Shakespeare's As You Like It

A Rubicon Youth Production
Presented by The "No Fear Shakespeare" Company

Sponsored by The Jack Oakie and Victoria Horne Oakie Charitable Foundation
Co-Sponsored by Loretta and Mike Merewether • Kiwanis Club of Ventura
Smith-Hobson Foundation • Sheeler Moving and Storage

Written by William Shakespeare
Directed by Joseph Fuqua

As You Like It is one of the great comedy plays by William Shakespeare. The heroine, Rosalind, is one of his most inspiring characters and has more lines than any of Shakespeare's female characters. Rosalind, the daughter of a banished duke falls in love with Orlando the disinherited son of one of the duke's friends. When she is banished from the court by her usurping uncle, Duke Frederick , Rosalind takes on the appearance of a boy calling herself Ganymede. She travels with her cousin Celia and the jester Touchstone to the Forest of Arden, where her father and his friends live in exile. Themes about life and love, including aging, the natural world, and death are included in the play. New friends are made and families are reunited. By the end of the play Ganymede, once again Rosalind, marries Orlando. Orlando and Rosalind, Oliver and Celia, Silvius and Phebe, and Touchstone and Audrey all are married in the final scene. Oliver becomes a gentler, kinder young man so the Duke  changes his ways and turns to religion and so that the exiled Duke, father of Rosalind, can rule once again. Act II, Scene 7 features a great soliloquy by William Shakespeare which begins:

"All the world's a stage
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages..." 

PERFORMANCES
July 19 • 8 pm
July 20 • 8 pm
July 21 • 8 pm
July 22 • 2 pm & 7 pm

TICKETS
Adults: $15 | $20 at door
Kids: 12 & under: $10 | $15 at door

RESERVED SEATING
Save money and guarantee your seat by purchasing in advance.

~~~~~~~~~~~~~~~~~~~

Fearless Shakespeare

This four-week program is also by audition, interview and invitation only. As with the Musical Theatre Camp, students work six-hours-a-day, six-days-a-week, learning about Shakespeare’s world, script analysis, scansion and verse, dialect, vocal production and character development. Building on the strength from one another and the leadership of professional theatre artists they form a tight company of actors. Clarity of story is the focus of these productions allowing the actor to bring one of the Bard’s masterpieces to life. This year, students will tackle As You Like It, directed by Yale School of Drama graduate Joseph Fuqua.

As the curtain rises on King John

by Rubicon Theatre Company on Friday, July 15, 2011 at 8:34am

The Life & Death of King John

An Interview with Director and award-winning actor Joseph Fuqua

Murder, betrayal, war, political intrigue -- not the summer blockbuster, no - it’s the continuation of Rubicon’s Summer Outreach Acting Intensive, as King John comes to the main stage under the direction of RTC alum Joseph Fuqua. Perhaps Shakespeare’s least produced play, King John bows Friday night in what could well be its Ventura County premiere.

Director Joseph Fuqua shared some thoughts about the production before a late rehearsal this week:

RTC: You’re sinking your teeth into pretty ambitious material again this summer, ambitious not only for small theatre, but as a youth production.

JF: Shakespeare is a hard sell for many audiences, so making it accessible is very important - at graduate school at Yale it was important that we learned to adapt Shakespeare - we loved doing it pure, but a lot of times it was necessary to cut it, making it, as they say, “too short to suck;” cut out the fat, keep the lean, and honor the beautiful verse while making it audience friendly is what it’s about.

RTC: Too short to suck, huh? That’s catchy.

JF: Most of the plays, without cuts, are between two and three hours. So I come to it as an adaptation, preserving the iambic pentameter, combining some characters, beefing up some. We only have thirteen kids, where in the full cast there are twenty-five parts. As we adapt, we make the story a bit denser.

RTC: I understand you’re getting creative with period and costuming...

JF: For years people have been doing Julius Caesar in a banana-republic style, with Castro and his cigar - other people say “oh no, I prefer my Caesar with togas.” Well, in Shakespeare’s day - he did Julius Caesar in Elizabethan garb, so for them it was present day. All of his plays, even if in imagination it required togas, he did it in modern dress, and it was completely acceptable. So now we’re doing modern dress for this - it’s a little bit more iconic royal, but they’re not in long velvet robes, they’re in modern dress.

RTC: I covered a play a few years ago, with ordinary Gold Coast actors in ancient samurai garb - and they looked ridiculous. In some ways it felt like it bankrupted what could have been a splendid play. I thought, how cool would it have been to take a bit of creative license...

JF: Absolutely. What they did with La Boheme, the wonderful production by Baz Luhrmann, that took it and made it in 1950’s Paris, with leather jackets and fur coats. That wonderful post-war ebullience. It worked great; starving artists in every century. What I don’t like is the “school of cool,” where decisions are made simply because they seem cool, but can’t really be supported.

So we’re making some little changes, and calling it an adaptation. We’re presenting Shakespeare’s King John, and it’s adapted by me. It’s all about the story, and the story makes sense. I was drawn to this, though some people said, "oh wow, big story, big history, blah de blah" --- there was some concern about “will the audience like it, it’s not a famous one." But you know? The same number of people came to Macbeth as came to A Midsummer Night’s Dream; not a huge audience but good support, so I thought, "I don’t know that the famous plays are going to fill the house anyway. And this play has some great roles for women; not just two, but four great roles for women."

In a nutshell, it’s a soap opera; it turns into a mess -- it’s a story of dysfunctional royals, a story Americans are familiar with. So that’s where I was coming from, why not?

RTC: Last year it was bloody Macbeth, before that Bard On a Wire (Shakespeare Without a Net), before that, A Midsummer Night’s Dream. Quite a repertoire you’re building with the Bard...

JF: This is part of the acting intensive and Brian (McDonald, Rubicon's Director of Education) wanted to do something that incorporated some pretty intensive training for four weeks, culminating in a performance. Since I had some chops with Shakespeare, it made sense to bring them together.

RTC: You have part of your Macbeth troupe back, yes?

JF: Many of these kids have been with me since the beginning -- this is our fourth year together with Shakespeare.

RTC: It’s a heady challenge, adapting one of the greatest writers ever.

JF: We’re making sure to really honor the text. The images are so important, because if they’re done right, even if the audience doesn’t know exactly what you’re saying, Shakespeare was such a genius, the image goes “bang” in your heart. You know what it means, even if you don’t follow all the words. For example: “Grief fills up the room of my absent child.” Right? You don’t need to say “My son has been kidnapped, and I’m sad.”

The poetry of the language is all-important, and it’s something (Rubicon founders) Karyl Lynn (Burns) and Jim (O'Neil) have committed to; they love Shakespeare, they think it’s important, so it’s work that we’re going to do. We have a following, and if there are people who are unsure, we hope they’ll come and maybe their minds will be changed about it. Being intimidated by it - I know I was, when I was younger I was intimidated by it; when you get familiar with it, and you get down to the story, there’s nothing like it.

RTC: What a great opportunity for young actors.

JF: With our Summer Outreach we’re giving kids a shot at musicals, straight drama, some Shakespeare -- did you see The Jungle Book Kids? It was wonderful. What Rubicon is offering to local youth is really important, and I know it’s part of Karyl Lynn and Jim’s mission with Rubicon.

My belief with theatre, the threatre arts, whether in high school, or a summer program; even if a kid doesn’t want to go on to a career in performing arts, to become an actor, drama and the art of acting, with voice, with diction, with appreciation of language, can give a kid a chance to explore their voice, their courage, even if nothing else, if they’re able to, for the rest of their lives, to be able to give a speech, or to sit still and have a strong voice in a job interview - to be able to stand and deliver, and speak from their heart, then that’s what it’s about too.

It’s also teaching them a sense of community; the develop into a troupe, a family; they make friendships, they bond; there really is something that a kid who might feel like an outsider can join and belong. I’m trying to instill in them the sense that acting is not necessarily about fame and fortune; it’s like painting, and if you love it you can do it for the rest of your life.

King John Sponsors:

Sponsored by The Jack Oakie and Victoria Horne Oakie Charitable Foundation • Co-Sponsored by Loretta and Mike Merewether • Kiwanis Club of Ventura • Smith-Hobson Foundation • Sheeler Moving and Storage • Santa Barbara Bank & Trust

Cast

Akira Dann, Devin Dornbos, Dillon Francis, Franklin Hansen, Dara Holder, Dylan Horwitz, Rebecca Lawson, Tyler McLean, William Peterson, Jennifer Ridgway, Katherine Rollins, Joe Sartee and Toby Tropper.

Performances

* July 15 at 8pm
*July 16 at 8pm
*July 17 at 2pm

Reserved Seating

Save money and guarantee your seats by purchasing in advance.

Tickets

Adults: $15 ($20 at door)
Kids 12 & under: $10 ($15 at door)

Tickets available online or through the Rubicon box office at (805) 667-2900.

art predator

(art predator )'( seek to engage the whole soul)

Ventura’s Rubicon Theater Does Macbeth This Weekend

Pre-sale Tickets are $10 and it’s $15 at the door. If you can afford to give more, they would sure appreciate it as they are going through some difficulties financially.

RUBICON ACTING INTENSIVE (AGES 14-22)

When: June 21, 2010 – July 18, 2010     Cost: $750

This four-week program runs June 21 thru July 18, Monday thru Saturday from 10am-5pm, and culminates with five public performances of Shakespeare's Macbeth.  Under the direction of award-winning Yale actor Joseph Fuqua, students focus on developing the actor's voice and body, comprehension and expression of the language, building a character, playing actions and overall performance skills.  Perfect for serious students with little or no previous experience with Shakespeare, this nurturing program is designed to challenge each participant to reach their greatest individual potential under the tutelage of professional theatre artists.  The cost of the program is $750.  There are limited scholarships available.  The deadline to apply for a scholarship is May 14, 2010.  **Acceptance into the program is by audition only.  You may register online for this class only after you have been accepted into the program from your audition.  Please call Amber Griswold at 805.667.2912 ext. 230 to schedule an audition appointment.

MACBETH
Composed in late 1606 or early 1607, Macbeth is the last of Shakespeare’s four great tragedies, the others being Hamlet, King Lear and Othello. It is a relatively short play but is considered by many scholars to be Shakespeare's darkest work.  Shakespeare's Scottish tragedy is about Macbeth's bloody rise to power, including the murder of the Scottish king, Duncan, and the guilt-ridden pathology of evil deeds generating still more evil deeds. As an integral part of this thematic web is the play's most memorable character, Lady Macbeth. Like her husband, Lady Macbeth's ambition for power leads her into an unnatural, phantasmagoric realm of witchcraft, insomnia and madness. But while Macbeth responds to the prophecies of the play's famous trio of witches, Lady Macbeth goes even further by figuratively transforming herself into an unnatural, desexualized evil spirit. The current trend of critical opinion is toward an upward reevaluation of Lady Macbeth, who is said to be rehumanized by her insanity and her suicide. Much of this reappraisal of Lady Macbeth has taken place in discussions of her ironically strong marriage to Macbeth, a union that rests on loving bonds but undergoes disintegration as the tragedy unfolds.

PERFORMANCE DATES ARE AS FOLLOWS:

    •    Thursday, July 15, 2010 at 8:00pm
    •    Friday, July 16, 2010 at 8:00pm
    •    Saturday, July 17, 2010 at 8:00pm
    •    Sunday, July 18, 2010 at 2:00pm

http://losangeles.broadwayworld.com/article/Rubicon_Theatre_Company_Presents_DOUBT_A_PARABLE_20100127

Rubicon Theatre Company Presents DOUBT, A PARABLE

Wednesday, January 27, 2010; Posted: 04:01 PM - by BWW News Desk
 

Rubicon Theatre Company continues the 2009-2010 Season, "Defying Expectations," with DOUBT: A PARABLE by John Patrick Shanley.

Set in a Catholic Church school in the Bronx in the fall of 1964, DOUBT: A PARABLE is a Pulitzer Prize and Tony Award-winning drama about Sister Aloysius, a rigid and conservative principal with exacting standards, who believes that in order for students to be properly prepared for the world, teachers must offer discipline over compassion. She suspects that a gregarious priest, Father Flynn, newly arrived to the parish, is too friendly with the students, and that he is paying too much attention to young Donald Muller, the first Negro student ever to be admitted to the school. Through conversation with an innocent, hopeful young nun (Sister James), Sister Aloysius becomes certain that Father Flynn has, or is capable of, an improper relationship with Donald; but she cannot prove her allegations. If she charges him, she will destroy his career, and perhaps her own. She further questions Sister James, as well as Donald's mother. The story leaves us with questions about what has - and should have - happened, who is right or wrong, and the nature of faith and love.

Says Rubicon Artistic Director James O'Neil, "DOUBT: A PARABLE is a thinking-person's play. It asks us to think about important moral dilemmas for which there are no easy answers. It is an intelligent, powerful, provocative piece that we know will stimulate spirited discussion and debate amongst our audience members."

Directed by Artistic Associate Jenny Sullivan, the play features a cast of returning Rubicon veterans, among them company member Joseph Fuqua (RTC's Picasso at the Lapin Agile, Hamlet), Robin Pearson Rose (All My Sons, Samuel Beckett's Happy Days), Chicago-based Lauren Patten (The Diary of Anne Frank, Fiddler on the Roof), and Collette Porteous (You Can't Take It With You).

DOUBT: A PARABLE opens this Saturday, January 30 at 7:00 p.m. at Rubicon's home at Laurel and Main in Ventura's Downtown Cultural District, 1006 E. Main Street, Ventura, CA 93001. Low-cost previews begin Wednesday, January 27 at 7:00 p.m. and continued Thursday, January 28 and Friday, January 29 at 8:00 p.m. The regular performance schedule is Wednesdays at 2:00 p.m. and 7:00 p.m., Thursdays at 8:00 p.m., Fridays at 8:00 p.m., Saturdays at 2:00 p.m. and 8:00 p.m. and Sundays at 2:00 p.m. For tickets, call (805) 667-2900 or go to www.rubicontheatre.org.

History of the Production
DOUBT opened on Broadway in 2005 at the Walter Kerr Theatre, directed by Doug Hughes. The original cast included Cherry Jones and Brian F. O'Byrne, who were followed by Eileen Atkins and Ron Eldard in 2006. The show ran in New York for 525 performances. DOUBT swept the 2005 awards ceremonies, winning four Tony Awards, five Drama Desk Awards, the Lucille Lortel Award for Outstanding Play, the New York Drama Critics' Circle Award for Best Play and the Pulitzer Prize for Drama.

Jones toured with the production, which won the 2007 Touring Broadway Award. The West Coast premiere with Linda Hunt took place at Pasadena Playhouse. The production has since played in more than 25 countries and has been directed by Nicolas Ken and Roman Polanski, among others.

The film version of DOUBT premiered in 2008 with Meryl Streep, Philip Seymour Hoffman, Amy Adams and Viola Davis. Shanley directed. DOUBT is also featured in "The Fourth Wall," a book of photographs by Amy Arbus for which Shanley wrote the forward.
The idea for the story of DOUBT was inspired by characters Shanley knew as a young man. "I went to a church in the Bronx," says Shanley, "in 1964."

"It was such a specific world that has now vanished," he continues, "a world involving the Sisters of Charity, who dressed in black robes and black bonnets. More recently, the world around me started to remind me in certain key ways of this time - of people of conviction and people who weren't certain, at odds with each other and their power struggle."

Shanley dedicated the film version of DOUBT to Sister Margaret McEntee, a Sister of Charity nun who was the basis for the character of Sister James, the role played by Lauren Patten at Rubicon. (Sister McEntee was Shanley's first-grade teacher and served as a technical adviser for the film.)

Just a year after the play opened, a story with some parallels to DOUBT hit national news' headlines. A priest in Chicago was convicted of abusing African-American boys at St. Agatha parish in Chicago's North Lawndale area. Like Father Flynn, the character in DOUBT, the arrested priest Father McCormack had been a basketball coach.

Despite any similarities, however, Shanley is quick to say that he did not create the play from his own past or from actual circumstances. He points to the words "A PARABLE" (added as part of the title when the script was published after the opening on Broadway.)

Says Shanley, "I wasn't interested particularly in writing about the church scandals, and I wasn't really interested in writing a whodunit. I'm more interested in people becoming more accepting and comfortable with living with doubt because I think that's one of the big problems we've had in this country in the last decade."

Continues Shanley, "There has been this evaporation of doubt as a hallmark of wisdom. Everyone is very entrenched. True discourse is nowhere to be found. And we're desperate for it."

More about the Playwright
John Patrick Shanley is an American playwright, screenwriter and director. He was born in New York in 1950 to blue-collar parents. His mother was a telephone operator and his father a meatpacker. A rebel at an early age, he was thrown out of Catholic School in kindergarten and sent to a private school (Thomas Moore Prep) in New Hampshire. He attended New York University, but left to enlist in the U.S. Marine Core before completing his degree. After his service, he returned to NYU on the G.I. Bill and graduated in 1977 as class valedictorian. Sometimes dubbed "the Bard of the Bronx," several of Shanley's scripts (including his first Five Corners, and DOUBT) are set in that part of New York where he grew up. He has written more than twenty works for the stage, including Savage in Limbo, Danny and the Deep Blue Sea, Italian-American Reconciliation, Four Dogs and a Bone and Defiance. He has also had ten produced screenplays. For the script for the 1987 film "Moonstruck," which starred Cher and Nicholas Cage, Shanley won the Academy Award for Best Original Screenplay and the Writers Guild of America Award for Best Screenplay Written Directly for the Screen. In 1990 he directed his own script of "Joe Versus the Volcano" with Tom Hanks. (He also wrote two songs for the movie: "Marooned Without You" and "The Cowboy Song"). Shanley was inducted into the Bronx Walk of Fame in 2004. For DOUBT, he won the Pulitzer Prize for Drama, the Drama Desk Award and the Tony Award for Best Play. He directed the film version as well. He is a member of the Ensemble Studio Theatre.

Cast Members
ROBIN PEARSON ROSE plays the tenacious and stern Sister Aloysius. An Associate Artist of The Old Globe in San Diego, Rose has appeared in the Broadway productions of Holiday and The Visit (directed by Hal Prince), and the Off-Broadway production of Summer and Smoke (Roundabout Theatre Company). For Rubicon, she has previously appeared in Samuel Beckett's Happy Days, All My Sons (Ovation for Best Production, Larger Theatre) and You Can't Take it With You. Other major regional credits include work at the Huntington, American Conservatory Theatre, Williamstown Theatre Festival, South Coast Rep and Yale Rep (she received her MFA from the Yale School of Drama). Rose has numerous television and film credits, including "Something's Gotta Give," "What Women Want," "Speechless," "Fearless" (Peter Weir, director), "Last Resort" opposite Charles Grodin, and "An Enemy of the People" opposite Steve McQueen.

In the production, the role of Father Flynn is assayed by Rubicon Theatre's first company member JOSEPH FUQUA, who has made chameleon-like appearances in 17 classic and contemporary productions with the company over 12 seasons. Also a Yale graduate, Fuqua's Broadway and Off-Broadway credits include Brighton Beach Memoirs and 110 in the Shade (Lincoln Center), Raft of the Medusa and Yours, Anne. Regionally, he has worked with Actor's Theatre of Louisville, Arena Stage, Dallas Shakespeare Festival, Dallas Theatre Center and Ensemble Theatre. On television Fuqua has guest-starred on "The X-Files", "The Profiler," "Brooklyn South," "The Pretender," "Chicago Hope," "Star Trek: Deep Space Nine," "Becker" and the pilot "Second Nature." Film credits include "Ed's Next Move," "David Searching," "Heyday" and J.E.B. Stuart in the Warner Brothers film "Gods and Generals" with Robert Duvall.

Chicago-native LAUREN PATTEN made her Rubicon debut as the title role in The Diary of Anne Frank with Bruce Weitz and Linda Purl. She returned to Rubicon and was nominated for the 2008 Ovation Award for her role as Elma in Bus Stop, and played Chava in last year's environmental production of Fiddler on the Roof. Other credits include work with the Goodman Theatre, Chicago Children's Theatre, Chicago Dramatists and the Summer Play Festival of New York City.

As Mrs. Muller, COLLETTE PORTEOUS makes her second appearance with Rubicon, having played Rheba in the company's production of You Can't Take it With You. New York theatre credits include Bedlam (The Producers Club), The Ballad of Baxter Street (Theater for the New City), Twelfth Night (Great Egress Theater Company), and the solo performance of Can I Be Me (NYU Africa House).
Rounding out the company are Production Stage Manager KATHLEEN J. PARSONS, whose credits include work with the National Theatre of the Deaf and Access Theatre, and LINDA LIVINGSTON (a favorite on Ventura stages) as understudy for Sister Aloysius.

Director and Designers
Director JENNY SULLIVAN helmed productions of Who's Afraid of Virginia Woolf? (Indie Award) with Joe Spano and Karyl Lynn Burns and the premiere of Spit Like A Big Girl written by and starring Clarinda Ross during Rubicon's 2008-2009 Season. Most recently, Jenny directed Tea at Five starring Stephanie Zimbalist for Ensemble Theatre. Other Rubicon credits include You Can't Take It With You (Indie Award); Hamlet with Joseph Fuqua (Indie Award); One Flew Over the Cuckoo's Nest; Tuesdays with Morrie; Happy Days with Robin Pearson Rose; Defying Gravity; Art (Indie Award); Dancing at Lughnasa (Indie Award); The Rainmaker; The Little Foxes; two casts of Ancestral Voices; Love Letters with Jack Lemmon and Felicia Farr; and Old Wicked Songs with Harold Gould and Joseph Fuqua. Jenny has also directed for Manitoba Theatre Centre in Canada, The Long Wharf, Pasadena Playhouse, Williamstown Theatre Festival (six seasons) and Off-Broadway.

DOUBT Set Designer ALAN E. MURAOKA has been honored with two Emmy nominations and three Art Directors' Guild Award nominations. Alan began his career as an assistant set designer in New York on Broadway productions of On Your Toes, The Tap Dance Kid, The Three Musketeers, Smile, Jerry's Girls, and the ballets Bounenville Variations and Ives Songs for New York City. Now an L.A. resident, he has served as Art Director on "Ace Ventura-Pet Detective," "The Specialist," "Washington Square," "Liberty Heights"; the television series "NYPD Blue"; and most recently, the miniseries "The Company" and film "Little Miss Sunshine". Theatrical projects have included the critically acclaimed productions for the Long Beach Opera of Ricky Ian Gordon's Orpheus and Euridice staged in an Olympic swimming pool, an opera adaptation of The Diary of Anne Frank staged in an underground parking garage, and Who's Afraid of Virginia Woolf?, Trying, and Vincent in Brixton at the Old Globe theatre in San Diego. Alan earned his BA in Music and Art History at Yale University and his MFA in Theatrical Design from New York University. Alan has also been an adjunct lecturer at USC School of Cinematic Arts.

JEREMY PIVNICK, Lighting Designer, returns to the Rubicon after designing A Rubicon Family Christmas (2008 and 2009), Man of La Mancha, Picasso at the Lapin Agile, Hamlet, A Delicate Balance and Waiting for Godot, among others. Off-Broadway, Jeremy designed The Marvelous Wonderettes (Westside Theatre). Other New York credits include Good Bobby (59E59 Theatre), Corpus Christi (Rattlestick Theatre) and Moscow (Connelly Theatre). Regionally, Jeremy has designed over 200 productions and won numerous awards, including two L.A. Stage Alliance Ovation Awards (17 nominations), four Backstage West Garland Awards and the L.A. Drama Critics' Circle Angstrom Award for Career Achievement.

Costume Designer PAMELA SHAW returns to Rubicon, having previously designed The Little Foxes, The Rainmaker, Art and Defying Gravity. Recent design work includes The Oresteia (Ghost Road Ensemble); Hamlet, The Tempest, A Midsummer Night's Dream, A Christmas Carol and Tom Sawyer (Will and Co.); The Elephant Man, Children's Hour, The Rocky Horror Show and Lope de Vega's Lo vingido ferdadero (Loyola Marymount University).

KENNY HOBBS serves as Sound Designer, having been nominated for an Ovation for his design for Rubicon's Fools. He also created the sound effects for All in The Timing, Little Women, Our Town, and many other shows and special event on the Rubicon stage.

In addition to her work as Prop Designer, T. THERESA SCARANO is currently director of Premier Sets and also Production Manager with Cabrillo Music Theatre.

Sponsors
DOUBT is generously sponsored by JANET AND MARK GOLDENSON. Mr. Fuqua's appearance is underwritten by DR. NORMA BECK. Artist accommodations are provided by the MARRIOTT VENTURA BEACH.

Dates, Show Times and Ticket Information
DOUBT runs ninety minutes without intermission. The Press Premiere and Opening Gala for DOUBT takes place this Saturday, January 30 at 7:00 p.m. at Rubicon Theatre Company, 1006 E. Main Street, Ventura, CA 93001. Champagne and truffles will be served in the lobby beginning at 6:15 p.m. First-night attendees are invited to join the cast and VIP's for an after-party hosted by the FOUR POINTS SHERATON. The evening is sponsored by SANTA BARBARA BANK & TRUST. Tickets for the Premiere are $95 and include the show, pre and post-show parties and a tax-deductible donation to Rubicon. Low-priced previews of DOUBT are Wednesday, January 27 at 7:00 p.m., Thursday, January 28 at 8:00 p.m. and Friday, January 29 at 8:00 p.m. The production continues for a limited run through Sunday, February 21. Performances are Wednesdays at 2 and 7 p.m., Thursdays at 8 p.m., Fridays at 8 p.m., Saturdays at 2 and 8 p.m. and Sundays at 2:00 p.m. Some Sunday evenings may be scheduled. Prices range from $39 to $59, depending on the day of the week.

Special Performances
Talkbacks are scheduled after the 7:00 p.m. performances on the first two Wednesdays of the run, February 3 and 10. There is also one Sunday matinee audio-described performance for individuals who are blind or hearing-impaired (call for details.) Assistive listening devices are available at all performances at the concession stand. Tickets may be purchased in person through the box office, located at 1006 E. Main Street (Laurel entrance). To charge by phone, call (805) 667-2900. To select dates and seats online, go to www.rubicontheatre.org.
 

http://www.vcstar.com/news/2010/feb/05/gray-matter-rubicons-doubt-will-leave-audiences/

Rubicon's 'Doubt' will leave audiences pondering the many shades of uncertainty

Gray matter

• By Rita Moran
  Arts writer
• Posted February 5, 2010 at 12:01 a.m.

Photo Courtesy of Jeanne Tanner
Sister Aloysius (Robin Pearson Rose) is certain Father Flynn (Joseph Fuqua) has overstepped the bounds of propriety in "Doubt."
_______________________________________________________________________________________________________

Despite the playwright’s protestations and program notes for each of the three productions I’ve now seen of the challenging show, it’s difficult for even the finest actors — and Rubicon Theatre Company has attracted four exceptional performers — to walk the verbal and emotional tightrope of where the truth lies in the tense plot. Even though “doubt” is the last word spoken in the play, Shanley scatters enough moments throughout to satisfy audiences who want to see the situation totally in black and white, from either side. The play’s subtitle, “A Parable,” was appended when the play was published after its opening in 2005, in Shanley’s effort to distance it from any specific factual episode.

Sister Aloysius is certain Father Flynn has overstepped the bounds of propriety in dealing with young boys in his care. After she urges Sister James to be less open and optimistic about her students and teaching, and more on the lookout for deviance, the younger nun responds with a concern about the only black boy in the school after he returns from a meeting with Father Flynn with what she sniffs as alcohol on his breath. With that impetus, Sister Aloysius confronts Father Flynn, speaks to the boy’s mother and moves to get the priest out of his post. Father Flynn, who has advocated more openness to the students and parishioners in the wake of the church’s changes in ritual and attitude to support a more communal spirit, is the antithesis of Sister Aloysius’ hard-line approach.

There’s much to ponder on the theoretical side of “Doubt”: whether ends justify dishonest means, whether “truth” should be made of sterner stuff, where the boundaries form between compassion and permissiveness, whether rigidity fosters change or simply compliance. These and other discussions are likely to follow “Doubt” as experienced by thoughtful people.

It may be impossible to view Shanley’s script dispassionately, and easy to see it as favoring one side or the other of the conflict. As much as Sister Aloysius’ approach may seem regrettable, Father Flynn’s lines leave lots of room for speculation that he has a crucial flaw. On the other hand, he embodies a forward-looking church, a breath of fresh air; Shanley wants us to consider that in this case the air could be putrid.

Rose gives us a down-to-earth Sister Aloysius, one with the straight-up, bracing assurance that she must be right. She finds the bits of self-acknowledging humor in the nun, and adds just enough of a New York accent to establish the place. Fuqua has the more difficult role of being what Father Flynn seems, and yet possibly what Sister Aloysius assumes. An intelligent, nuanced actor, he blends the contradictions well until his passionate reaction to the principal’s overt attempt to have him removed. Could that be an admission of guilt, or is it the deep resentment of the falsely accused?

“Doubt” may leave you with certainty, but Shanley insists he is more interested in “people becoming more accepting and comfortable with living with doubt,” which he finds “a hallmark of wisdom.”

— E-mail Rita Moran at ritamoran@earthlink.net.

The set is simple and requires no scenery changes for the 90-minute show. The priest’s pulpit neighbors Aloysius’ office. Gravel covers a quarter of the stage and creates an outside garden at the stage’s front. A small strip of undecorated stage serves as an intermediate space between these three locales. Limited to these settings, the play creates a sense of a cloistered community, one that is almost too small to permit both Flynn and Aloysius (and their conflicting ideals) to be at the same place at the same time.

The costumes are spartan. Aloysius and the more naive Sister James are always seen in their long, black habits. Mrs. Mueller, Donald’s mother, only appears in one scene and dons nothing but a simple, albeit attractive, dress with some basic accoutrements: gloves, purse and winter hat. And although Flynn is mostly seen wearing his dark robes, he is the only actor who ever changes costumes. His beautiful green cassock worn during sermons and his plain sweat suit used for his coaching responsibilities hold no apparent symbolism in and of themselves. Rather, it is the mere fact that he changes costumes that is important, as it implies increased liberty over the play’s female characters. The theme of doubt arises once again as Flynn’s freedom can be interpreted as an extension of his progressive policies or as a chameleon-like ability to cover up his tracks.

The acting is spot-on and intensely engaging. With a cast of only four actors, any fault is hard to hide and can easily lead to the play’s failure. Fortunately, Robin Pearson Rose as Sister Aloysius and Joseph Fuqua as Father Flynn deliver strong, believable performances as mutual antagonists. Collette Porteous as Mrs. Mueller and Lauren Patten as the innocent Sister James perform well, but their acting was slightly marred by too precise a representation of emotion. A properly timed line and the artifice of feeling is not the same thing as actual feeling.

I left the playhouse, which interestingly enough is a remodeled chapel, with the same questions and feelings as when I saw the movie version in 2008. I repeated and mulled over the same lines, trying to connect the dots, only realizing that they form a perfect circle: doubt, faith and certainty supplant each other as the need arises, but it is hard to tell if there is any truth to any one of them at all.

Was the play good? Yes. Was it worth the drive? Probably. Was the play’s strength due to the Rubicon Theatre Company’s production end, or thanks to Shanley’s tight script? If the show was good, I guess it doesn’t really matter, but I still have my doubts.

– Daniel Boden

E-mail Boden at

dboden@media.ucla.edu.

This 'Fiddler' reaches out Rubicon show envelops the audience in the action

COURTESY OF ROD LATHIM 
In “Fiddler on the Roof,” Jay Brazeau stars as Tevye, a dairy farmer frustrated by his daughters’ tiny steps toward independence.

Rubicon Theatre Company embraces the brave sentiments and strength of spirit of the poor villagers with a “Fiddler” that physically reaches out into the audience and surrounds it with the throbbing life and underlying humor of its characters. The theater has been transformed into a “set” that covers walls with evocative images of Anatevka life and thrusts into the center of the audience with a stage that brings the action into close focus. Among other innovative ways to expand the small playing area, director James O’Neil and his technical experts create memorable scenes by multiplying such moments as the solemn “Sabbath Prayer” with various village families gathered around their candles engrossed in devotions. Subtly lighted in spots behind delicate scrims, the rituals gain impact through unifying prayer.

Capitalizing on the close-knit aura, the acting and singing go less for bravura and more for simplicity and basic human emotion. Leading the 36-member cast is Canadian Jay Brazeau as Tevye, a dairy farmer whose fatherly frustrations over his daughters’ tiny steps toward independence are mostly displayed in shrugs and murmurs, though his anger bursts through when he realizes how far the family is straying from tradition.

Most of his heartfelt “conversations” are with God as he alternately reasons, rants and cajoles in an all-out pursuit of solutions to his ever-growing concerns. The biggest problem, he belatedly realizes, is not that his daughters are choosing futures outside of the confines of a matchmaker, but that the whole town is being capsized by the turmoil in his country.

Brazeau’s performance is ably bolstered by other men in the village, most notably by George Ball as Lazar Wolf, the butcher, a well-off widower who wants to marry Tevye’s daughter Tzeitel. Ball is in fine voice and makes the character’s loneliness palpable.

The vagaries of change mark a shattering dilemma familiar to the Jewish people and, through the works of Sholem Aleichem on which the musical is based, to the world. The stories are laced with humor, even though the conditions are tragic.

Tevye’s marriageable daughters, Tzeitel (Amy Hillner), Hodel (Leslie Henstock) and Chava (Lauren Patten), begin timidly but quickly display their determination to make their own choices even if it means ultimately severing family bonds, as painful as that may be. Tzeitel loves the poor local tailor, Motel (Chad Borden), in preference to the butcher; Hodel (Leslie Henstock) is entranced by Perchik, the revolutionary student (Robert Adelman Hancock); and Chava (Lauren Patten) makes the most alienating choice of all in her devotion to a local government enforcer, Fyedka (Josh Jenkins).

Some of the indelible comic scenes include the perfectly pitched “nightmare” fable in which Tevye, in bed with his long-suffering wife Golde (Eileen Barnett), breaks the news of Tzeitel’s decision by summoning up ghosts of Grandma Tzeitel (Betsy Randle) and then Fruma-Sarah (Natalie Nucci), Lazar Wolf’s first wife. Both spirits sing, cackle and crow their way through rousing resistance to a Tzeitel-Lazar alliance, to hear Tevye tell it. Another well-wrought ensemble piece is “The Rumor,” in which the tale grows taller as villagers spread the word.

In a very effective move, the show’s Fiddler, most often seen sparingly and miming the playing, is given prominence by the choice for the role of violinist Nuvi Mehta, artistic director of the Ventura Music Festival and a man with considerable stage presence. His Fiddler reappears significantly throughout the show, blending musically with the well-honed off-stage klezmer-style band led by Lloyd Cooper. Mehta’s fiddling and silent acting add polish and a thread of soulful continuity to the popular musical, and may even start a new tradition — if other troupes can find an equally talented soloist.

“Fiddler on the Roof” extols tradition, but also understands change. After all is said and done, it allows, “The old traditions were new once.”

— E-mail Rita Moran at ritamoran@earthlink.net.

Home › Lifestyle › Culture

Raising the 'Roof'

Rubicon Theatre had to pull strings — lots of them — to stage 'Fiddler on the Roof,' its most ambitious show yet

By Karen Lindell (Contact)
Friday, March 13, 2009

  Download this story as a podcast!

Courtesy of David Cooper Jay Brazeau will star as Tevye in Rubicon Theatre Company’s “Fiddler on the Roof,” for which the Ventura production company had to lobby hard to obtain the rights.

‘Fiddler on the Roof’

The Rubicon Theatre Company will present the Tony Award-winning musical, with previews at 8 p.m. Thursday and March 20, and an opening night gala at 7 p.m. March 21. Regular shows, through April 26, are at 2 and 7 p.m. Wednesdays, 8 p.m. Thursdays and Fridays, 2 and 8 p.m. Saturdays, and 2 p.m. Sundays. The Rubicon is at 1006 E. Main St., Ventura. Tickets cost $49-$69 ($125 for opening night), with discounts for seniors and students. Call 667-2900 or visit http://www.rubicontheatre.org.

Chuck Kirman / Star staff Violinist Nuvi Mehta, who also is director of the Ventura Music Festival in May, will play the Fiddler in the award-winning musical that will open March 21 at the Rubicon Theatre.

Jamie Thompson and other cast members rehearse a dance for “Fiddler on the Roof.”


 

Chuck Kirman / Star staff Tom Beyer, left, and Jay Brazeau are part of the large cast in the Rubicon Theatre production, which necessitated some big temporary changes to the theater space.

Photos by Chuck Kirman / Star staff Actors run through a “Fiddler” rehearsal in the Rubicon Theatre. Set designer Thomas S. Giamario created a space to make audience members feel as though they were part of the village, but that entailed removing a dozen seats and building a circular dias reached from a ramp onstage.

The milkman wouldn’t cometh.

His daughters wouldn’t meet their matchmaker.

Actually, Tevye the Jewish dairyman, his family and the rest of the Anatevka Village entourage from “Fiddler” were coming — but to Hollywood, not Ventura.

And that was the problem: not enough room in the village of Southern California for two productions of the Tony Award-winning musical.

When a Broadway show is on a national tour, which is the case with “Fiddler,” starring Chaim Topol, famed for his Oscar-nominated role as Tevye in the Oscar-winning 1971 film version, regional community theaters generally aren’t granted legal rights to stage that production. The thinking is, if you just heard Tevye belt out “If I Were a Rich Man” at your local playhouse, you won’t want to become a poor person by paying again, or doling out more, to see the touring version.

The playwrights, lyricists and composers who hold the rights to these shows deserve to get the best return on their creative investment. So they have lawyers.

But they also have hearts, and recognize the power of a small-town “little theater that could” story.

Yes, Rubicon is that little theater. “Fiddler” opens March 21 in Ventura, even though the touring version will play at the Pantages Theatre in July and August.

All it took was a few trips to New York, a six-page heartfelt letter, a creative set design, and connections, connections, connections — bolstered by one woman’s powers of persuasion and Rubicon’s reputation as a small theater doing great things.

Here’s the story of how the Ventura company became the only professional regional theater in the U.S. granted the rights to stage “Fiddler on the Roof” until 2011.

“Fiddler” is billed as “the biggest production ever on Rubicon’s stage.” “Big” refers to cast members (31 people, plus a band), budget ($450,000, versus $150,000 for a typical Rubicon show) and ambition (difficult to quantify).

Cue the violin, please.

Small theaters aren’t supposed to do “Fiddler on the Roof.” Even if the roles are doubled and the orchestra trimmed down, the musical still requires a large cast. You’ve got Teyve, his wife Golde, their five offspring and the girls’ various suitors, plus an entire Russian village to cram onstage.

House size matters, too. A professional Equity theater like Rubicon must pay union actors, so more seats mean more box-office receipts to cover expenses. The Rubicon has 190 seats; the Pantages contains about 2,700.

Rubicon hadn’t let size constraints limit its ambitions in the past, however.

Until “Fiddler,” “Man of La Mancha” in 2006 was the largest show Rubicon had done, with a cast of 19. Planning and fundraising took three years.

The production was a hit. Audiences, said Rubicon artistic director Karyl Lynn Burns, “really liked a musical of that scope. It packed an emotional wallop and had a great impact on people, who might have seen it otherwise in an 1,800- or 3,000-seat theater where they wouldn’t have seen the actors’ faces.”

After enjoying “Man of La Mancha,” Rubicon patron Bernie Novatt planted the “Fiddler” seed, asking director Jim O’Neil (Burns’ husband) when the company was planning to stage one of his favorite musicals, “Fiddler on the Roof.”

O’Neil just laughed and said “never” — “Fiddler” was too monumental, and too expensive. The persistent Novatt, who said he “loves the musical because it really gives me the feeling of a true story,” offered a sizable donation, and started mentioning the “Fiddler” idea to other community and Rubicon board members.

Then, about 18 months ago, Manitoba Theatre Centre in Canada, which often does co-productions with Rubicon, invited O’Neil to perform in its production of “Fiddler on the Roof.” O’Neil decided to take the role and absorb how the 900-seat Manitoba put its production together.

While in Canada, O’Neil called Rubicon set designer Thomas S. Giamario and asked him to mock up a model for a dream 360-degree “Fiddler” set — one that would make the audience feel as if they were part of the village.

O’Neil told him not to worry about money or logistics.

To accommodate a larger cast, Giamario devised a center ramp leading from the stage to a circular dais, which meant about 12 seats would have to be removed. The stage scenery was minimal. Instead, theatergoers would be surrounded by Marc Chagall-inspired murals on the rear and side walls (in the original Broadway production, the set pieces were painted in the style of the Russian-born painter).

“I’d surround them in the Chagall world — not a realistic world of turn-of-the-century Russia, but Chagall’s symbolized inspiration of that,” Giamario said. The final touch: platforms in the upper corners of the theater, with scrims in front, that would be backlit to show families during the Sabbath prayer scenes in “Fiddler.”

Meanwhile, as a bonus, Burns and O’Neil persuaded Ventura Music Festival Director Nuvi Mehta, an acclaimed violinist, to play the Fiddler in the production. The focus of the 2009 festival is Russian music, so “Fiddler,” they figured, would be a logical lead-in to the May event.

So far, so good — but expensive.

“It was a huge stretch to even consider this financially,” Burns said. To drum up support from potential donors, the theater planned a dinner event where they would share Giamario’s set model and the overall vision for “Fiddler.”

Along with Novatt and his wife, Dottie, other donors who made large contributions included Venturans Janet and Mark Goldenson. Janet, who is from Malaysia, said the musical was “close to her heart” because her late brother, James, had been the musical director and pianist for a production of “Fiddler” in India, and her late husband, Leslie, played Tevye in the same production.

According to Burns, Rubicon raised a record number of sponsorships that night.

As financial support rolled in, the show was becoming a reality. Securing legal permission to stage the production, Burns figured, would be easy. The rights weren’t available, however, because the national tour, although it hadn’t been announced yet, was in the planning stages.

Burns’ formidable connections to people in the theater world kicked in.

She learned that the producer for the national tour was Nick Howey, who’s also produced “Jesus Christ Superstar,” starring Ted Neeley, a close friend of Burns and O’Neil. Neeley put in a good word for Rubicon.

Howey, who had toured the Rubicon Theatre and knew its reputation as a strong regional theater, was willing to make an exception.

He wrote a supportive letter to Music Theatre International, which controlled the rights. But MTI still said “no” on behalf of the “Fiddler” creators.

“It was for a good reason; they were afraid of setting a precedent,” Burns said, adding that the only exception would be theater companies that had already obtained “Fiddler” rights before the national tour was announced.

Carol Edelson, MTI senior vice president, said the rights house also made exceptions for small community theaters and high schools, and some universities, but “when we got requests from professional theaters like Rubicon, we said no.”

So Burns went straight to the sources: Joseph Stein, Jerry Bock and Sheldon Harnick. They wrote, respectively, the book, music and lyrics for “Fiddler,” which is based on stories by Sholem Aleichem.

Burns started with Harnick because singer-actress Amanda McBroom, a frequent Rubicon performer, knew the lyricist and asked if he would be willing to talk with Burns about the rights issue.

Burns flew to New York several times over four months to meet with Harnick.

“I told him, ‘This has become so important to our community, it sort of takes a village,’” she said. “I said it had become an idea that was greater than the sum of its parts.”

Harnick was surprised that Burns wanted to meet with him. “Usually people don’t contact me in person,” he said. But he didn’t need much convincing. Harnick trusted McBroom’s praise of Rubicon — including its production of his musical “She Loves Me” — and figured that if the national tour director was OK with letting Rubicon have the rights, then so was he.

One down, two to go.

Stein needed little swaying after Harnick spoke to him.

Bock, however, who was not feeling well at the time, Burns said, declined through his attorney, Dick Ticktin.

Yet the decision had to be unanimous.

Burns wrote Bock and his attorney a six-page, mostly single-spaced letter telling them the whole story. She sent them pictures of Bernie and Dottie Novatt, the Goldensons and other donors, and photos of the ambitious set. She said if the creators still had concerns about the national tour, and if Rubicon’s production was first, the theater would run an ad in the musical’s program that said, “You’ve seen it here, now see it with Topal.”

She met with attorney Dick Ticktin at his intimidating Avenue of the Americas law firm — and headed back to MTI with a triumphant trio of OKs.

Still MTI had to discuss the matter internally and give the final OK.

“They (Rubicon) were so fantastic,” MTI’s Edelson recalled. “They came up with an interesting concept. It’s a huge show for such a small theater. It seemed like such a great idea; everybody wanted it to happen.”

So it will.

And the fiddler didn’t fall after all, instead climbing up stronger than ever.

April 26th, 2009 | 8:52 P.M.

Anatevka, Rubicon Theatre.

It’s the last blog. The Constable was told to make it good (for once) by Lazar f*%#ing Wolf. So. Here it goes.

Today we had an honor that in this day and age few Fiddler casts have enjoyed. Sheldon Harnick came to our matinee, was first to stand at the curtain call, and then made a backstage appearance gushing praise and platitudes. Such a privilege. The Rubicon cabaret series of the Topa Tower Club honors Mr. Harnick tomorrow night. He is an unparalleled lyricist and the celebration and performance will mark his 85th birthday. An amazing day.

And tonight we have another bought out house. The Jewish Federation and Temple that bought out our opening night is bookending our run in a warm and loving way. They are a great house.

Backstage, there is a flurry of photographs, the signing of programs and posters, the exchanging of addresses, and assurances galore. The beautiful thing about theatre is that sooner or later, you meet up with your favorite actors again with stories to tell. Actors are a gregarious lot and always seem to pick up their friendships right where they left off, even years afterwards. It really is so.

We were unable to get a complete update from the futures of our merry band, but rest assured that if ever there is a place for them back at the Rubicon, all are welcome.

This was a historic achievement for the Rubicon theatre. The largest show ever done, the biggest orchestra, the most costly set. Many, many landmarks passed. We are all very proud and everyone in the front and in the back of our beloved stage should be grateful. Grateful to have taken a chance and, as they say, hit it out of the park. Heavy sigh, followed by another heavy sigh.

This also marks a 21st century landmark – the Rubicon’s first blog, made possible by the love and guidance of Cindy Frankey and Ken Wesler.

Chava (Lauren Patten) and the Constable (Joseph Fuqua) thank you for being faithful readers, gentle readers, and hopefully dear Rubicon patrons. Help keep the dream alive. Theatre in Ventura is made possible by your donations and enthusiastic attendance.

Thank you, thank you, thank you. May we all blog and read again.

Lauren and Joseph

April 25th, 2009 | 10:03 P.M.

Anatevka, Rubicon Theatre.

Second show on Saturday. A ‘bought out’ house. The wonderful Kipps and their investment firm and clients are out front. Enjoyment abounds.

Nuvi has been out for these two shows. We miss him. Yeah, yeah, we know. Jamie’s a great fill-in. But we’ve been blogging about closing out this run with all of our fine components intact, so. There it is. We was bummed.

But we’ve bounced back. I’m sure every one of you gentle readers has heard the term “the show must go on”. Must it? Yes. Why? …We recommend you watch Shakespeare in Love. This is handled very artfully in the screenplay.

Okay. We know a couple of updates on what our castmates are moving on to after we close. Our Lazar Wolf (George Ball) is going abroad to Tuscany and Scotland. Fine food and travel! Bob Barry (the Rabbi) is going back to focusing on his photography. Check out jazzography.com! We know Chad Borden (Motel) is in a show at Universal Studios which will be stage managed by our own stage manager, Linda Tross! Amy Hillner (Tzietel) has a continuing gig doing industrial shows. Jay Brazeau (Tevye) is going to host his high school’s talent show in Winnipeg. He is also going to be filming an independent movie.

More on the future anon.

Well, that’s the round up for now. We’ve all got some bottled up emotions. The moving on…the pulling away…the hurt…the pain…the abandonment issues…the phone calls…the stalking…the furtive glances…the abandonment issues (oh…we said that)…this is how it goes until we meet again.

Bye for now!

Our final blog lies ahead tomorrow. Sunday. Ask for it by name.

xoxo

Chava und The Constable

April 24th, 2009 | 10:14 P.M.

Anatevka, Rubicon Theatre.

Friday night! Closing weekend has officially begun. We’ve got a great show going on. Nuvi is back. We’re ready to see this puppy out with dignity and grace. There’s a lot of food being promised. Our assistant stage manager Jenine is making monkey bread on Sunday. We know the closing night party is at My Florist Café and Bakery. FYI blog readers, this has been a late night haunt for the cast. They’re one of the few fine establishments open until midnight in the little town known as San Buenaventura.

Also, of great note, the lyricist of Fiddler, Sheldon Harnick, is coming to our show this weekend. It has not been disclosed which show, because some actors get psyched when they know a big wig is in the audience. On Monday night, the Rubicon is hosting a fundraiser at the Topa Tower Club in celebration of Sheldon’s 85th birthday. People from the cast will be performing songs from Fiddler, and others will be singing songs from his other shows like “The Apple Tree” and “She Loves Me”. A good time, and we hope it raises a lot of dough.

Chava’s real sister is in the audience tonight! She’s very excited for her to see the show. Also, Amy Hillner (Tzietel), has a lot of friends in the audience to cheer for her. So the audience tonight is very supportive, which us actors enjoy.

Some friends of the theatre, Robin Gammil and his new wife, the lovely Stephanie MacNamera – both Rubicon alumnus – are in the audience with the former’s daughter and the latter’s step-daughter, Winslow Corbett, another fine Rubicon alumnus. They were here earlier in the day to plan the Ventura celebration of their nuptials at the house of the Constable and his better half, B. McDonald. Big doins’.

Life WILL go on after Fiddler.

But sadly for awhile wethinks.

Chava und The Constable

April 23rd, 2009 | 10:07 P.M.

Anatevka, Rubicon Theatre.

Thursday night. We don’t have Nuvi. We miss him when he’s gone. It’s only happened for a few shows a couple of weeks ago. We have our wonderful dance captain Jamie Thompson “miming” the violin – or the fiddle – and he’s terrific. But let’s face it: We’ve come to adore having a virtuoso on the roof. Ah well. Nuvi will be back soon, and we’ll have a closing weekend with all of our many components intact.

George Ball, our Lazar Wolf, is reading “The Making of a Musical: Fiddler on the Roof”. It tells the tale of our show from inception to the making of the movie. He often reads interesting bits to the many who assemble in Dressing Room 2. Evidently, Zero Mostel (the original Tevye) used to “chew on the scenery” once the show was open. In a previous blog, we have mentioned that after opening, some actors will change their performances. Maybe they’re bored, maybe they want to try new things, but it always is a mistake. You lose the show in favor of personal gain or glory. Never a good idea.

Chad Borden (Motel) has started rehearsal as of Monday for a show about the creature from the black lagoon at Universal Studios. Double duty for Chad! Most of us actors are wondering when the next job will come in. That’s the life of the actor. It’s nice when you have back-to-back work, but sometimes it doesn’t happen that way. The Constable, for instance, will go back on unemployment (a common feature of a working actor’s life is not working enough to qualify for unemployment). His father used to refer to this as his son “being on the dole” – a joke about the shame of a wayward son who didn’t “go far” but went “near”.

On a personal note, Chava is almost finished with her Sociology for high school! She is a homeschooled junior and she does one subject at a time until it’s finished! While finishing Sociology is good, that means she has to move on to Algebra 2. Not so good. Wish her luck.

In the next few blogs this closing weekend, we shall endeavor to supply you gentle readers with updates on the fate of our troupe. Where will they go? What will they do? Not even remotely close to the tragedy that befell the villagers from Anatevka, yet there is mild despair at our disbanding. It is the life of an actor. More on this on Sunday.

Friday is tomorrow. We’ll talk to you then.

Chava und The Constable

April 22nd, 2009 | 9:11 P.M.

Anatevka, Rubicon Theatre.

Second show! We had a great matinee. It was a great audience – it was sizzling! I’m sure you’ve all heard the term “the blue hairs” – it’s an affectionate term for the matinee crowd…of a certain age. Seniors. Gray Panthers. They are always a terrific audience. They’ve lived long lives with theatre and are incredibly appreciative. This is a wonderful thing for an actor – a receptive audience. Totally receptive.

This evening’s show is, as they say, a “bought out house”. Ventura Memorial Hospital and our own Board President, Dr. Richard Reisman, and his gorgeous wife Lori are hosting the event. So we’ve got a house full of “medical professionals”. Backstage, many have been joking about having a heart attack onstage or some such thing and being able to say, “Is there a doctor in the house?” and having a bunch of doctors rush the stage and break into fist fights to attend the dying actor. Good times, y’all.

On a personal note, Chava was experiencing some nausea earlier today. She thinks she must have eaten something that didn’t sit right with her, so she was a little queasy for the matinee. Luckily, it didn’t get any worse and her lovely mama brought her saltines during the dinner break. All better!

The Constable would like to say something to the blog readers that have dirty minds. This is not a case of a teen pregnancy – this is just an upset stomach. I know, I know – when a young woman talks about feeling nauseous and needing saltines, it’s a little cliché. But don’t jump to conclusions, ya stupid heads. Chava would like to note that she was the butt of at least 10 jokes about being pregnant. So she’s had enough of that. (Backstage is full of dirty minds, obviously.)

We had a dancer lose his beard today during the wedding scene. It laid on the stage like a dead animal. Road kill. Someone suggested that when the Constable entered, he should’ve stepped on it like he was killing a small rodent. It didn’t happen.

Short and sweet tonight. We’re inching towards the closing weekend. It’s all good. Talk to you tomorrow!

Blog tidings, gentle readers!

Chava und The Constable

April 21st, 2009 | 9:12 P.M.

Anatevka, Rubicon Theatre.

Great audience tonight! They want to be here! This is an added show, so they obviously couldn’t get tickets to one of the scheduled shows, so this added show is filled with enthusiastic theatre goers. And so, we’re eating it up (appropriate yummy noises to be made my reader – perhaps nummy num nummer?).

It’s our final week (We’re not going to use “last” anymore. Let’s use final. Better yet, let’s use “closing week”. Final is so…final.) So, it’s the closing week. So there.

Jay went to the Laugh Factory in LA last night. Andrew Dice Clay was the featured comic, and Jay was singled out by Mr. Clay and they started conversing. Jay became part of the act! They talked for the benefit of the audience about Fiddler on the Roof and Mr. Clay had some…rather sordid things to say about Tevye’s daughters. We won’t go any further, but suffice (Dice!) that it was unsavory, but evidently funny. This blog is not a fan of his humor and Jay regretted being in the front row. But, there it is. He was. Maybe he should have gone to the Cheesecake Factory and not the Laugh Factory.

It’s been extremely hot out, which means that it is even hotter onstage. On a personal note, Chava finds it difficult to keep cool with bloomers, a petticoat, and a heavy skirt. With double the lights for this show, the lighting looks fabulous, but it gets hotter a lot faster.

Here’s some news! Someone thought someone “broke wind” during the wedding, but it’s been discovered that the bad smell was the Russians peasant shirts – all polyester – they came back from the dry cleaner smelling very skanky, evidently. Spanky’s Russian pants have a different style and color from everyone else – the fabric burned his skin as he perspired in the heat. So, no offense to the dry cleaner, but…sometimes actors prefer natural fiber and the gentle cycle with Woolite. Perhaps in a Kenmore? Or, even better, a Maytag? The Constable never has anything dry cleaned. He has his suits steamed and brushed – never dry cleaned. I mean, who wants burning skin and skanky smells?

We had a five layer dip from Diane Perren! Avocado, cheese, sour cream and maybe clams? Eileen Barnett brought in Trader Joe’s ginger snaps – Chava’s favorite! …Our ASM (asst. stage manager) Jenine’s Mom puts ginger snaps in the Cuisinart and saves the crumbs in the freezer—to be added to—believe it or not—stews and meatloaf—as well as to graham (sp?) cracker crusts. Might be a kicky flavor...no?

All for now kids.

Chava und The Constable

April 19th, 2009 | 9:13 P.M.

Anatevka, Rubicon Theatre.

Second show! Last show of the week. Of a long 9 show week. Larry’s scratch on his face is healed, or healing. It was pretty angry looking last night, but today, his face just looked kind of…greasy. He had Neosporin all over that side of his face. The Constable told him (backstage, of course) to put Neosporin on the other side of his face so his whole face looked greasy, but he didn’t listen. Larry did, however, make a sort of “phantom mask”, so he’s the Phantom of Anatevka. Not quite as grand as Phantom of the Opera, but amusing nonetheless.

He had a delicious dinner between shows supplied by the Greek Restaurant of the Ventura Harbor. Chicken kabobs, sliced gyro, fantastic rice, fabulous hummus and wonderful soft, warm pita bread. AND a great Greek salad. We also had birthday cake for our end of April birthday boys and girl -- Rob Hancock, Jim O’Neil, Spanky Reynoso, and our wonderful house manager Anna! We love being fed well.

Crew spotlight on Linda Tross, our stage manager! She hails from Chicago (like Chava!), she cut her teeth in stage management at the Candelight Dinner Theatre. She’s stage managed many Rubicon shows, including Diary of Anne Frank, Bus Stop, and Night of the Iguana, and she assistant stage managed Hamlet. She’s a loyal and devoted Equity member and is a firm task master, as well as a fun-loving friend! Bless her.

Just like “The Rumor” in Fiddler, the rumor of the drunken couple last night has spread throughout the Rubicon community. Apparently, it has gotten blown out of proportion, just like the song! A few ushers came in today and excitedly commented on how the drunken couple climbed under the stage, and then set off firecrackers outside the theatre. We can assure you, gentle readers, this did NOT happen. But everyone backstage is getting a kick out of how similar the situation is to the song, even so far as suggesting that perhaps the drunken couple gave our smaller cast members the mumps!

The folks in Dressing Room 2 were talking earlier about how the Rubicon is an “art factory” and their product happens to be art. The cast and crew are the factory workers, cogs in the machine that make a widget called theatre. We are proud of it! We make a great product here at the Rubicon.

AND DON’T YOU FORGET IT!!

That’s it! The closing of our second to last week. We’re poised to begin the last roundup. As stated previously, we’ll all get through this together…or not. Have a great Monday! Remember, that is the traditional actors’ day off. A sacred time. We must go. Buh-bye!

Chava and the Constable

April 18th, 2009 | 10:13 P.M.

Anatevka, Rubicon Theatre.

Oh boy! A big night! We had a couple of drunks in the front row that were very loud during all the scenes – commented on every funny line and sang along to all the songs. The actors were getting very annoyed. At first it seemed that they were drunk, and then people wondered if they were developmentally challenged. But, George Ball was right – they were just a couple of drunks. I guess you could say that they were “sobriety challenged”. During intermission, due to some unacceptable belligerence, they were kicked out. And, evidently, the cops had to be called. Exciting! An interesting note: George Ball slurred that he knows a drunk when he sees one. He further slurred that he found it interesting that the women in the cast were adamant about them being challenged. Why is that, do you suppose? Chava thinks that it is quite an “accomplishment” to be so drunk that you appear to be mentally challenged. That is a first for her. She thought you blacked out before that point. The Constable remembers a time when he was so drunk people thought he was a carnie. (A carnie, of course, is one of those unsavory workers at a carnival that always makes girls like Chava uncomfortable, but other girls, like Tzietel (Amy Hillner) excited, what with their tattoos, sinewy arms, and tobacco stained teeth…)

Oh! And another thing. We had another causality tonight. This time, an accidental scratch. One character’s thumbnail hit another character’s face – there will be blood. And there was.

Tonight, we presented Jim O’Neil with the faux violin that was signed by the cast and crew and had a wonderful commemorative plaque on the base. A wonderful memento for Herr Director.

Oh! Diane Perren made some killer brownies and chocolate chip cookies, as well as more guacamole for all of us. And, of course, before the matinee today, the Constable brought in his “soup duo”, chicken and a miso for the vegetarians.

The Constable has a special guest from Ohio! His friend Cindi Verbelun (who just played Fruma Sarah for her local theatre – receiving wonderful reviews) is here to see two shows! Thanks Cindi for all your support!

Two more shows tomorrow, a day off, and then our final week. *sob* *sniff* We promise to be strong. We’ll get through this closing together, gentle readers. Hopefully without further mishap. We’ll blog you tomorrow!

Chava and the Constable

April 17th, 2009 | 10:06 P.M.

Anatevka, Rubicon Theatre.

Hey everyone! Guess what? It’s Jim O’Neil’s birthday! He’s another unsung hero – well, sung on opening, but hasn’t really been sung since. He’s our fearless leader, and fearless is right. To do the shows that he’s done here at the Rubicon…he’s a brave artist. We love him and wish him many more happy birthdays.

Friday night! We have an audience of major laughers. Not your typical Friday night audience. (We may have stated previously that sometimes the Friday night has the energy of the husband being dragged by the wife to see a darn show.) But tonight, there’s some…laugh track laughter. You remember, those distinct laughs you’d hear during a sitcom? It’s really nice. Laughter is like a wave that hits an actor and bathes him or her in reassurance that he or she is “on the right track”. Remember that, gentle readers. And none of your fake laughter, please. We can smell that a mile away. Also, please no “golf claps”. Golf claps are timid claps that can hardly be heard. We say, let’s hear it baby! All or nothing. Hurt your hands clapping, darnit!

We had some wonderful pizza from Rusty’s last night at the photo call, and a couple of the gals came to Dressing Room 2 for some bourbon. Oh yeah. It’s nice to see some old timey lady-like drinking. We heard that one of Tevye’s daughters threw up in the parking lot of an In-n-Out on her day off. We won’t say which one, but it wasn’t Chava (as she is underage and abstemious by nature). Chava had a Dr. Pepper explode on her. Luckily, she jumped out of the way before the soda could ruin her costume for the photo call. It only got on her apron a little.

Oh! Here’s another recipe! Leslie Henstock (Hodel) brought in some delicious snacks – they could be hors d’oeurves. Take a small dill pickle, wrap it in a large, thin slice of salami that’s been spread with cream cheese, and use a nice toothpick to secure it. Salty and yummy. (Chava’s gagging right now. You should see the look on her face. She hates cream cheese, and doesn’t eat meat. But she is fond of pickles…and toothpicks – who isn’t? Toothpicks are great!) Hats off to Leslie.

Four show weekend coming up! We’re ready. We’re in the groove. Check us out tomorrow night. Same blog time, same blog site. Bloggins’ on you!

Blogva and the Blogstable

April 16th, 2009 | 10:14 P.M.

Anatevka, Rubicon Theatre.

Thursday night. Our show is back to normal. The difficult part of tonight is that we have what is known as a “photo call” after the show. It is sanctioned by the union, but is deeply annoying to the cast that remembers already having photographs taken. We know, we know…this is a thorough documentation of the show. Heavy sigh. Well, they are supplying us with some pizza. And we hope some soft drinks…and some beer! We’ll see. Chava would express her distaste. Icky. The Constable wishes to express that he wishes we could all do shots of Jeigermeister (a lethal liquor favored by frat boys, Scandahuvians, and constables alike). Let’s party!!

Rod Latham is the photographer of choice. Rod directed the Constable in “The Boys Next Door” and was a replacement Sancho in “Man of La Mancha”. He’s multi-talented and a big friend of the Rubicon.

Staff spotlight on Greg Johnson, our wonderful concessions host! He has a marvelous array of ever-changing snacks available in both the upper and the lower lobbies. He now has ginger mints, a Russian favorite! And they’re kosher!

We’re gearing up for a big weekend. Lots of family and friends getting in their last licks before we close next week. It’s sad to think that this time next week, we’ll really be…close to the end. We thank you for being our ever faithful readers. Both Chava and the Constable are getting emotional. We don’t want it to end. So, we’ll pretend that it’s not ending. (Let’s get a grip here. We’ve got more than a week! The Constable does have a tendency towards being maudlin. George Ball chimes in slurringly, “He’s a drama queen.” It’s all good.

Chad Borden seems to have chronic fatigue syndrome. He’s listless…backstage. But ever the powerhouse onstage. FYI, he was recently elected the President of Dressing Room #2. It was unanimous.

Well, that’s all for now. We leave you with this: Blogging is fun. Put that in your bubble pipe

Love,

Chava and the Constable

April 14th, 2009 | 9:09 P.M.

Anatevka, Rubicon Theatre.

Here we are doing a show on a Tuesday. Great GREAT audience. Seems to be filled with lots o’ theatre folk. Pals of the cast who couldn’t get tickets—until our first ADDED show. The Constable was said hello to as he crossed the stage in “Tradition”. He didn’t recognize the voice, but it might have been one of those “blast from the past” audience members that always freak an actor out.

Oh! By the way, if you want to freak an actor out, send a note backstage that just says, “I’m here! Guess who?” Visions of ex-boyfriends or girlfriends, people an actor might owe money to or perhaps even an old elementary school teacher. Anyhoo, wondering who said hello to you, or who might be in the audience in a shroud of mystery…is freak.

On a personal note, Chava is experiencing some unwelcome congestion. She didn't realize she had congestion until she began singing “Matchmaker, Matchmaker”. It was an unpleasant surprise. Luckily, she got through the number without any major mishaps.

There was a little argument going on earlier…in the company lounge about nakedness on the cover of a “Vanity Fair”. George Ball asks, “What’s wrong with that? I read the magazine for the articles.” Chava wonders if that is true. George Ball thinks the distaste Chava exhibited reflects a prudish Chicago upbringing. The Constable suggests that maybe she just isn’t a fan of “Vanity Fair”. Maybe she thinks it should be called “Vanity Unfair”.

In any case, Mr. Ball does not cotton to sixteen year olds being judgmental towards him. To the phrase “cotton to”, the Constable says to George Ball, “Twenty-three skeedoo,” or, “Last time I heard that, I fell off my dinosaur,” or, “I kicked a dodo bird.

After a day off most of us feel good about getting back in the Fiddler groove again. We are off on our second to last week with a bang. Two shows tomorrow y’all.

xxxxoooo

Chava and the Constable

April 12th, 2009 | 9:08 P.M.

Anatevka, Rubicon Theatre.

Easter Sunday. Also, the Titanic anniversary. The ship, not just a mention of “size”. You wouldn’t believe the two Stooges routine that Chava and the Constable just went through to plug in the charger for Chava’s computer under the “camp bed” under the Constable’s dressing table. It took five minutes. It’s dark and messy. George Ball had a good laugh. All for the sake of the blog. It’s worth it, but we’re all out of breath.

Second show of the last day of the week. Great audience today at the matinee, and then another FANTASTIC dinner provided through the generosity of Jordan and Sandra Laby. They are very thoughtful. Oh! We’ve also had quite a “buffet” backstage. Our wonderful wardrobe lady Sheryl Jo brought hard-boiled eggs and made cupcakes. Eileen Barnett (Golde) made yummy brownies. The Constable brought his cream cheese and “pepper jelly” (Remember the recipe from the previous blog?) Three pounds of cream cheese and a goodly amount of pepper jelly…GONE. Grazin’ actors just walking around.

Evidently, a study was done years ago that talked about the expending of calories in various occupations. The actor expends as many calories as a jackhammer operator or a bricklayer – who schleps a lot of bricks. This may have to do with the “stress” of performance. Anyways, we like to eat and kid ourselves that acting burns a lot of calories. (George Ball chuckled at this statement and commented, “Ain’t that the truth.”)

Big family day! At the matinee, Chava’s real papa (who isn’t a milkman) was at the show. She can report that he enjoyed very much. Tonight, Jay’s family is the audience. They’ve seen him play Tevye three other times, so we have a lot to live up to. Hopefully, we’ll be the best Fiddler so far.

This is a comment that we’ve heard a lot of – people who saw the original production and have seen various other “respectable” productions think we’re the best. It’s the wonderful Rubicon Theatre. It’s…cozy, accessible, and gives up a great “product”.

Another big shout-out to the tireless wardrobe people, who are keeping the clothes mended and clean! We love them.

FYI, Sunday night is a big night for beard cleaning. Most beards (the fake ones) have to be soaked in rubbing alcohol to get rid of all the built up “spirit gum”, which is the adhesive we use. It’s nasty and sticky. One wonders if it is made from horses’ hooves, like old-timey glue. God forbid.

Well, we only have one day off this week – remember the added Tuesday show? We can’t forget. We’ve got to get in a lot of day-offin’ all in one day. Another FYI, the union (Actor’s Equity) chose Monday to be a day off because in the old days, actors to accomplish banking, going to the tailor and grocer and such. If the day off was on a weekend, most of these fine establishments were closed. So the rule is Monday is “dark” so an actor can do…stuff.

Blog at you later!

Chava and the Constable

April 11th, 2009 | 10:02 P.M.

Anatevka, Rubicon Theatre.

Okay. Second show of a two show day. We had a great matinee, and then…AN INCREDIBLE DINNER supplied by Mary’s Secret Garden AND through the generosity of Sandra Laby! A big hit! People could not get enough of it. Chava had two heaping plates…I think everyone had at least two plates. The hummus was a poem.

Crew spotlight on Jenine MacDonald, who is Kathleen Parsons’ replacement. She “trailed” Kathleen for a couple of days, learning her duties, and now she is taking over! Jenine is a wonderful stage manager – she staged managed the Rubicon’s production of Picasso at the Lapin Agile. Good times. And her she is again! We stated earlier, if you’re good to work with, you’ll be coming back to the Rubicon. Word to the wise.

Cast spotlight on Rob Adelman Hancock, who told a fascinating story of his youth tonight. It seems that we was a deckhand on a tug boat on the Mississippi one summer, which was dangerous…and quite Tom Sawyer-ish. He had fun, and it’s always interesting to hear the things that actors have done as “survival work”. (In actor speak, a “survival job” is waiting tables, working in an office…the Constable, for instance, was once a personal shopper at Saks Fifth Avenue. All things to pay for “the art”.) FYI readers, you can always ask an actor what their most interesting survival job was, and probably get a pretty interesting answer. We bet most people have had interesting jobs. Let’s endeavor to ask anyone we meet what their most interesting job has been.

It’s been the Constable’s experience that the youth of today has not been taught how to “bounce the ball”, meaning when you’re conversing, the clever way to endear yourself to whomever you’re talking to – to ask them about THEM – get them to talk about themselves. They’ll remember you as making them feel special. In the old days, we used to call that “charm” and it’s an important lesson for the youngins to learn. Chava thinks the Constable should write his own Chicken Soup for the Soul. The Constable thinks it should be more like Finger Bowls for the Brain. Oh! Remember that definition of what a “lady” or a “gentleman” was? The answer was someone who made ANYONE feel comfortable, be they high born or low born. Whether you’re Christian or Jewish, the teachings of the guy named Christ seem relevant at times. It’s just about being “good”, right? Come to think of it, you don’t need Christ to be good. But, if it helps – why not?

Much apologies if this has seemed preachy or unsavory. It’s a blog, remember. Chava and the Constable are just shooting from the hip, fast and loose. What’s wrong with that? If you don’t like it, you don’t have to read it…but we hope you do.

We realize that next week begins a NINE show week. We’ve added the Tuesday show, remember? Only one day off. Some people have a case of the grumps RE this matter. But we’ll survive. It means that you like the show, which makes everyone here at the Rubicon very happy, and the theatre hopefully more solvent.

Blog readers, we hope you’ve heard of the “It Takes A Village” campaign. THE ARTS are hurting all across America. Any little bit helps. Don’t let the arts down! We hope that that DID sound preachy.

Okay, gentle readers. Blog at you tomorrow! Happy Easter!

Chava and the Constable

April 10th, 2009 | 10:07 P.M.

Anatevka, Rubicon Theatre.

Friday night. The weekend begins. Right before intermission, we heard tell of a dancer having “cracked” his toe. We have visions of another put-in rehearsal, but the dance captain came around and said that he’ll be okay. So far, so good. In a similar vein, the Constable got an email today from Linda Levitz, who has heard of all of mishaps, and has suggested that we should refer to Fiddler on the Roof as the “Jewish play”. (For those of you who don’t know, Macbeth is referred to as the “Scottish play” backstage, because the legend is that if you speak the title or quote any of the lines backstage, you’re in for “the witches’ curse”. Shakespeare evidently used real incantations in the witch scenes – therefore, any syllable from the play delves into their world.

On the brighter side, Jessica Gordon is back doing most of her “track”, meaning her injury has healed enough to return to her village duties – for the most part. This is good news!

Crew spotlight – our assistant stage manager, Kathleen Parsons, is entering her third trimester. As she says, she’s having either a kitten or a puppy – she doesn’t care which. But sadly, for the sake of the baby, she’ll be leaving the show. Kathleen has stage managed MANY Rubicon shows, including Who’s Afraid of Virginia Woolf, The Boys Next Door, One Flew Over the Cuckoo’s Nest – to name a few. She’ll be missed, but we’ll see her again as a working mother. Love to Kathleen and her wonderful husband, Fred – and their puppy or kitten.

Jay Brazeau squired his family around Santa Barbara, Ojai, and the Camarillo Outlet Mall -- the poor guy. He is enthusiastic, if not willing. Most of us get to meet them on Sunday when they shall attend the show.

The gorgeous Sandra Laby is evidently in the house tonight! She is a patron of great renown, and we are all very grateful for her support of the Rubicon. We love you Sandra! (And Jordan!!!)

This was something I didn’t know (I don’t mean to tattle on Judge Steve Perren…but I will). Evidently, pasta is not considered kosher for Passover! The Constable found this out after the Judge had a big plate of his macaroni and cheese at the party on Wednesday. This was news, so we hope it won’t cost Steve his place in Heaven. Who knew that pasta wasn’t kosher for Passover?! Go figure.

Well, that’s it for now, gentle readers. The blog continues tomorrow evening. Buh-bye!

Chava and the Constable

April 9th, 2009 | 10:02 P.M.

Anatevka, Rubicon Theatre.

A party last night. Most came. Cast ‘n’ Crew. Some …….sleeping it off during the day (apparently!)

Good show thus far this Thursday eve. Lots of nibbles have been appearing backstage. Some amazing gourmet popcorn (courtesy of Chava) as well as some leftover fare from the Constable’s par-tay. As frequently noted, actors love to graze. There are theories about certain foods being bad for the singing voice. It doesn’t seem like many of the singers shy away from chocolate. Actors don’t have to worry except for, perhaps…WEIGHT GAIN! You often hear it around the snack table – comments like, “I’ve gained five pounds since I’ve started this show,” or, “Do I look fat with this chocolate in my hand?” It’s all fun.

Cast spotlight on Steve Perren -- he’s a judge! A governor Jerry Brown appointee. And he’s a really good villager. Excellent as Avram. Chava remembers the time in rehearsal when Spanky wasn’t around to sing his Russian tenor part, so Steve spontaneously took over for him. Wow! He’s got one heck of a voice. We may have mentioned before that he also has avocado trees, so we constantly have his wife Diane’s fantastic guacamole backstage.

Jay’s family is in town! The milkman missed the party last night and went to meet his family in L.A. They shacked up in a nice Marriott near LAX. They’ll see the show on Sunday. Meanwhile, our Tevye is showing his lovely wife and two sons the wonders of the South Land. Speaking of family, Chava’s real papa is arriving in town this weekend! She hasn’t seen him in a month and a half, so she’s very happy that he’s coming to visit.

Oh! As promised, here’s a quick and easy recipe! The WASPS call it Cream Cheese and Pepper Jelly. It’s from the Amy Vanderbilt cookbook. (Decidedly un-Jewish, but delicious. Served at the Constable’s house frequently.) Take a block of cream cheese and put a big dent in the center. Let it get to room temperature. Meanwhile, you take half a cup of seedless blackberry jam and add two tablespoons of hot chili sauce or Tabasco. Mix thoroughly and let it chill. Right before your guests arrive, but it on top of the softened cream cheese. Garnish with parsley and serve with a plain water cracker. Delicious! It only tastes complicated. (Sometimes you can find hot pepper jelly. This works, but the sweet and hot of the blackberry and hot sauce is better. So there.)

The band is on fire tonight! We’re all in a nice groove getting ready for the big weekend. All is well here in Rubi-tevka. Mazeltov! Happy Passover. To life!

Chava and the Constable

April 8th, 2009 | 9:05 P.M.

Anatevka, Rubicon Theatre.

Here we go again! The second show of a two show day after two-ish days off. Remember, Tuesday we had a couple of hours where we had to “put in” our new villager/dancer Jeff Parsons. Man, what a pro! He had rehearsal on Monday with the choreographer and our director, Jim O’Neil, as well as our stage manager, Linda Tross. They showed him the ropes, and by the time we came on Tuesday, he knew everything. Literally, everything. (No, he didn’t speak Greek. I mean, everything in the show. You know, Fiddler on the Roof.)

Tuesday night after the put in, we were hosted by George Ball and the lovely Amanda McBroom at their charming house in Ojai – a catered affair. Fantastic food. The shrimp dish – divine. Sweet and sour chicken, exceptional wines, pastries. Yum! Chava enjoyed the vegetarian cous cous. A good time was had by all. As we’ve stated previously, it’s really nice to sit down with these people that you’re dancin’ with, pogromin’ with and sharin’ a stage with. So having some convivial times with either a soda in your hand or a drinky-poo…it’s nice. We’re a bunch of interesting people. I just read in Vanity Fair that Jane Fonda (love her or hate her) answered the question, “What is your motto?” with, “It is better to be interested than interesting.” And that’s what we seem like. We’re all interested in each other, and that makes us all feel interesting – isn’t that nice? It’s like a warm hug.

I hope none of you threw up just now, gentle readers. Sometimes we get a little warm and fuzzy here at the Rubicon, and also in this blog. FYI, the young Chava has softened the Constable’s hard heart.

Today, during the Chavaleh ballet, there was a little mishap. While being twirled a little too enthusiastically by the intimidating Russian Fyedka (Josh Jenkins), Chava dramatically collapsed to the ground. She endeavored to make it look planned by looking up with a, “How could you do this to me?” look in her eyes and a dramatic leap to her feet – we made it all seem plausible. Chava actually thinks it worked in her favor, because the audience had more compassion for her in the next emotional scene. Nonetheless, Josh got the Gay Ranchero (and the Constable thinks Chava is kidding herself. Maybe he still has a bit of a hard heart after all.)

PARTY TONIGHT AT THE CONSTABLE’S HOUSE! (which he shares with the talented and dedicated Brian McDonald – and a cute little Dachsund named Ozzy.) Three kinds of mac n’ cheese – regular, gluten-free and vegan! All served with a vegan, gluten-free dish called stewed toMAHtoes, (it’s a Philadelphia Main Line thing) and other delectables. A vodka punch and a non-alkie punch. Lots of candles, too. It’ll be nice.

So far, it’s been a nice two shows this Wednesday. Most of us will get to sleep in tomorrow and recover from these back-to-back parties. Life is good. The show is popular, the cast is cozy…blah blah blah.

Hope we’re not too boring being all full of light and hope. But in this day and age………it’s better than the alternative.

Blessing and blogs,

Chava and the Constable

April 5th, 2009 | 9:04 P.M.

Anatevka, Rubicon Theatre.

Mayday, mayday! So today, we have another castmate who has hurt themselves. Yes, ladies and gentlemen, Jessica Gordon has sprained her ankle. So, we’ve had to “modify” some things once again. There’s a dangerous ledge on a side street near the theatre, and Jessica was at its mercy today. We are all wishing her a speedy recovery!

We met our new dancer, Jeffrey Parsons, today. He’s currently watching the show so he can see what he’s in for. A few of the people in the cast have worked with him before, and we’ve heard nothing but good things. But, the day is bittersweet because it’s Jeff Johnston’s last show. He’ll still be around during the run, though, so it isn’t really goodbye.

Chava currently has “The Gay Ranchero” because she said the wrong line during the intro of “Matchmaker, Matchmaker”. The Constable got it the day before yesterday for saying, “Trubbermakers” rather than troublemakers. He didn’t think anyone noticed, but there was “The Gay Ranchero” on his dressing room table upon his arrival. This is Chava’s first time having the Ranchero. Remember, she is practically perfect in every way.

After our put-in rehearsal on Tuesday, the cast has been invited to George Ball and his lovely wife Amanda’s beautiful home in Ojai. They are marvelous hosts, and we’re very lucky.

On Wednesday, the Constable is hosting the cast after the second show. George and Joseph have agreed that if anyone can’t come, as hosts we owe them $8. This is approximately what a host spends on each guest for a mildly elegant evening. Of course, sometimes it’s a $12 evening. But those nights are rare.

Nuvi found his way into “Dressing Room 2” (what now constitutes as “The Members’ Lounge”, as it is the home to company members Joseph Fuqua and George Ball – they have special chairs…and other finery to intimidate and belittle anyone who is NOT…in dressing room 2 – there is also a ‘camp bed’ underneath the dressing room table – Joseph has it during the show and George has it between shows – it’s the company way). Nuvi was impressed. Hopefully, not too belittled.

Last show of a long week. We’ll blog at you on Wednesday. Stay tuned. Bye for now gentle readers!

Chava and the Constable

April 4th, 2009 | 10:04 P.M.

Anatevka, Rubicon Theatre.

Second show on Saturday. We had a few adjustments given to us by stage management regarding reactions, crowd murmurs, enthusiasm levels, and it seems to have done the trick. The scenes have the “life” that they had when we opened. There’s always an ebb and flow in the run of a show. So that’s why actors continue to get “notes”. It’s all good.

Tonight marks the official “halfway” mark of run. (George Ball – Lazar Wolf – says tomorrow. He’s right, like always.) Anyhoo, we’re halfway-ish.

Cast spotlight on Spanky! Spanky did a terrific job with the beards and scary makeup in “The Dream” scene. He’s also terrific as the Russian tenor! He also gave George Ball a nice haircut. He gives a good haircut! We’re lucky to have him and it’s nice that he’s making a strong showing on stage, as well. Hats off to the Spank!

Betsy Randle’s skirt almost came down during “Tradition” this afternoon. Fortunately, the wardrobe added another snap. Now she is secure, though it would’ve been funny to see that! The unsung heroes of the show are the fine people working in wardrobe. They are constantly sewing on buttons, snaps, hooks, and eyes, as well as fixing hats and broken laces, washing, ironing – actors are pretty particular about the stuff they put on their bodies. We all try not to be imperious, but sometimes when you’re two minutes away from the “places” call, it’s hard to stop yourself from screaming, “WARDROBE!” when a button falls off in your hand.

Attitude is a very crucial thing. So often, actors forget about that. Even if you’re a terrific actor, if anyone can say backstage that you weren’t great to work with, next time around you could lose out on the job. It’s especially true for younger actors, “coming up through the ranks”. We’re really lucky our group seems to have everything going for them.

It’s interesting – there’s no more food or candy backstage, but the actors still keep going back to the area where there should be snacks. Even though there wasn’t anything there fifteen minutes ago, we still keep going back to see if any chocolate has magically appeared.

So that’s it folks! Remember that it’s okay for boys to dance with girls. We’ve come a long way!

Blogfully yours,

Chava and the Constable

April 3rd, 2009 | 9:58 P.M.

Anatevka, Rubicon Theatre.

The Constable is under his dressing table in his dressing room—on his ‘camp bed’ commencing to blog. Chava is downstairs in the lil’ girls’ room. Perhaps she stopped in the giftshop.

We should have some FIDDLER t shirts made up. They could be popular. Maybe some “Constable dolls” Or…like a …Chava “Barbie”. (Chava and the Constable went up to Santa Barbara and purchased a Pilgrim Barbie at a local “thrift” establishment. Don’t tell the Rabbi, but the thrift store supports Catholic charities.)

We have bad news in the company. Our young dancer, Jeff Johnston, needs to be replaced because of his snowboarding accident. He can’t risk causing irreparable damage to his shoulder and our production needs someone with full movement capacity. We’ll miss him and we’ll fill you in on his replacement on Tuesday. Evidently, he’s talented and apparently…perhaps formally Mormon. Go figure.

On a personal note, there is a gigantic insect that has taken up residence in the women’s dressing room, and it is really grossing Chava out. FYI, Chava HATES bugs. According to the rest of the cast, it is a harmless mosquito eater and doesn’t bite humans. Chava still wants it gone. A note from Lazar Wolf and the Constable – Chava needs to go camping in a Florida swamp. That’ll fix her. Can you say palmetto bug? Chava responds with, “When hell freezes over.”

Anyhoo, we’re gearing up for a big weekend. We’ve got a couple of parties next week, a put-in rehearsal that’s none too popular, and of course, more sell-out crowds! Our added Tuesday shows don’t begin until the following week. Meanwhile, we all endeavor to keep the show “fresh”. This requires some reminders from stage management to keep the ad-libs crackin’ and the energy UP!

There’s the strange smell of wood smoke in the air. It’s kind of nice. We imagine Anatevka would have this kind of smell. Outside, it’s cool and a little windy. We’ve all been enjoying some beautiful weather and we’re in a beautiful play. Life is good for most.

Blessings to all our blog readers! Talk to you tomorrow.

Chava and the Constable

P.B. Lazar Wolf mumbles something about life being a deep, dark pit from which we can never escape. Go figure.

April 2nd, 2009 | 10:08 P.M.

Anatevka, Rubicon Theatre.

There was a party last night at Jessica Gordon’s parents’ house - Diane and Allan. It was great! It was so nice to unwind, to talk to people you haven’t talked to yet and, yes blog readers, to drink. Chava was not in attendance, so the blog readers do not have to worry about any unsavory actions on her part. She is, after all, underage. Anyhoo, there was some drinks, but no drunk driving. So no worries!

On a personal note, the Constable just saw some boobage in the ladies’ dressing room. I won’t say who, but they were nice.

I hope no one’s offended, but come on. Actors are constantly having to change clothes in awkward situations, and as we’ve explained, there’s not much room backstage. So privacy is at a premium.

Evidently, there was an audience member who was allergic to goose feathers and didn’t appreciate the pogrom. There is a pillow that is cut open to great dramatic effect. Apologies to people with allergies. Go figure.

It’s short and sweet tonight. We don’t have the fiddler (Nuvi Mehta). Actually, the virtuoso on the roof. So we’ve had to re-arrange some stuff. The Constable looked upstage to say, “Go on, play!” during the pogrom…but Nuvi wasn’t there. There was a moment of “what do I say next?”…but the Constable quickly recovered and said the next logical line. Our dance captain Jamie Thompson is miming “the fiddler” – this is how it’s usually done – how it was originally done – a dancer playing the fiddler, miming the fiddle. We’ve been lucky having the gifted Maestro Mehta.

We’ll blog at you tomorrow!

xoxo

Chava and the Constable

April 1st, 2009 | 9:10 P.M.

Anatevka, Rubicon Theatre.

We’ve had two days off. Feels good. We had a good matinee today. The “blue-haired crowd”, as we say, leapt to their feet this afternoon at the curtain call. As noted in an earlier blog, actors LOVE a standing ovation. This show seems to be going well. We had a snowboarding accident on the days off. One of our dancers has his arm in a sling. The dance captain (Jamie Thompson) had to re-assign a few moments, scene changes, and a chair lift – but it’s all gone smoothly. Tom Beyer missed an entrance today, along with Jeff Johnston – the boy in the sling. So, poor Jessica Gordon had to deliver a wee monologue, rather than be part of a wee scene, all regarding that Tzietel isn’t going to marry Lazar Wolf, but the tailor Motel Kamzoil. All was handled well. The audience was none the wiser.

This is what we meant in an earlier blog – that actors constantly have to think on their feet. In a big show, MANY things can happen.

Cast spotlight on Amy Hillner! SHE WAS TRACY TURNBLAD IN THE NATIONAL TOUR OF HAIRSPRAY! She’s got a killer singing voice. We all have to turn down the monitor when she hits that big money note in “Matchmaker, Matchmaker”.

Oh! We’re adding two Tuesdays! The 14th and the 21st at 7 P.M. The actors get additional money$$$, which we like! It’s quite a feat to have to add shows. We really are selling out!

Besty Randle (Grandma Tzietel) made zucchini bread today (delicious – with coconut and butterscotch bits). Steve Perren’s wife, Diane, made some incredible guacamole with their homegrown avocados. As noted earlier, actors love free food. I mean, REALLY love free food. And the Easter candy is finding its way backstage – nice!

Party tonight after the talkback at Jessica Gordon’s parents’ house! We’ll let you know. We’re hoping for a piñata filled with driedles (sp?) and chopped liver. We’re still having fun, y’all! That’s all for now, kids!

Talk to you tomorrow. Same blog time, same blog channel.

Warmly,

Chava and the Constable

March 27th, 2009 | 10:06 P.M.

Anatevka, Rubicon Theatre.

Friday. Good audience tonight – and sometimes Fridays are gruesome. The sometime energy is husbands are being dragged after work by their wives to the “theatre”, and they don’t want to be there. That’s just an actor’s impression, but strangely apt sometimes…but not tonight. Tonight, we’re killin’ it!

We had a great audience last night, but we didn’t get a standing ovation. FYI, actors love standing ovations. You can’t just give them away, but come on. This show is pretty damn good.

There is also something called “the leaving ovation” where the actors think that the audience is standing, but they’re clapping and moving towards the exits to get to their cars first. This doesn’t count. But it does raise the actors’ hopes.

Speaking of hopes, Chava is hoping that she did well on her most recent Sociology test (Chava is homeschooled). She had to take it backstage during a two show day. The Constable wonders how she will ever survive adulthood never having gone to a prom. Chava reminds him that she still has a year left. Plus she’s been to two homecomings.

Great tip for sinus trouble – local honey. George Ball (Lazar Wolf) had some local Ojai honey (he’s an Ojaian) and he has no sinus troubles today, and we’ve all been suffering – go figure.

Oh – cast spotlight on…Jay Brazeau. He was in “Bye Bye Birdie” with Jason Alexander! We think that’s cool. We’re going to try and give you little tidbits about the rest of the cast. We realize it’s been the Constable and Chava, and Lazar Wolf centric, but we may move the writing of the blog to other dressing rooms to get other tidbits. Not to worry, we’re going to think things peppy – and fascinating. Don’t give up hope on us. Keep reading! Perhaps recipes? Advice to the lovelorn? We do know some nice Jewish boys. So wish us well for the weekend! Four shows! We’ll keep you posted.

Blogfully yours,

Chava and the Constable

P.S. Do you know how to remove mascara stains from chiffon? Stay tuned.

March 26th, 2009 | 10:09 P.M.

Anatevka, Rubicon Theatre.

Talkback last night. Short and sweet. Many, many comments about how wonderful it is to see such a large scale musical in an intimate setting. It really is a marvel. Theatres just don’t do that. But the Rubicon does. Hats off to Jim O’Neil and Karyl Lynn Burns and all of the people who believe in what they do. And may the people who don’t believe in what they do…may they itch in places they can’t reach. (Kidding – it’s a line from Fiddler on the Roof…come and see it! It’s terrific!)

Speaking of believing, we believe in chocolate…did we mention those cookies from Wednesday? Rice krispies, oatmeal, AND chocolate chips…I mean, come on!

Tonight’s audience is really “getting it”. Laughter in all the right places, oohs and ahs. George made a good comment (George Ball – Lazar Wolf) that sometimes when one of the bottles falls off of one of the bottle dancers’ heads, it’s a good thing – cause then they know the bottle isn’t glued on. It’s “real”

Most of us are finding that we know all the words to all of the songs. The Constable often wakes up singing “daidle deedle daidle deedle daidle dum!” Chava (to the annoyance of many) likes to sing along – quietly – during the show.

There’s wi-fi at the Rubicon and a lot of the cast are…wi-fi-ing a lot during the show. Perhaps this will cause them to be awarded The Gay Ranchero. Time will tell.

That’s all, gentle readers. It’s all going well. Lazar Wolf slurs a happy goodnight to you all. (He smells like cow spleen again.) We’re hoping for a scandal soon. Keep on reading the blog!

Bloggily yours,

Chava and the Constable

March 25th, 2009 | 9:10 P.M.

Anatevka, Rubicon Theatre.

So….We had a day off on Monday. Usually we would have Tuesday off as well. NOT this week …why? We had a put-in rehearsal for the roles of Hodel, Perchik, Bielke, and the Fiddler. We killed four birds with one stone! The main event was the put-in for Hodel and Perchik. Daniel Tatar and Jessica Gordon are on stage right now knocking it out of the park! They had a good show this afternoon as well. If they weren’t as good as they were, the rest of the cast would have resented the sh*# out of them. It was time well spent; they are terrific! Of course, we miss…what’s their names? (Kidding - Robert Adelman Hancock and Leslie Henstock – they’re in New York City with Karyl Lynn Burns raising money for “Daddy Long Legs”, a future Rubicon production.) So it’s all in the family. The understudies got to have two performances. They’re respective parents came up to see them – so it’s nice.

Today, Freddie, K and Dottie – Grand Dames – made poached salmon with a dill sauce, rice pilaf, and a kick-butt salad (with bleu cheese!). It was delicious. Oh! And the cookies were out of this world. Oatmeal, rice krispies, chocolate chips – not too sweet, perfect density. Many of us will dream of those cookies for weeks to come. Tonight is our first adult talkback! Actors hate the question, “How did you learn all of those lines?” The Constable’s standard answer is, “The lines are nothing. It’s learning all those faces that is hard!” Chava likes when the audience gets very philosophical with their questions, digging deep down into their souls to understand the meaning of the show. (The Constable told Chava to stop making his flesh crawl. Her pie in the sky idealism can make an adult retch – kidding!)

Oh! There’s an award that goes around from dressing table to dressing table and it is bestowed upon an actor who makes a noticeable mistake. The award is called “The Gay Ranchero”. It is a little statuette of a Latin farmer who looks anything BUT gay – gay in the happy sense, not the…well, you get the picture. The tradition started after “Man of La Mancha”. It was a gift for Jaime Torcellini – he left “La Mancha” and everyone hated him for it, so we cursed him with the Gay Ranchero. He gave it back to Joseph – the Constable –and thus it has ever since –from show to show been given to actors who have…..messed up. “The Gay Ranchero” can float from dressing room to dressing room 5 or 6 times a show. Folks cannot wait to give it to someone! Great fun and a good way to shame people in a destructive way!!!!

Secrets y’all. Later Bloglovers!!!!

Chava and the Constable

March 22nd, 2009 | 9:14 P.M.

Anatevka, Rubicon Theatre.

Last show of a very long week. Opening last night (Wow! People loved it!). Matinee earlier this afternoon, and now, we’re all a little tired. Towards the end of the home stretch. A time to reflect and be grateful.

Last night’s opening night party (the matza ball soup was divine). George Ball (Lazar Wolf) was made the second Rubicon Theatre company member. Fiddler marks George’s eighth show with Rubicon and now, Joseph Fuqua (first company member and the Constable) won’t be alone in the membership lounge. George and I are thinking of going in on a Coca-Cola machine and getting matching letter sweaters – (R!!!)

We have gotten closer as a company-an important thing. Not much room for not getting along backstage. Having conversations with folks you haven’t really had time with…meeting spouses… Hearing about children. All good. It feels (based on this weekend) like we are in a hit. A HIT!!!!!!!

Brian McDonald has made a terrific ad for ‘Fiddler…’ Taped 20 or so interviews with audience members after the Opening last night. Rave reviews all around. A wonderful feeling. This is one of those shows that is an honor to be a part of. It says important things gently….powerfully

One day off—rehearsal on Tuesday—will tell all on Wednesday, Gentle Readers.

xxoo

Chava and the Constable

March 21st, 2009 | 9:23 P.M.

Anatevka, Rubicon Theatre.

Opening night! Merde (it’s French for break a leg)! We’re kicking a*@! We started late – lots of speeches. The actors are having a good show, and the audience seems to be enjoying it. What more can you ask for? An interesting observation George Ball made is usually actors exchange opening act cards, small gifts, mementos to be cherished (or thrown away after the show closes). It’s a tradition that beguiles some and annoys others. George pointed out that this show, no one got or gave nothin’ (There are too many people, it would break the bank. We’re actors, not idiots!). Also, we’ve been really busy. Who has had time to shop? We even had rehearsal today. We refined the curtain call and implemented “Jim’s Notes”. Just some fine-tuning. And here we are.

Party tonight! Hosted by Jewish Federation of Ventura County. We are sticking to the theme and having the party at the Temple Beth Torah. The food is right out of the shtetl – food that Golde or Tevye, or God forbid Fruma Sarah, would make for their guests. Avram (Steve Perren), a nice Jewish Boy, informed the goys to expect a blend of dough, innards, and flavor. We’re all looking forward to it.

Here’s some grit about the show. The dancers play Russians and Jews, fiddlers, thugs, and they’re constantly changing from one to the other – in the beard, out of the beard, prayer shawl, Russian peasant blouse, bottle dance coat, back to Russian peasant blouse, and so on. Management thanks their lucky stars that they aren’t paid per costume change. Some more grity grit. There is absolutely no room backstage for anyone to be changing clothes. The traffic patterns of tables , benches, milk cans, butter churns, dancers, villagers, Russians, egos – it’s a mess! But two weeks from now, it’ll be a poetic ballet. But now, we’re still working out the kinks. For instance, the Constable got an elbow and a ladle in his neck earlier. He used the frustration in the pogrom. Chava is always bumping arms with her dressing room neighbors, Golde (Eileen Barnett) and Yente (Helen Geller). Hence, she spends much her time in dressing room #2 with George Ball (Lazar Wolf). Speaking of innards, Lazar Wolf often smells of cow spleen. We mean that in a good way!

Two shows tomorrow. Some party then to bed. Talk to you soon. Wish us ‘good reviews ‘ and great ‘word o’ mouth’.

Good blogs and warm regards,

Chava and the Constable

March 20th, 2009 | 10:06 P.M.

Anatevka, Rubicon Theatre.

It's our second show today. We had a 10 A.M. student matinee. Repeat, 10 A.M. (that's in the morning) show. We were packed to the rafters. The cast was greeted with a big pan of the Constable's cheesy grits. Incidentally, someone brought some marvelous donuts; they served as a great dessert. We were a little grumpy in the A of M, but well fed. Chava seemed to be the only cheery one. The Constable thinks that speaks to her youth. Chava thinks that the Constable needs to get in touch with his inner child.

The matinee went very well. The students really enjoyed it...well, they didn't boo. And actually, they asked terrific questions at the talkback. Our fiddler (Nuvi Mehta) has a new biggest fan: an adorable little boy who thought his music was "beautiful". The moment gave many a toothache. We received gasps of admiration when we said that we only had three and a half weeks to rehearse.

Tomorrow is opening! We're all excited. It'll be good to get this thing up! Right now, we're in the second act of the evening show. The audience was a little quiet during the first act, but they warmed up by "Miracle of Miracles". That number's got pep! Even if some of us do not (Chava excluded). Right now, the Constable is lying under his dressing room table co-writing this blog (what's the Russian word for ennui?). Chava is writing this blog with pen and paper - real old-timey (what is she, Amish?) Big party tomorrow after the show. Sold out house. We hope the reviewers from "The Recycler" and "Auto Trader Magazine" come! Wish us broken legs. We'll report anon.

With blog and warm regards,

Chava and the Constable

March 19th, 2009 | 10:12 P.M.

Anatevka, Rubicon Theatre.

It’s after the intermission of our first preview. A PAYING audience. A large and enthusiastic crowd! Guffaws. Old-timey knee slapping. Gasps. Sad sighs and snorts of recognition. And that was just in the restrooms (kidding!)! We’ve needed an audience, and we’ve got a good one. Our joy of the show going well thus far is tempered by the fact that we have a 10 A.M. student matinee. Chava would like to say that she thinks the 9:30 A.M. call is incidental compared to the unique opportunity that a student audience provides. They are an inspiring audience and she loves them. The Constable, not so much. He anticipates adolescent booing and perhaps the hisses of teachers and guidance counselors alike. If there were high school lunch ladies in the audience, perhaps only they can understand where the Constable is coming from. Oh, on a personal note, the Constable is bringing an old serf recipe called cheesy grits (now with vodka!). Kidding. Rib-stickin’ peasant food for Jews and Ruskies, designers and technicians…and anyone else who has to brave the smell of Clearasil and stale hall passes. Chava thinks the Constable is being a little grumpy. He loves student matinees…inside (WAY deep inside).

Actually, as much as anyone would complain – the Rubicon schedule of preview student matinee and preview that night, and then the opening on Saturday – is the perfect storm to get a cast ready in such a short time. Lazar Wolf (George Ball) just came into the dressing room. He is an avid fan of the blog. He may have said he’s a fan of grog. We don’t know – he’s always slurring his words. But we love him anyway. Golde just came in – she couldn’t understand a word George Ball said, so she left.

The show is coming to a close, so we must bid adieu. No one is going out after the show tonight…we’ll need our sleep for the matinee. You can’t get away with anything when there are kids in the audience. Goodnight gentle readers!

Blogs and kisses,

Chava and the Constable

March 18th, 2009 | 9:14 P.M.

Anatevka, Rubicon Theatre.

On a personal note, I tried to do the blog by myself. The computer was wrenched out of my hands because I type so slowly. The Constable is technically Amish, whereas Chava is a wiz-kid. Her middle name should be Gateway.

Final Dress! We have a small audience. Small, but hostile. They seem to like all the Jewish folk. The Russians (Constable), not so much. Oh sure, the ones that dance. But who doesn’t like Russian dancers? Oh, on another personal note, our stage manager Linda Tross said I looked like the Lord of the Dance in my costume. I hate Linda Tross (just kidding, we love Linda Tross).

Earlier today, we did “clean-up” and “Jim’s List”. We all had to sit in the theatre and not leave the theatre and wait…for the next guilty verdict who had to have a “note”. The Constable got several notes, and Chava got very few (The phrase practically perfect in every way comes to mind. The actress Lauren Patten will play Mary Poppins one day.).

Oh! The Rabbi came in today – Rabbi Sherman. He made sure that the wedding was “kosher”. We also found out that all the Jewish traditions save for the ring and two Jewish witnesses are extraneous . Go figure.

First preview tomorrow. A PAYING audience! So we’d better be good. Cross your fingers, gentle readers. Please note that in the time it would’ve taken the Constable to write this blog, Chava could’ve written War and Peace…or Doctor Chicago. One of the two. Put that in your blog and smoke it. We did.

Talk to you soon!

Chava and the Constable

March 17th, 2009 | 11:27 P.M.

Anatevka, Chava’s house.

Evening, readers! Happy St. Patrick’s Day! It’s a bit of a belated greeting, considering the time, but it’s better than nothing. Most of you are probably out having a few green beers, but I’m staying at home. There aren’t any fake I.D.s in Anatevka. So enjoy your green-colored drinks, but beware of green vomit…I hear it can be pretty nasty. May the luck of the Irish be with you on that one!

Today’s rehearsal started with a sitz probe. Sitz probe is German for “seated rehearsal”. It specifically refers to the process of incorporating the orchestra into the show. We didn’t really have a sitz probe, because we weren’t seated; we did the choreography along with the songs. It was so great to hear the songs with a full orchestra. The percussion and clarinet and such really add to the music. The difference between a keyboard and an orchestra is striking. Hearing the orchestra really boosted our spirits. We’re in the home stretch!

After dinner break, we had another tech dress rehearsal. We still have a few little kinks to work out, but altogether it’s looking really wonderful! We’re all extremely excited/nervous/anxious/edgy/eager/keen to have a small audience tomorrow for our invited dress rehearsal. It’ll be very nice to have some audience reactions to respond to, but it’s also intimidating to have people watching already! It’s hard to believe that we had our first rehearsal only three weeks ago. We’re all very proud of how well this show has come together. We have an amazing crew that has been working around the clock for weeks to build the world of Anatevka, and the members of our creative team have been valiant leaders.

The Constable sends his love. All of his pogromin’ has left him feeling a little under the weather. Wish him well!

Goodnight gentle readers!

Chava

March 14th, 2009 | 8:45 P.M.

Anatevka, Rubicon Theatre.

We’re in the second five-hour session of our first 10 out of 12. Yiddish word of the day—shpilkes. Nervous energy. We’re all feeling it. Everyone’s got their costumes. Most are happy, they look beautiful. The Constable is in a poly-cotton blend. It smells funny. Chava had to get her skirt fixed during dinner break because the audience could see some of her petticoat (gasp!). The fake beards and mustaches look fantastic, but they itch. So far they are staying in place, but no one’s really sweating yet.

We had dinner between shows. Chinese chicken salad! Thanks to those Grande Dames. They had to cook for 55, counting crew and visitors. Above and beyond. On the dinner break (2 hours, a la 10 out of 12), some people napped. Some people went to the gym (we hate them—showoffs). Chava went to Mary’s Secret Garden across from the post office—she doesn’t eat chicken, but she had some lovely vegan “chycken”! The Constable went home, fed and walked his Dachsund, and had leftover meatloaf.

We seem to be ahead of schedule. Jim O’Neil has prepared us well. Also, the hospitality counter has been erected! Hopefully the Constable will have time to make and bring soup tomorrow. Maybe then he’ll have the popularity that Chava enjoys. Cross your fingers, gentle readers. Talk to you tomorrow. Hope that this shpilkes has passed.

Chava and the Constable

March 13th, 2009 | 1:44 P.M

Friday. A day of creepiness.

Anatevka, Rubicon Theatre. We only have a four hour rehearsal today. Just as well. We’re all apprehensive about the “10 out of 12”s (for you non-theatre folk, it’s the two days towards the end of the rehearsal process where you work for 10 hours out of 12 hours and add the technical elements – sound, lights, costumes, makeup, fake beards, fake mustaches, sideburns, hair extensions, wigs, hats, prayer shawls, head scarfs [babushka sp?], smirks, raised eyebrows, and looks of astonishment). Most worry about their fake hair parts. It’s hard to act with them. Sometimes they become loose and your fellow actors are staring at your lip and then you can’t keep a straight face. But we digress.

It is Friday the 13th. So far, so good. Everyone was fitted for their microphones. The Constable doesn’t get one, which is another source of pain and frustration. Chava, however, does get a microphone, and the black dot on her forehead…today seems oddly creepy. In fact, there are black dots on everyone’s foreheads. But it means everyone’s going to sound good. There is a master technician who will “blend” the sound. Blending with the band and blending with the other voices. The Constable doesn’t need to blend, evidently.

There are cream cheese packets with the bagels on our hospitality table. They don’t require refrigeration, apparently. But it is Friday the 13th. So, we’ll see.

Talk to you soon,

Chava and the Constable

Anatevka, Chava’s house. Rehearsal started at noon today, which gave all of us a good chance to rest. Everyone works hard here in Anatevka! It’s not easy putting together such a large-scale show…I see lots of coffee in our future. It’s worth it, though…the show is going to be wonderful! By the time Act Two is over, there won’t be a dry eye in the house. Bring your tissues (but please unwrap them before the show begins, so as not to disturb the patrons)!

Part of our rehearsal process for now is fitting in our new Bielkes (Olivia Fleming and Sophia Montano). Bielke is the youngest of the five daughters, and we didn’t have anyone cast for the first two weeks of rehearsal. We had begun to think that our Shprintze (Heidi Bjorndahl) would be taking on two roles. And believe me, she could do it. But it doesn’t seem like Fiddler without five daughters, right? Of course right. We are so happy to have our Bielkes, and they are jumping right in. They make our job easy!

Someone added lemon chocolate mini scones to the hospitality table…they’re addicting! Chava has a sweet tooth…Starburst is her favorite. Just thought you might be interested. Everyone is looking forward to the next time Golde (Eileen Barnett) will bake for us. Mama knows how to cook! I may end up bringing a few yummy treats myself…

Most of us were released early again today, but I stayed later so I could watch the dancers rehearse the wedding bottle dance. Wait until you see what these guys can do while balancing champagne bottles on their heads! We aren’t using tape, glue, or anything other kinds of stagecraft-y tricks. This is the real thing! Our choreographer Lee Martino and her assistant, JJ Todd, have done an awesome job recreating Jerome Robbins’ original choreography. And our dancers aren’t half bad either!

Talk to you soon,

Chava

March 11th, 2009 | 7:40 P.M.

Anatevka, Constable's House. Was released early today. Chava stayed on--there's talk of a scandal....We had some visitors to the process of getting familiar with the set. Barbara Meister, Sandra Laby, Lois Fishman and Jenny Sullivan (patrons and Sponsors and Fiddler lovers all!) dropped by to love the villagers and hate the Constable. The 'Milkman' (as Tevye refers to himself) seems oddly beloved. A nice guy--sure--but smells of curd much of the time....anywhey...on it goes.

Yesterday we mentioned the tight quarters backstage---the lack of room for a proper snackfest table. WELL blog readers the kind konstable suggested a table/shelf be constructed by the water cooler-Stage Management and the Rubicon Tsar approved so soon.....THE BUFFET WILL BE OPEN!!

I make gruel (soup!) faithful readers. Nourishing and no charge. Golde (Eileen Barnett) has been known to bake. Actors (Jews and Russians alike) work up an appetite dancin' and ...pogromin'. My hope is that my gruel will win over the hearts of those that see the constable as...the establishment.

A special note of thanks to our designers. WOW. Wait'll you see. And the crew and EVERYONE at the Rubicon--so far so great. Jim O'Neil rocks. He has guided us towards what smells and feels like a potential hit (no jinx!) Fingers crossed. Blessings on all-- Chava joins in bidding you all joy.

'Till next time.

March 10th, 2009 | 8:18 P.M.

Anatevka, Rubicon Theatre.

Chava and the Constable (Lauren Patten and Joseph Fuqua) sit in Dressing Room #2 and commence the Fiddler “blog”. Our first day on stage! We are spacing the show (for you non-theatre folk, it means putting the show on stage as opposed to a rehearsal hall). We had a meet and greet at 5 P.M. (it was optional, but we all came because there was free food). We met the staff at Rubicon and heard Karyl Lynn Burns (the producing artistic director) describe the difficult process of attaining the rights to produce Fiddler. This was difficult because there is a national tour featuring Topol already traveling the country. We got the rights, and we are the only regional professional theatre allowed to produce Fiddler on the Roof through 2011! This is solely due to the community’s dedication and passion for this project. It’s been a long time in the making.

Everyone’s excited (free food!) Tight quarters – this is the biggest show the Rubicon has ever done, with 27 people in the cast and three times the usual budget. Wait until you see the set! Tom Giamario completely reconfigured the space to have the village of Anatevka surround you, the audience. Chagal paintings cover all four walls of the theatre, and the Rubicon has its first thrust – a Greek stage right in the middle of the audience. The audience will certainly be hit by sweat and spit (we’ll try and be good). A big musical in an intimate setting.

The one drawback to the tight quarters is that there isn’t enough room for a “hospitality” table where the company can enjoy snacks ‘n’ such. On a personal note, Chava enjoys great popularity, and the Constable, not so much. You’ll see why.

Close blog.

Talk to you soon, Chava and the Constable

Click here for Fiddler on the Roof show information