‘Our Town’ remembers Paul Newman

November 17, 2008 • No Comments

‘Our Town’ remembers Paul Newman


Joanne Woodward and Paul Newman speak to the press about the Westport Country Play20081116 065614 arts newman Our Town remembers Paul Newmanhouse production of ‘Our Town’ in May 2002. (file photo)

The last role which Paul Newman played on Broadway was one in which he chose to speak to us more about ourselves than about Paul Newman.

It was a gift to the community he loved – Connecticut, New England, America – in a time of mourning: the aftermath of 9/11. Like an old friend, the actor – who died in September – knew that the only words that matter are those that allow us to remember, each of us in our own way, not only what we have lost but what we still have. Next weekend, the community will gather once more to feel his consoling touch as the film made from the 2002 Westport Country Playhouse production of “Our Town” will be screened at a series of special events celebrating Newman’s life.

Thornton Wilder’s “Our Town” is probably the most beloved of American plays – and has been since it won the Pulitzer Prize in 1938. Legend has it that there is a production somewhere in the world every night. There is a reason it survives: At the heart of the small-town lives of Grover’s Corners, N.H., is a longing so fierce that no human being is ever safe from it. Life is short; why don’t we appreciate each moment?

“The play questions what we do with our time, how we use it, the things that we ought to be looking at that we forget to look at. How gloriously special getting through the day ought to be,” Newman told a New York Times reporter in 2002.

After 9/11, Newman’s wife, Westport Country Playhouse Artistic Director Joanne Woodward, searched for a play that could help people make sense of things. She had always wanted to do “Our Town” and long wanted to get her husband back on stage. Newman agreed to play the Stage Manager, a role Wilder had played at the Playhouse in 1946. She called friend and director James Naughton and asked if he would do it. According to a PBS interview, Naughton joked: ” ‘Our Town’? Paul Newman? I’ll have to call you back.”

The Stage Manager tenderly comments on our visit to Grover’s Corners, taking us into tiny, yet key moments of the lives of its inhabitants, particularly Emily Webb and George Gibbs who meet as children, fall in love and marry. When Emily dies in childbirth, we follow her not only into the afterlife, but as she gets her wish to revisit one ordinary day of her life, her 11th birthday. The simple looks of joy and pride on her parents’ faces sear into her heart and ours – it is impossible not to remember a similar moment in your own life, and wish you could hold on to it forever.
There is another such glance in this production, near the end, Newman’s unforgettable blue eyes looking directly into the camera as he says: “Everybody knows in their bones that something is eternal, and that something has to do with human beings.”

After the Westport run, Newman insisted the show move to Broadway – it was his first time back on the Broadway stage in 38 years and it would be his last. Luckily the production was filmed for television, so that we’ll have more than the memory.

Community gatherings are scheduled on Wednesday, Thursday and Friday, Nov. 19, 20 and 21, at 7 p.m., with the screening of “Our Town” at 8 p.m.; and Saturday, Nov. 22, 1 and 6 p.m., with screenings at 2 and 7 p.m., respectively. Tickets are free and although the events are sold out, a wait list will be available during each of the pre-film gatherings, one hour prior to the screening time. People must be present at the Playhouse to place their name on the wait list. At screening time, unclaimed tickets will be issued to those on the wait list, subject to availability.

A New Audience for Opera?

October 2, 2008 • No Comments

While waiting for Dirty Sexy Money to start on Wednesday night, I caught the final four minutes of America’s Got Talent. NEVER watched it before but here is the big finale and low and behold an opera singer wins (I think he even said he was from Missouri?).

AN OPERA SINGER WINS?

A REALITY SHOW?

OPERA?

How, all of a sudden, is opera the hip cool innovative art form?

Opera is being simulcast across the nation by the Met. Therefore reaching thousands of new audiences. I can’t help but think that this laid the groundwork to the finale of America’s Got Talent. Millions of Americans all of a sudden appreciate the talent and skills required by opera?

The simulcast has caused much debate in the arts world. Does is de-value the art form? What is lost to those experiecing the simulcst versus those in the Met’s hall.

I looked back through old posts and this idea is really gnawing at my brain.

September 16, 2008 • No Comments

bwwshite

Photo Flash: Westport Country Playhouse Gala Grosses $1,407,610
Back to the Article

by BWW News Desk

 

A sold-out audience of over 550 people attended the annual benefit, ‘Footlights and Film: A Celebration of the Great Musicals from Stage and Screen,’ hosted by Julia Roberts and featuring a special tribute to Angela Lansbury presented by Bernadette peters, at Westport Country Playhouse, Westport, CT (JoAnne Woodward and Anne Keefe, artistic directors, Jodi Schoenbrun Carter, managing director) on Monday evening, September 15.

The fundraiser grossed $1,407,610, including revenue from tickets, donations and silent auctions. Proceeds, still to be determined, will further artistic and educational programming at Westport Country Playhouse, now open year-round.

Performing musical numbers from Broadway and film were Laura Benanti (‘Gypsy‘), Tituss Burgess (‘The Little Mermaid‘), Kerry Butler (‘Xanadu‘), Raúl Esparza (‘Company’), Gavin Lee (‘Mary Poppins‘), Nedra McClyde (‘The Actors Rap’), Julia Murney (‘Wicked‘), Steven Pasquale (‘The Light in the Piazza’), Q. Smith (‘Les Misérables’) and Aurelia Williams (‘All Shook Up’).

Suzanne and Bob Wright were honored for their many contributions to the Playhouse with an award presented by Ralph Lauren, who said the Wrights “are so dedicated to so many good things that they are amazing.”

For her dedication to the performing arts, Angela Lansbury was presented with a special tribute by Bernadette peters. Ms. Lansbury said, “I never played Westport Country Playhouse. I wasn’t a big enough star! If I don’t perform one small thing on this stage tonight, I’ll feel I’ve missed the opportunity of a lifetime.” She enthralled the audience with “Not While I’m Around” by Stephen Sondheim from “Sweeney Todd.”

Gala chairs were Westporters Laurie Lister and Judd Burstein, and Sharon Sullivan and Jeff Kindler. Honorary chairs were JoAnne Woodward and Paul Newman. Director of ‘Footlights and Film’ was Joe Calarco; musical direction by Mary-Mitchell Campbell; choreography by Tim Federle.

The evening’s guests included Kate and Bob Devlin, James Earl Jones and Cecilia Hart, Phyllis and David Komansky, Marilyn and Arthur Levitt, Lorrie and Jim Nantz, Joan and Joel Smilow, Harvey Weinstein and Jane and Brian Williams.

“With ticket revenue comprising less than 50% of our annual budget, the success of this benefit is crucial to additional funding,” said Jodi Schoenbrun Carter, Playhouse managing director. “We look to community support to safeguard the Playhouse’s artistic and financial future.”

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Seated, from left, Angela Lansbury, honoree; JoAnne Woodward, Westport Country Playhouse artistic director. Standing, from left, Suzanne and Bob Wright, honorees; Jeffrey Kindler and Sharon Sullivan, gala co-chairs; Bernadette peters, presenter of a tribute to Angela Lansbury; Julia Roberts, gala host; Anne Keefe, Westport Country Playhouse artistic director; Laurie Lister, gala co-chair; Jodi Schoenbrun Carter, Playhouse managing director; Judd Burstein, gala co-chair.

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From left, JoAnne Woodward, Westport Country Playhouse artistic director, with Julia Roberts, gala host.

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Bernadette peters, presenter of a tribute to Angela Lansbury, singing “With So Little to Be Sure Of” on the historic Westport Country Playhouse stage.

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Angela Lansbury, honoree, sang “Not While I’m Around” by Stephen Sondheim from “Sweeney Todd” at Westport Country Playhouse’s annual gala on September 15.

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Suzanne and Bob Wright were honored for their many contributions to Westport Country Playhouse on Monday, September 15.

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From left, Jodi Schoenbrun Carter, Westport Country Playhouse managing director, greets guests James Earl Jones and Cecilia Hart, who have performed at the Playhouse, Jones in “Thurgood” (2006) and Hart in “Relatively Speaking” (2007) and “Time of My Life” (2008).

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From left, guests at Westport Country Playhouse gala Jane Williams, Dr. Jay Meislich and Brian Williams, host of “NBC Nightly News.”

 


It was more than worth it! Consistent blogging to follow!

WESTPORT COUNTRY PLAYHOUSE25 Powers Court, Westport, CT 06880Press Office: (203) 227-5137, x 197 Contact: Patricia Blaufuss, Press Representativepblaufuss@westportplayhouse.org
PRESS RELEASE – Attached and inline below – sent with gala photos
For Immediate Release: September 16, 2008

Westport Country Playhouse Benefit Grosses $1,407,610
A sold-out audience of over 550 people attended the annual benefit, “Footlights and Film: A Celebration of the Great Musicals from Stage and Screen,” hosted by Julia Roberts and featuring a special tribute to Angela Lansbury presented by Bernadette Peters, at Westport Country Playhouse, Westport, CT (Joanne Woodward and Anne Keefe, artistic directors, Jodi Schoenbrun Carter, managing director) on Monday evening, September 15.

The fundraiser grossed $1,407,610, including revenue from tickets, donations and silent auctions. Proceeds, still to be determined, will further artistic and educational programming at Westport Country Playhouse, now open year-round.

Performing musical numbers from Broadway and film were Laura Benanti (“Gypsy”), Tituss Burgess (“The Little Mermaid”), Kerry Butler (“Xanadu”), Raúl Esparza (“Company”), Gavin Lee (“Mary Poppins”), Nedra McClyde (“The Actors Rap”), Julia Murney (“Wicked”), Steven Pasquale (“The Light in the Piazza”), Q. Smith (“Les Misérables”) and Aurelia Williams (“All Shook Up”).

Suzanne and Bob Wright were honored for their many contributions to the Playhouse with an award presented by Ralph Lauren, who said the Wrights “are so dedicated to so many good things that they are amazing.”

For her dedication to the performing arts, Angela Lansbury was presented with a special tribute by Bernadette Peters. Ms. Lansbury said, “I never played Westport Country Playhouse. I wasn’t a big enough star! If I don’t perform one small thing on this stage tonight, I’ll feel I’ve missed the opportunity of a lifetime.” She enthralled the audience with “Not While I’m Around” by Stephen Sondheim from “Sweeney Todd.”

Gala chairs were Westporters Laurie Lister and Judd Burstein, and Sharon Sullivan and Jeff Kindler. Honorary chairs were Joanne Woodward and Paul Newman. Director of “Footlights and Film” was Joe Calarco; musical direction by Mary-Mitchell Campbell; choreography by Tim Federle.

The evening’s guests included Kate and Bob Devlin, James Earl Jones and Cecilia Hart, Phyllis and David Komansky, Marilyn and Arthur Levitt, Lorrie and Jim Nantz, Joan and Joel Smilow, Harvey Weinstein and Jane and Brian Williams.

“With ticket revenue comprising less than 50% of our annual budget, the success of this benefit is crucial to additional funding,” said Jodi Schoenbrun Carter, Playhouse managing director. “We look to community support to safeguard the Playhouse’s artistic and financial future.”
Playhouse Information
Celebrating its 78th season, the venerable Westport Country Playhouse (Joanne Woodward and Anne Keefe, artistic directors; Jodi Schoenbrun Carter, managing director) is creating innovative new works and dynamic revivals. The Playhouse has produced more than 700 plays, 36 of which later transferred to Broadway including “Come Back, Little Sheba” with Shirley Booth; “The Trip to Bountiful” with Lillian Gish; “Butterflies Are Free” with Keir Dullea and Blythe Danner; “Absurd Person Singular” with Sandy Dennis, Geraldine Page and Tony Roberts; and “Our Town” with Paul Newman. The list of actors, directors, and other theatre artists who have worked and continue to perform on the Playhouse’s legendary stage reads like a “Who’s Who” of the American theatre. Following a multi-million dollar renovation completed in 2005, the Playhouse now produces year-round, welcoming 85,000 audience members annually. In addition to a full season of theatrical productions, the Playhouse presents educational programming and workshops; a children’s theatre series; symposiums; music; films; and readings of short fiction, classical works and new plays. Westport Country Playhouse serves as a treasured home for the theatrical arts, its audiences and its artists. For the State of Connecticut, it is a true cultural landmark. Your experience begins at www.westportplayhouse.org. The Playhouse is a 501(c) (3) not-for-profit organization.

For Westport Country Playhouse information, call the box office at (203) 227-4177, toll-free at 1-888-927-7529, visit 25 Powers Court, off Route 1, Westport, or visit www.westportplayhouse.org.
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Apolgies

September 5, 2008 • No Comments

I am so sorry that it has been so long since I have posted an entry…but here is what is keeping me so busy.

http://www.westportplayhouse.org/info/gala

Modern Socialization

August 20, 2008 • One Comment
Did TV, Film, Internet, and mass entertainment hurt the arts or did have people found new ways of socializing?
Often arts practioners moan and groan about how increased competition for people’s attention has drasitically lowered attendence and made it very difficut to reach audiences. Needless to say we should be using these mediums to reach audiences – and we aren’t doing that enough, but I want to pose a different hypothesis. What if what has really changed is how people socialize and how conversation about events is generated? And what do we do if the hypothesis is true?
Let’s look at how over the years people have entertained themselves. It used to be that people would gather in someone’s drawing room or home, and read, sing, and entertain one another. Or go to the theatre or the opera to see a performance. People sought out group experiences and these experiences lead to conversations.
What technology allows is for people to “experience” something individually but they can still maintain the conversation. The technoligy allows each person to expereince the same thing. This is what the solidiaryreading a book has always provided. We live in an ON DEMAND culture in a CONNECTED WORLD. TV shows, YouTube video, Blogs, and Movies (which most people watch at home or on netflix anyway) are experienced by individuals or in very small groups but they are the topics of “mass” conversations.
I recently joined facebook, twitter, plaxo and a whole slew of social networking sites. Even though I am a total technology junkie, it took me a long time to come around to social networking. I just didn’t get it. But all of a sudden I am aware of what is happening moment to moment in friends and aquaintances lives. I am actually closer to several friends because of the technology. It was the same feeling I had when instant messaging became so popular or current day texting. It is a “live conversation” more often than not. Everyone has the story of some kids they know sitting within 3 feet of one another texting.
Live seems to imply in person, but really doesn’t it mean real-time? If it does, what does LIVE theatre really mean? Look at the simulcasts that the MET is doing – it is changing the opera world. Is that a live performance. Do you need to be in the same room to have a live experience? Is it now true that an individual experience is also group experience?

Another must read! Can’t wait for the showcase tomorrow!

August 10, 2008 • No Comments

I couldn’t be more proud of our interns. I beg that each of you keep up the blogging and the conversations we have started this summer. You have given me hope for the future of theatre.

Another amazing post. This one is from our education intern, Laura.

http://westportinterns08.blogspot.com/2008/08/i-love-smell-of-theatre-in-morning.html

Another must read…

August 6, 2008 • No Comments
Another amazing moment for another intern. From their upcoming showcase on Monday, August 11 a poem from Ashley our electrics intern answering a fellow interns question – WHAT IS THEATRE?
Theatre should be . . .
a Forum;
a center for thought and the exchange of ideas.
Emotional;
a confrontation, a heartache;
Bittersweet, insightful;
abrasive and simultaneously soothing;
a haven and a beacon for the human story
which is stripped and laid bare
for all to see—
not to punish, but to bring us back
and show us
the something we’re all looking for;
the answer to a million questions
and the question to a million answers;
the stiff drink at the end of the day
and the jolt of caffeine to start the next.
Jaw-dropping.
Soulful.
Perfect imperfection, organized chaos.
Our vice and our virtue, heaven and hell
and everything between.
Our fall from grace, our Paradise Lost,
Pandemonium.
Our struggle, our redemption,
and ultimately
our Freedom.

Is casting theatre through a reality show the end of the world as we know it?

So for the last few weeks I have watched intermittenly High School Musical :Get in the Picture and Legally Blonde: The Search or Elle Woods.
First disclaimer: I worked at MCC Theater where Bernie Telsey was one of the Artisitc Directors. Telsey and Co cast the majority of the Playhouse’s shows. I think Bernie is one of the most brilliant men in the business, and Telsey and Co is the best casting firm in NYC. Telsey and Co’s Will Cantler who handled most of the shows I worked at three of my theatres and is the Associate Artisitc Director at MCC is one of my favorite people on earth and I trust his opinon on ANYTHING having to do with the industry. I consider many of the people who work at and have worked at Telsey and Co friends.
Second disclaimer: My husband is an actor, a working actor. But he is not a musical theatre actor.
Back to the shows…
I must admit from the first episode of Legally Blonde, I was proud of Bernie. It would have been so easy to find the traditional reality show sterotypes rather that finding a group of talented actresses.
Although the casting search was tied to the traditional reality formula – shove a bunch of strangers in a single living area and see what happens, the show did break the formula in many ways. First the challenges were about building endurance to be able to perform 8 shows a week on Broadway. Second, the living situation personality clashes were not centerstage – the performances were. Third, the shows contestants were able to be open and honest about being ACTORS due to the nature of the “contest.” Fourth, the winner got a REAL job with a real contract (for the record so did the runner-ups which was very smart of the producers of the Broadway show). Fifth, we have no idea where Telsey and Co found the contestants – no televised embarassment of open calls in Americal Idol Style.
Of course many “dramatic” elements were added – the whole casting office element is non-existant in real auditions, an actor is usually not given a biting critic by a panel of judges. The audition process is usually two solidary session with a reader, not full production rehearsals – although maybe that is how it should be done!
Now over on Disney’s traveling circus, youngsters are competing for a chance to appear in a VIDEO at the END of High School Musical Three. The dramatic tension is HIGH. Teens crying, their hearts and dreams broken. It is a giant open cattle call taped for the audiences enjoyment. (I admit I only saw a few episodes, whereas I did watch every episode of Legally Blonde).
Now I know they are doing several of these casting shows in England and Canada. We had that Grease You’re the One that I want version on some network (obviously I didn’t watch a single episode of it). And, I would have to be blind not to see all of the American Idol finalists and winners all over Broadway. Which is probably where the idea came from in the first place.
So the real question is…good thing or bad thing?
Well, I most note as anyone can see, this type of “stunt” casting (although I hate that term) is only being employed in musicals. Now someone outside of the industry or audiences, might incorrectly assume that it is because musicals require less acting skill or goodness forbid are easier to do. This is would be a negative. There are already enough people in the world who think anyone can get on a stage and act or even worse that he or she certainly could just hop up there and do it. Acting requires skill, talent and training. You can’t learn talent. You have to have it. Acting is not something just anyone can do. For musicals it is not just about being able to hit the right note, you have to bring the song to life. These shows in a roundabout way reinforce the misconception that anyone can do it.
On a positive note, this kind of programming is basically a commerical for the show–if anyone is watching–they can help a show reach a larger audience. But what are we saying to that larger audience? Legally Blonde told us how difficult it is to get a show and to DO a show. It was the first time I had seen this expressed (even if it was done is a somewhat humorous way).
I think the answer is simple for some shows this kind of “stunt” makes sense. I thought the broadcast of Legally Blonde on MTV was a brilliant choice (that is a whole different blog topic). If these casting competitions are done even more realistically it would make sense for quite a few show even for High School Musical. But would it work for all shows–certainly not. Would it work for straight plays–I can’t even imagine how.
But is it the end of the world? NO. It is just another way to go about it. And if it brings a little attention to the world of theatre is it really a bad thing.I applaud the folks at MTV for keeping the Elle search as realistic as is probably possible. It will be interesting to see if that process can be replicated ever again.

Why is entertainment a bad word?

August 3, 2008 • No Comments
Yes, I know many artists and theatre folks find the word entertaining a “bad” word. Some how entertainment has come to refer to work that has no value or is fluff. If it is entertaining it isn’t art.
However I believe it is a very subjective word and unfortunatly as it often is individuals want to believe their individual interpretations are universal. Entertainment has gotten a bad rep.
Last year I was at lunch with a group of gentlemen from our local Y’s Men group and this was basically the topic of discussion. I had given an overview of some of the Playhouse’s plans for expanding programming in the building and on the internet, and after the presentation, a member of the group told me that he had been VERY bothered that I had not used the word entertainment when discussing our shows. I told him that I purposely avoided the word since I found it to be so subjective.
At lunch I asked each of the gentlemen what they found entertaining. It was not surprising to me that the answers ranged (and I am paraphrasing) from I want to laugh to I want to taken to another place to I like to be made to think to I love to have a good cry.
We have to admit as practioners and audience members that being ENTERTAINED isn’t the same thing for each person and it IS NOT a bad thing for someone to leave the theatre feeling as if they have been entertained. There is no reason that art can’t be entertaining.