Spotlight on the Script in Hand Series
Script in Hand returns this year with a February 14th reading of Neil Simon’s funny and touching Chapter Two, followed a month later by Patrick Hamilton’s classic nail-biter, Angel Street—both curated and directed by the Playhouse’s own Annie Keefe. Inaugurated last year with a reading of Agatha Christie’s mystery, And Then There Were None, Script In Hand inherited the mantle of Funny Mondays and Classic Mondays, two of the various reading series from past Playhouse seasons. This new series, like its predecessors, presents a rare chance to rediscover classic plays and lesser known titles in the informal setting of a Monday night reading. Without scenery or costumes, the success of each reading depends entirely on the power of the actors, the spoken word, and the imaginations of the audience. Other titles featured in 2010 were the Pulitzer Prize-winner Harvey by Mary Chase; Butterflies Are Free, the Leonard Gershe classic that made its debut at the Playhouse in 1969; Bedroom Farce by Alan Ayckbourn, and a special holiday reading of The Greatest Gift by Playhouse favorite David Wiltse.
Recently, Westport Country Playhouse Artistic Advisor Annie Keefe devoted a bit of time to answering questions put to her by Playhouse Associate Artistic Director David Kennedy:
Can you give me the brief on the Script in Hand genealogy? Where did this idea for a reading series come from?
When Joanne Woodward and I were first at the Playhouse, we did a number of private readings at her house in order to see if some older titles we liked still held up. They were highly enjoyable for all concerned, especially the actors, who liked the informal setting and the chance to get together and read some plays they might never get to do otherwise. When we started doing readings for the public in 2005, our desire was for the Playhouse to explore new plays in a far less pressure-filled situation than if we were fully producing them. The readings gave us the opportunity to offer playwrights a chance to hear their play read by professional actors, while it gave our audience a first look at some interesting new work without us having to work out all the kinks as we would in a production. What we discovered when we opened the readings up to the public was how much joy the audience found in sitting in a darkened auditorium, sharing a wonderful story told by an excellent playwright and performed by talented actors. It gave them a chance to use their imaginations in a collective experience where they were called upon to fill in the details of the visual picture. It’s amazing how willing people are to suspend disbelief and become fully engaged in this barebones presentation. It’s sort of thrilling. Because of Joanne’s involvement, we were often able to get some pretty big named actors to appear, but as we continued the series, we realized that while people always like the opportunity to see a star, the play’s the ‘thing’ that brings people into the theater.
In the theater, there are plays you love and there are plays you love that you can afford to produce. And the financial impediments to bringing any given play to the stage can be numerous. The cast might be too large. The sets are too expensive. Too many costume changes. In the case of a reading, you mostly don’t have to concern yourself with those issues. So given that the sky is pretty much the limit when it comes to selecting titles, how do you even begin to go about making your choices? Are there certain plays that shine in this format?
Choosing the plays is a very personal thing. I choose any given title for a number of reasons, but most importantly it has to be a play I personally like. It may be something I’ve had some experience with, and I know will please an audience. Or perhaps I pick a title or a playwright that people know and like, such as when we did Agatha Christie. Thrillers and comedies work well, but with the caveat that since the actors are basically stuck at a music stand in this format, I try to avoid plays that require a lot of stage business that is integral to the plot. If a play will only work well if an audience saw the stage business, but not as well if the audience will only hear a description of it, then it’s one I’d avoid. Farce is hard for this reason, though if anyone saw Bedroom Farce, done by our usual Ayckbourn actors, they’ll know it’s not impossible if the actors are comfortable just going for it. Having seen what may seem like dated plays, such as Golden Boy or They Knew What They Wanted, move an audience to tears, I have learned to trust that good writing will carry the day. Sometimes I have a specific actor in mind, someone who I know is interested and available, and I pick a title for him or her. That was the case with Christopher Walken and Arsenic and Old Lace. I had run into him in the supermarket, and asked if he would consider a reading. When he said yes, I began to think of plays that he would really shine in. I knew that Joanne had had a great time when she did Arsenic at Long Wharf Theatre, and I began to see what fun could be had with the two of them in the cast. I was just fortunate that it all came together. The same was true with Butterflies Are Free. Jonathan Groff, of Spring Awakening and "Glee," was introduced to us by Playhouse friend Mark Shanahan, and we all started thinking of titles that would work for a hot young star. And then it followed naturally that we call on Blythe Danner.
Can you tell us a little bit about bringing a reading to the stage? After you’ve chosen the script, what’s the process that results in the public performance?
This part goes back and forth between totally pedestrian and nerve wracking. I first make sure that the rights are available through the licensing agency. We pay a fee for a one-night use of the title. Next I start making lists of several actors who would be right for each role and begin making calls. Each list can be ten actors deep. Sometimes you get your first choices, and sometimes you can’t find a free actor to save your life. While all this is happening, I take a copy of the script and blow it up so it is easily read. Then I go through it and cut the stage directions down to the bare minimum. I try to leave only the things that the audience has to know and which the dialogue of the play won’t tell them. I never leave in things that the actors can actually provide by themselves, emotional cues, that sort of thing. I want a script that moves as much as possible through the dialogue. I highlight the directions I want to keep in orange on the master script because orange seems to copy well for some reason. Then I make copies of the script and send them to the actors as they accept the role so they can familiarize themselves with the text. I’m also in charge of chasing down pictures and bios for the program. Then it’s just a question of the rehearsal—five hours on the day of the reading, and actually doing it.
Given how harried it all is as you race to the finish line, you must have a story or two from the trenches about a less-than-smooth moment somewhere along the way. Care to share any backstage drama with our readers?
Considering the number of actors and plays we’ve done, there are surprisingly few horror stories. I did have to pull some strings and beg and almost sell my first born to get the rights to one play. I just assumed they were available and advertized the title before I had secured the rights, only to find that someone was planning a New York production. Luckily we were able to come to an agreement. I once lost an actress to a television series on the Saturday before the Monday reading, but again with a flurry of phone calls and the generosity of my actor friends, I ended up with an even better choice for that particular role. I’m superstitious though, and now I don’t put in my check requests for payments to the actors until the very last minute. That way they remain committed, at least in my mind.
The next reading, Neil Simon’s romantic comedy, Chapter Two, can be seen at the Playhouse on Valentine’s Day. Of all the plays that center on romance, what attracted you to this rather unconventional love story?
Well, naturally I wanted a love story for Valentine’s Day. I didn’t want to do Love Letters again. It would have been hard to top our cast for the last production: Paul Newman and Joanne Woodward. I wanted something funny and emotionally fulfilling, and I was having the devil’s own time coming up with a title. I was looking at old play scripts in the greenroom of the theater where we have a sort of library of scripts, and I found The Last of the Red Hot Lovers. I loved the title for Valentine’s Day in particular. The play is funny, but would really be more fun if you could come up with a big star to play the lead role. I immediately thought of Nathan Lane. Nathan is doing The Addams Family, and said he’d love to help, but had to keep his day off for himself, which of course is understandable. But it put Neil Simon in my head, and then up popped Chapter Two, which I had only seen as a film. When I read it, it seemed to do just what was required. It hadn’t been seen at the Playhouse since 1980. I always like to find a script with some connection to the Playhouse’s history.
Tell us a little bit about Angel Street, the reading coming up in March? I’m sure our audiences would be curious to discover that they may know this story quite well, albeit by a different name.
Yes, it’s based on the play Gaslight, which was made into a film by that name. I even asked the licensing agent if I could advertise it as Gaslight, but apparently the contract stipulates it be called Angel Street. This is a play I saw for the first time at the Playhouse in 1996. It’s a Victorian thriller, a real game of cat and mouse. It has five magnificent parts for good actors, and I can’t wait to get started on it. It centers around Bella Manningham, who fears she’s going mad. Her mother died insane, and lately Bella seems to be forgetting things, losing things. Or is she hiding them? Her husband is concerned, but not very sympathetic. Maybe he’s trying to drive her mad? Then Detective Rough appears still trying to solve a murder that took place in the very house Bella and her husband have moved into. Could Bella’s husband have been involved in some way? You’ll just have to buy a ticket to find out.
Do you have any advanced word on what titles the autumn might have in store?
I wish I did. I have some half formed thoughts, but nothing certain. I have a few months before the marketing department makes me hand over a title. I’m happy to have suggestions.
Finally, you’ve curated, directed and acted in readings at the Playhouse. Having done it all, do you have any thoughts on what’s the most fun?
The curating is always a challenge. The directing is directing traffic as much as anything. I like directing, but this is not much like directing an actual play. The acting is just plain terrifying. I think I have the most fun sitting in the audience. It’s a very special feeling to be a part of a group of people all focused on the same thing, especially when that thing is a good script and good acting. It’s sort of what we’re all about here at the Playhouse.
David Kennedy, Associate Artistic Director
Community Day Returns
On March 19, celebrate the arrival of spring at the Playhouse with our 2nd Annual Community Day. This exciting event, free to all patrons, will feature a variety of behind-the-scenes activities, including backstage tours with production displays and insights into our history; family activities with complimentary snacks and beverages; and a discussion about the upcoming 2011 season, lead by the Playhouse artistic staff. Patrons will also have the opportunity to take advantage of a special discount on single tickets for our upcoming 2011 season.
“Community Day is truly one of the most exciting events of the year here, and a personal favorite of mine,” said Managing Director Michael Ross. “It is a chance for us to not only show our audiences a side of the Playhouse they don’t normally experience, but also to give a little something back to the wonderful community that supports us.”
Last October marked the first annual Playhouse Community Day. The campus was abuzz with the variety of events and activities that took place.
Backstage tours were offered, which afforded our patrons an opportunity to take a closer look at the Playhouse campus in its entirety. These tours offered an in-depth look at our front of house and backstage areas. The dressing rooms were highlighted with costume displays from a past production of A Christmas Carol. The lobbies displayed set design photos from several productions, spanning from the renovation through the present. A tour of the scene shop allowed guests to see how all of the set designs came to life. And as patrons were led through the various spaces, they were given a detailed account of our rich history, including little known tidbits about everything from the star-studded list of performers that have graced our stage to the multitude of memorable productions that have begun here.
Another great part of Community Day was the children’s activities that were brought to campus. With a caricature artist on hand, a Playhouse bean bag toss and face painting, our walls resonated with the sound of children’s laughter. It was the success of last year’s Playhouse Community Day that made the decision to bring the event back in 2011 a “no-brainer.”
This year’s Community Day will provide a great way to not only take a more intimate look at the Playhouse, but to have conversations with our staff members and your fellow patrons. Please stop by on March 19, from 1:00pm to 5:00pm, and join the fun!
Nikki Rowell, Patron Services Manager
Playhouse Partners with Read to Grow
Remember the fun of sitting down with a parent to read your favorite book? A love of reading starts early and can open up worlds of discovery, even a love of seeing what we read come to life on the stage! Many of our Family Festivities shows here at the Playhouse are based on well-known children's literature, and we hope that seeing some of their favorite characters on stage will encourage our youngest audience members to turn to the source and take up the book.
With an aim of encouraging literacy development across our whole community, the Playhouse has recently partnered with Read to Grow, a Connecticut nonprofit organization that helps to build literacy by providing books to families in need and by encouraging parents to read aloud to their children right from birth. At each of our Family Festivities shows this year, we are collecting new and gently used books for Read to Grow, who will distribute the books to children in the greater Fairfield county area who may not have access to books at home. Read to Grow also works with eight Connecticut hospitals to provide the parents of every newborn with a book, along with literacy guidance and provided over 70,000 books to children in need last year.
Please consider bringing a book for Read to Grow next time you visit the Playhouse, whether you are bringing your family to one of our Family Festivities productions or just stopping by to pick up your subscription tickets. Look for the collection bins in our main lobby.
Angela Marroy Boerger
Education & Community Programs Coordinator
