain calls “Happy Beat Up on His Home Country Day” and our production of THE SEAGULL is taking a well-deserved holiday off — a number of ailing actors get to rest up, including our young lovers – Romeo and Juliet, er Treplev and Nina, er Alexander and Veronica – both under the weather from physical maladies and gamely playing through the pain with three shows this past week.

It’s good for all of us to enjoy the break. We went out, most of the company, to Fox & Hounds after Thursday night’s performance and so enjoyed being together. Much to savor, the genuine affection this ensemble has for one another, and for the project; for the process of making this thing. I can only reflect for myself… that this time away, as the earlier day in New York on Monday, has helped give the perspective that, by God, we created something special and that the disappointment will find its place but that it probably won’t be top of mind, or so consuming that disappointment dominates the memory bank or dictates the destiny of this project.

Metro Weekly Delivers a 4 Star Review – Good for the spirit and soul

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Russian Jewry
Theater J’s Ari Roth has ever-so-slightly tweaked Chekhov’s ‘The Seagull’ to make it explicitly, inherently Jewish
by Doug Rule
Published by Metro Weekly on July 2, 2009

Oy vey! The Yiddish construction is fun to use and say in English, even though it expresses dismay or exasperation. Yet, just the sound of it adds some levity to the moment.
Similarly, celebrated Russian playwright Anton Chekhov wrote plays intended to straddle the divide between the tragic and the comic — working to draw the funny out of the sad.
And to think he wasn’t Jewish.

Take The Seagull. Chekhov’s century-old comedy does not feature any Jewish characters or themes, and yet it is characterized by utter oy veyso Oedipal, it could pass for a Jewish stereotype.
And now, in Theater J’s adaptation, it does. To adhere to the theater’s mission to explore Jewish cultural heritage, Theater J’s artistic director Ari Roth ever-so-slightly tweaks the play to make it explicitly, inherently Jewish. More than just create their own shtick, they have created a noteworthy, modernized retelling of this classic tale about youthful yearning and unrequited love. With director John Vreeke and translator Carol Rocamora, Roth mostly sticks to the play’s original 19th century Russian countryside setting, but he incorporates Russian Jews and modern Jewish sensibilities into the mix. The Seagull on 16th Street explores eternal questions about spiritually and symbolism that everyone can toast.

Even without its novel adaptation, Seagull would be a must-see thanks to its altogether winning ensemble cast, led by Naomi Jacobson as Arkadina, a famous Russian actress perpetually anguished about her advancing age as well as her son Treplev (Alexander Strain), an aspiring writer who has yet to make a name for himself. Perhaps in part because he’s never felt appreciated by his mother, Treplev rejects her secular approach to success, in which her Jewish identity is downplayed and her religion itself nonexistent. Treplev announces formation of his own Jewish theater company, and stages a production of his first play at the country estate of his Uncle Sorin (Stephen Patrick Martin) for a gathering of friends and family, most of whom are sycophants to his mother and his mother’s boyfriend, Trigorin (Jerry Whiddon), a Russian literary giant. They effectively laugh Treplev’s play right off the stage, causing Treplev much soul-searching about his future.

Meanwhile, Treplev’s girlfriend Nina (Veronica del Cerro), an aspiring actress, sees star-making potential in Trigorin, and proceeds to naively throw herself at his mercy. The nefarious Trigorin is flattered by her youthful adoration, exploiting it for his own gain.
This adaptation effortlessly incorporates a cappella snippets from modern-day pop songs, especially anguished laments from R.E.M., sung by Jason McCool as Yakov. The rustic staging, by designer Misha Kachman, as well as the howling wind that blows in from an offstage lake during the show’s final act, only adds to the drama. Everything is designed to enhance the play’s central message of love, longing and the lure of youth.

Potomac Stages Observes The Seagull

The Seagull on 16th Street – a review
June 17 – July 19, 2009, Wednesday – Thursday at 7:30 pm, Saturday at 8 pm, Sunday at 3 and 7:30 pm
Reviewed for Potomac Stages on June 27 by David Siegel
Ari Roth’s Unique adaptation for those immersed in Chekhov’s world of self-indulgent beings

This is an appealing work for those immersed in the esteemed Anton Chekhov’s oeuvre and who want to see a contemporary world premiere adaptation with a rather unique twist. This is no half-hearted variation of costume changes and frothy accents. This The Seagull is a gutsy, distinctive turn that brings forth issues of faith that Ari Roth found present in Chekhov’s century old original. In his adaptation, Roth superimposes matters regarding the Jewish faith and the struggles of prominent characters to either reconnect with their former religion or continue on their path to assimilation and integration into society. This newly-minted theme is overlaid on Chekhov’s bracing work regarding artistic creativity as well as the consequences of mismatches of love. Does the adaptation work?

Keep reading at…www.potomacstages.com

Fundraising and our Responses (and a dialogue that keeps going and going…!)

We end our fiscal year this week and we’ve sent out an email to that effect (many of you have received it, no doubt). There’s a form to contribute on line and we encourage you to do so! We’ve been getting responses. Here’s the most meaningful so far:

>>Ari -
I just made a $500 contribution to Theatre J. This is the first time that I have made a donation to any theatre or arts organization. I have been a subscriber to Theatre J for many years, and appreciate the high quality of the plays. I chose to donate because I want to support your courage and artistic integrity in bringing plays that help us probe the complexity of the Israeli-Palestinian conflict. You have not flinched, despite some small-minded criticisms from some within the Jewish community. Thank you for helping us all think and feel more deeply about that issue, among all other issues, as you bring theatre to life for us.

- Debbie Goldman

I hope others may be so inspired to help us out. Debbie’s contribution brings us closer to our goal, but we still have well over a dozen more gifts like Debbie’s to go before we balance.

Know that we’ve also gotten some negative responses.

Directing Chekhov – A Few Words from our Guest Blogger

Today we have a post from guest blogger Jodi Kanter, who served as production dramaturg on THE SEAGULL ON 16TH STREET. Jodi hosted our Artistic Director’s Roundtable Panel on June 18, titled The Russian Soul—Directing Chekhov. We’re thrilled to have her with us!

After Sunday’s matinee, I moderated a conversation with two accomplished Washington area directors, Kasi Campbell and Derek Goldman. Theatre J’s own Ari Roth joined us.

To kick things off, Kasi Campbell confessed: when she first read Chekhov, she wondered what all the fuss was about. It was only much later in her career, when she got “knee deep” in Chekhov—with her own Seagull—that she fell in love with the challenges of his plays.

What were the challenges? Campbell talked about the long stretches in Chekhov where nothing much seems to be happening, followed by huge emotional outbursts in which actors had to “throw their hearts out into the middle of the audience.” Derek Goldman talked about how complex the characters are—“There are no villains and no heroes here,” he said. Goldman also talked about how closely laughter and tears followed each other in Chekhov’s world. He praised The Seagull on 16th Street as both recognizably Jewish and true to the original play.

“I recognized my own Jewish mother in this Arkadina,” said Goldman.

“I take offense at that!” joked a woman in the audience.

My favorite question from an audience member was this one: Why did Chekhov insist that this play that ends in suicide was a comedy? It’s a question artists and scholars have debated for more than a century.

Ari Roth pointed out that in the end, the characters return to playing cards and, by implication, continue their lives. Kasi Campbell said Chekhov’s laughter was quieter than the kind many contemporary audiences are used to. “You laugh a lot in Chekhov,” she said, “but it’s kind of a ‘huh’ laugh rather than a haw haw haw laugh.”

Jodi Kanter is Associate Professor of Theatre at George Washington University and served as dramaturg for Theatre J’s production of The Seagull.

from Arts Reporter, Jenet Dechary

Hats off, many bows and much applause to Ari Roth, Theater J and all of the Seagull on 16th St. collaborators for all they risk, their willingness to choose the high wire over safe bets, and for continuing to make theater that matters. Ari Roth, John Vreeke, and a stage full of our finest actors give us yet another layer to a Chekhov classic. Who thought that could happen? Thanks to all.

- Jenet Dechary

More Director-Adapter Dialogue

In reckoning with the events of the weekend, we’ve all had a chance to consider the meaning of reviews, why we (or at least I) am forced to confer so much importance upon them, how we display them (or don’t) in our lobby, how they impact audience attendance (and reaction), and how crucial it is that we not let them derail our trajectory. Late last night, I took to reading back through the blog postings about the ambitious musical we launched a year ago, “David in Shadow and Light” and found it poignant to read through the last time we were so disappointed, how personally upsetting the month turned out to be for our playwright (who lost his mother the same week of the review), and how we tried to gamely forge forward and, to varying degrees, succeeded in bringing new people in to see the show, even as that 7 week run closed a week early. I loved remembering the little party we had for our DAVID cast and supporters at Irene Wurtzel’s farm out in Virginia and the music that was made that night in a most Chekhovian setting, with a most Chekhovian sense of the bittersweet.

Now that Chekhovian bittersweet is with us quite literally on stage, as events in the life of our theater are reflected on stage, amplified and made all the more poignant by the dialogue between the production and the continuing story of our theater’s striving to take flight with new work, frequently from a Jewish perspective, often getting shot down from a familiar sharp-shooter. The bird-kill does seem to add up. And yet we’re a resilient outfit–hardly a Treplev–though we still feel his pain, and he ours.

And so yesterday I put in a call to our director, John Vreeke, to catch him up on the week, the good, the bad, the poignant. Here’s his response:

From: John Vreeke
To: Ari Roth
Sent: Sat, Jun 27, 2009 10:24 pm
Subject: your call
(*reprinted with permission)

Hi Ari,

Thanks a whole bunch for your phone call message…sorry I missed it. I’ve taken to leaving my blackberry behind as I walk along the Puget Sound beach with Sammy, our dog. I’m home alone this week since Rick had to rush to Michigan to look after his ailing mom…and I’ve been decompressing and evaluating, of course.

After about an hour of controlled despair this morning around Mark’s dismissive review, I came to celebrate what we did again. His review was entirely too predictable. If you approach the piece from the perspective of “how Seagull is done right,” then you have an easy shot. If Trigorin, or Arkadina or Treplev or Nina just don’t fit into whatever preconceived idea a person has of what those characters should be, then too bad. Or if you come knowing the exact tone and nature that you feel a Chekhov play should take, then again, easy shot. Our Chekhov/Roth characters are unique and interesting and come from very real places…just as we set out to do. You set out to do something quite extraordinary, Ari, and you did it extremely well… you maintained the original and added an entirely new level of meaning and experience.

Now It’s Your Turn – Comments Welcome

We’ve heard from a number of critics – and there’s another today, at last, from the Post, but our responses from readers of this blog has been hushed. On the other hand, 10 members of a book-group who came to the show Thursday and stayed for the post-show talk-back all wrote to each other today, and the chain got forwarded to me, and they all loved it. Which was nice to read. And to experience with them. Here’s their smattering of nice wishes:

Subject: RE: Thank you!! It was great

Unanimous rave on the play last night from all the ladies!

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Add my thanks to the litany. I loved the production, great job on the adaptation and, as you might imagine, can’t think of a better way to spend an evening than seeing a play in the company of the ladies of the books. Your arrangements between the dinner, the tickets and the parking made everything so convenient. And of course, I loved the opportunity to hear the cast discussion afterwards. All in all a delightful evening —

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I concur in all these sentiments. My usual fare of school productions, swim meets, and soccer games makes this trip to the theatre all the more appreciated.

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Yes – it was faboo! Thank you

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Me too – really enjoyed the whole evening.

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Thanks for organizing last night. I wanted to let you know I enjoyed the t-o-t-a-l experience, and look forward to talking about it next time we get together.

Our Most Interesting Review So Far

from DC THEATRE SCENE
The Seagull on 16th Street

June 25, 2009 by Steve McKinight

It takes chutzpah to write new dialogue for Chekhov’s classic The Seagull and to insert Russian Jewish themes that didn’t exist in the original. While the setting and basic plot remain the same, Theater J’s The Seagull on 16th Street adds dramatic conflicts over the extent to which several characters, reimagined as Jewish, will cling to their heritage or seek to assimilate into Russian society. Yet Ari Roth’s daring in rewriting the play is a risk that pays off and rewards the audience with a new perspective on the drama. This innovative adaptation not only adds new ideas, but smoothly integrates them into the original work to enhance the characters and augment some of Chekhov’s theme.

The new material appears from the inception of the play. The young dramatist Treplev (Alexander Strain) rebels against the melodramatic grand theatre that made his mother Arkadina (Naomi Jacobson) a famous actress. In classic Chekhov, Treplev merely hopes to pursue experimental theatre forms that draw more on abstract ideas and symbols. Roth’s version not only has Treplev wanting to create theatre that draws upon his Jewish heritage, but also has his mother crush Treplev by describing the play performed for friends and family at a Russian country home as “Hebraic tripe” (instead of decadent rubbish).

Similarly, Arkadina is clearly thrilled by big city life where she is acclaimed by the intelligentsia and a member of the artistic elite. She is pleased to have escaped rural Russia, as represented by her brother Sorin (Stephen Patrick Martin) and the bohemian collection of friends and servants at Sorin’s country estate. Roth further adds to the sense of separation by having Treplev embrace his Jewish heritage while Arkadina has hidden it as part of seeking assimilation into mainstream Russian society (again, an invention added to Chekhov’s text). At one point Arkadina proclaims that she is Russian, not Jewish. Interestingly, the nineteen-year-old aspiring actress who appears in Treplev’s work, Nina (Veronica del Cerro), claims she is not Jewish, she is an artist.

The overlay of Jewish heritage extends to smaller details as well. Characters discuss whether to maintain Sabbath rituals and toast each other with “L’chaim.” When Treplev shoots a seagull (an act which foreshadows future sadness in the play), Nina states that “Killing a living creature is not very Jewish.” Later Nina recites lines from a drama called “The Sabbath Bride.”

While the play’s characters and plotline may not depend upon the Jewish perspective added in this adaptation, the approach is certainly consistent with Chekhov’s writing. A son trying to live up to his mother’s expectations, artistic souls exploring the meaning of life amid existential angst, and discontented characters with unrequited romantic feelings can all easily be melded with the new elements that Roth introduces.

To keep reading, click here.

Three New Reviews

The best, and most useful review of the run comes from Glen Weldon of the Washington City Paper. He’s tickled and impressed by just about everything, except two, not so tiny elements. I think we’re all glad he finds that “this Seagull is lively, solidly built and frequently funny—and productions of Chekhov that achieve that particular trifecta are rare indeed.” So we’ll take that and discuss the finer points in a day or two.

There’s also this appreciative, pretty well observed piece in the Washington Jewish Week Who knows our theater better than Lisa Traiger? She finds the production impressive and credible and revealing but, somehow, thinks the elements don’t cohere enough to “soar.” It’s good but definitely not great and doesn’t quite explain nor explore what we’re going for–or what she received–in our adapting the material through a Jewish lens. It’s a sticking point, as it is perhaps for all three reviews we’re posting today. So this should and will be fodder for much more discussion.

Finally, our first review to not buy in on a fundamental level, in DCist. As Dr. Dorn says, “Yes, the plays were overstuffed.” This critic seems to be saying the same thing.

We have more critics coming tonight. Plus my wife’s book-group (!), their first outing to Theater J in, oh, a decade. With a cast talk-back to follow. More illumination time.

A recap of last night’s superb discussion with our Iranian director, Mahmood Karimi-Hakak, to follow.