Director's Blog 2011
Romeo + Juliet
Romeo + Juliet
Shell Lumber
(That's Right, a Hardware Store)
Presents Romeo and Juliet
By Sebastian Del Marmol,
Fri., Jan. 21 2011 @ 2:00PM
Romeo and Juliet in the lumber yard.
Whenever you hear, "Romeo, Romeo, wherefore art thou Romeo?",
it's rarely followed by "I'm in the lumberyard you crazy, Capulet." But
we do things a little differently in Miami. So when Shakespeare in
Miami's production of Romeo and Juliet was booted from Peacock
Park in the Grove the company had to take a more drastic step to
replicate the streets of Verona.
That's when Shell Lumber on 27th Avenue stepped up like the trusty
ladders they sell. The owner offered the space to Colleen Stovall,
producing Artistic Director of Shakespeare in Miami. Apparently: "Her
beauty makes this vault a feasting presence full of light." Or
something like that.
Below is our Q & A with Stovall about this made in Miami love
story, between Shakespeare and Shell Lumber, we mean.
New Times: Why should people go to a lumber yard to watch
Shakespeare?
Colleen Stovall: At first, I thought it was a terrible idea, because we
usually fill Peacock Park with up to a couple thousand people and
Shell only holds about 400-500 people. But the more I thought
about it, the more sense it made. First, the space is like a perfect old
school Shakespearean theatre: double balconies, an open air space
and being in the space allowed us to hang lights properly, (and)
control the sound better. The more I stood in the space with the
lumber and workers streaming by and the sound of the saws... It
just felt right. I have been to concerts there and have always had a
blast, so after banishing the memories of Peacock Park and looking
forward, it has been kind of magical.
That's entertainment.
New Times: How has the idea been received?
Colleen Stovall: The actors were confused and worried until they
stood in the space. Now I hear them bragging about it. My Juliet,
Bree-Anna Obst, trained at the Royal Shakespeare Company and
when she stood in the space, said: "It feels like the Globe Theatre."
The public's reaction has not been what I expected. To a man,
everyone has been enthusiastic. I thought I'd receive more
audience "freak-outs" about the Lumber yard location, but strangely
enough, people think it's cool.
New Times: What are some unique aspects of this Shakespeare in
Miami production, including but not limited to location?
In order to hold the performances at Shell you have to understand
that we have to build and strike the stage floor, set and all
equipment after each show. With the help of the staff at the Florida
Grand Opera, we devised a set piece that is easily disassembled and
stored so that Shell Lumber can open for business each day. At 5:01
p.m., you will see our crew spring into action to turn the busy
lumberyard into a theatre capable of holding a company of 24 actors
battling to the death on old Verona's streets.
[About the production] First, as a woman director, I was freaking sick
of two things: that Juliet has no spine and Romeo is a whiner. We do
classical Shakespeare and aren't about to change the words, but in
a closer study of the script, we found a way to allow Juliet to be a
human being, not some walking sonnet. I banished all moping and
whining from the acting and forced the actors to use the words as
written.
Romeo is 15. Sure he complains, tries to get laid, goes from one girl
to another and makes stupid decisions. (But) didn't we all? Nick
LaMedica plays all of it like a 15 year old. It's really rare that a
director can find an actor both emotionally mature enough to be a
"leading man" and with talent enough to realistically portray the role
of Romeo Montague. I'm in director heaven.
Oh, and there's the sword fighting. Joey Costello is our fight
choreographer and he has created one of the most magnificent
rapier/dagger duels I have ever seen. Our company has 12 stage
combatants and our melees on Verona's streets feature all 12 on
stage at once. Joey has had them in training for a minimum of 8
hours of training per week since November.
New Times: What should the audience expect?
Audience members can expect to see someone finally portray Romeo
and Juliet as real three dimensional human beings... real teenagers.
They can see Romeo grow from a teenager to a man before their
eyes. They can expect to see the hottest balcony scene ever staged.
It involves swords ala Catherine Zeta Jones and Antonio Bandares in
the famous Zorro duel. (And) the play is funny. People tend to forget
that before people start dying, the play is very, very funny.
Catch Romeo and Juliet at Shell Lumber (2733 SW 27th Ave.,
Miami) from January 21-23 and 28-30 at 8 p.m., with special
matinees at 2 p.m. January 23 and 30. Visit shakespearemiami.
com.
Follow Cultist on Facebook and Twitter @CultistMiami.
Dear Nick:
After watching your video audition, I'd like to offer
you the role of Romeo in our upcoming production of
Romeo + Juliet. Are you up for an adventure in
Miami?
If you have no fight training, you'll need to put in
about 8 hours of fight school (Saturdays) plus another
4 or 5 hours of rapier/dagger practice per week. (If
you were paying for this training, it'd be in the
thousands.) You have to get the script under your
belt in just a few weeks. You're lucky the
choreographer doesn't come until Mid December.
This means that you won't have too much time to
hang out on South Beach drinking cheap Peruvian
beer, so please consider the heavy workload before
you give me an answer.
If you want the role:
Start running and/or build up to some major cardio
right away. Pick up a copy of Cole Porter's song "Let's
Fall in Love" and memorize it and sing it a couple
times a day, paying attention to the fricative ending
sounds and all those wonderful alliterations... it's all
about the diction. Seriously, it's magic.
I'll need you here on Monday or Tuesday if at all
possible. I'm flying out on Tuesday for my daughter's
wedding and will be back on Friday morning.
Bree-anna (Juliet) and Mario (company manager and
Tybalt) will take you in hand.
Cheers!
Colleen
After watching your video audition, I'd like to offer
you the role of Romeo in our upcoming production of
Romeo + Juliet. Are you up for an adventure in
Miami?
If you have no fight training, you'll need to put in
about 8 hours of fight school (Saturdays) plus another
4 or 5 hours of rapier/dagger practice per week. (If
you were paying for this training, it'd be in the
thousands.) You have to get the script under your
belt in just a few weeks. You're lucky the
choreographer doesn't come until Mid December.
This means that you won't have too much time to
hang out on South Beach drinking cheap Peruvian
beer, so please consider the heavy workload before
you give me an answer.
If you want the role:
Start running and/or build up to some major cardio
right away. Pick up a copy of Cole Porter's song "Let's
Fall in Love" and memorize it and sing it a couple
times a day, paying attention to the fricative ending
sounds and all those wonderful alliterations... it's all
about the diction. Seriously, it's magic.
I'll need you here on Monday or Tuesday if at all
possible. I'm flying out on Tuesday for my daughter's
wedding and will be back on Friday morning.
Bree-anna (Juliet) and Mario (company manager and
Tybalt) will take you in hand.
Cheers!
Colleen
| Hello Colleen! I'm very pleased you contacted me! I'm sorry to hear about your casting emergency and I hope I can be of assistance. I love doing Shakespeare and have spent a lot of time with the American Globe Theatre in Times Square recently. This past weekend I finished a production of Romeo and Juliet(my 3rd time doing the show) at Webster Hall. I have some fight and Kung Fu training and more in ballet, juggling, athletics, and movement. I'm certainly very willing and enthusiastic to learn more. I figure if I can juggle machetes, I can certainly fight with them. I would love to talk more with you about your upcoming projects! Email me or call me at your convenience. You may also contact John Basil-the artistic director for American Globe-who can vouch for my training, etc. Best, Nick LaMedica |
Hi Colleen:
Thanks so much for the role. I'm in.
I have some stage combat training (typically hand
to hand for a specific show); I have more training in
movement, dance, juggling, etc., and played
varsity/all-star/traveling team lacrosse. I'm
completely OK with putting in long hours and I know
I can apply my athleticism and dexterity to
whatever you put in my hands. I really look
forward to more extensive training. I would relish
the opportunity - just as I would to do this show.
I am a very hard worker, a professional, and I
enthusiastically dive into projects. I can promise
you all the practice and rehearsals you'd like. I will
live, breathe, and eat R&J.
I'll have a script in hand and begin my work
immediately. I will make arrangements to coach
some of the major speeches here in NYC if need be.
If anyone has a digital copy of the script or list of
cuts, I will start digesting them now. I will be
printing a Folio text to begin my personal table work
tomorrow.
Congratulations on your daughter's marriage. This
must be a very exciting (albeit stressful) time for
your families, and I wish you all the best! I'll see
you in a couple of days.
Sincerely,
Nick LaMedica
Thanks so much for the role. I'm in.
I have some stage combat training (typically hand
to hand for a specific show); I have more training in
movement, dance, juggling, etc., and played
varsity/all-star/traveling team lacrosse. I'm
completely OK with putting in long hours and I know
I can apply my athleticism and dexterity to
whatever you put in my hands. I really look
forward to more extensive training. I would relish
the opportunity - just as I would to do this show.
I am a very hard worker, a professional, and I
enthusiastically dive into projects. I can promise
you all the practice and rehearsals you'd like. I will
live, breathe, and eat R&J.
I'll have a script in hand and begin my work
immediately. I will make arrangements to coach
some of the major speeches here in NYC if need be.
If anyone has a digital copy of the script or list of
cuts, I will start digesting them now. I will be
printing a Folio text to begin my personal table work
tomorrow.
Congratulations on your daughter's marriage. This
must be a very exciting (albeit stressful) time for
your families, and I wish you all the best! I'll see
you in a couple of days.
Sincerely,
Nick LaMedica
| Email from Miamishakes to Nicholas LaMedica November 19, 2011 Subject: |
| Email from Nick LaMedica to Shakespeare Miami November 19, 2011 Subject: |
| Was that you Kung-fu-ing in the cellar on youtube? |
| Hello Shakespeare Miami ! |
| Hi Nick: I'm having a casting emergency for a show. Miami is a tricky place to find male Shakespearean actors, so I have been looking on the internet for a non-union actor for a fight heavy project. Are you still acting? How's your Shakes? Do you have any videos online other than the kung-fu? Let me know. Cheers Colleen |
| All rights reserved. |
Romeo
for
Searching
Romeo
Searching
not a secret that Shakespearean actors are not
very common in Miami. Actors come by, do a show or two,
then move on to New York, LA, or other cities where they can
make a living doing serious classical theatre.
There are no University programs south of Orlando that offer
degrees in Shakespeare in Performance, although most
universities offer the occasional class and usually the
opportunity to participate in a Shakespeare production.
This is not because Miami's citizens are not interested in
Shakespeare, (our free Shakespeare in the Park programs
attract thousands.) it is simply because the State of Florida
spends so little (we are usually number 49th or 50th on the list
of how much states spend per student.) on education. When
education is disregarded on such a wholesale level, the Arts
become impoverished as funding slips further and further
down the list of priorities.
do not have a very long history of supporting the
arts in Miami. In years past, people came to Miami either to
spend the winter or to retire. They usually came from the
Northeast where they allocated their charitable giving to their
hometown music, arts and theatre companies. Only after the
introduction of air conditioning in the 60's, could the city grow
and begin to attract year-round residents.
I come from the Midwest where folks have long established
traditions for supporting the arts in all forms. Midwesterners
not only donate to and support cultural institutions, they tend
to participate in the arts on a personal level as well.
My sister lives in Bay City, Michigan. One cannot imagine a
more depressed city in a more depressed state. My sister not
only enjoys a cultural social life that rivals any large
metropolitan area; concerts, theatre, fine arts, and on and on,
she participates in the arts. In person. She's a school
teacher, not an opera singer or professional actor.
Her town has a tradition of participation in the arts. Community
members act, play, sing and dance, not as professionals, but
for the pure love of the art. In Miami, I find that community
participation in the arts is looked down upon. Professional
actors term paid theatre as "legitimate theatre" as if a doctor
who acts in his precious spare time is somehow tainted by his
love for the arts.
order to build a community of people who appreciate
and support the arts, we must provide opportunities for people
to participate in the arts in active and exciting ways. By
combining professional actors with community theatre actors
on stage, Shakespeare Miami creates a new paradigm that will
make a lasting impact on both lives.
State funds for the arts have dried up and Parks & Rec
departments across Florida have been given the mandate that
public parks, and the public performance spaces therein, are
now to become profit centers. Amphitheaters, playhouses,
community centers and park lawns are now competing with
commercial performance venues to make a buck. Spaces
already paid for with public dollars are now financially out of
reach to community groups, and residents who paid for them.
Rehearsal space has become prohibitively expensive and arts
groups are closing their doors in record numbers.
Occasionally, when I tell someone that I don't work for a salary
or any pay at all, a look of disdain or pity crosses their face.
Sometimes it is just a fleeting look, sometimes I am the
beneficiary of a word of wisdom. Sometimes it provokes anger
or utter confusion on the part of the listener. The worst was
the morning I "took a meeting" with a tour promoter. He was
a tough talking New Yorker who spent time bragging of his
successes and how much money he would make for me.
When I told him that I worked for no salary and all the profits
would either go back into the company or directly into the
actor's pockets, he lost all interest. When he asked me how
much I was charging and I answered, "It's always free to
whomever wants to show up.", he told me in no uncertain
terms, "If you give it away for free, no one will respect you.
People who give it away are considered chumps in the eyes of
the world. No one who has any self respect does anything for
free."
Call me a chump.
Til' next year:
very common in Miami. Actors come by, do a show or two,
then move on to New York, LA, or other cities where they can
make a living doing serious classical theatre.
There are no University programs south of Orlando that offer
degrees in Shakespeare in Performance, although most
universities offer the occasional class and usually the
opportunity to participate in a Shakespeare production.
This is not because Miami's citizens are not interested in
Shakespeare, (our free Shakespeare in the Park programs
attract thousands.) it is simply because the State of Florida
spends so little (we are usually number 49th or 50th on the list
of how much states spend per student.) on education. When
education is disregarded on such a wholesale level, the Arts
become impoverished as funding slips further and further
down the list of priorities.
do not have a very long history of supporting the
arts in Miami. In years past, people came to Miami either to
spend the winter or to retire. They usually came from the
Northeast where they allocated their charitable giving to their
hometown music, arts and theatre companies. Only after the
introduction of air conditioning in the 60's, could the city grow
and begin to attract year-round residents.
I come from the Midwest where folks have long established
traditions for supporting the arts in all forms. Midwesterners
not only donate to and support cultural institutions, they tend
to participate in the arts on a personal level as well.
My sister lives in Bay City, Michigan. One cannot imagine a
more depressed city in a more depressed state. My sister not
only enjoys a cultural social life that rivals any large
metropolitan area; concerts, theatre, fine arts, and on and on,
she participates in the arts. In person. She's a school
teacher, not an opera singer or professional actor.
Her town has a tradition of participation in the arts. Community
members act, play, sing and dance, not as professionals, but
for the pure love of the art. In Miami, I find that community
participation in the arts is looked down upon. Professional
actors term paid theatre as "legitimate theatre" as if a doctor
who acts in his precious spare time is somehow tainted by his
love for the arts.
order to build a community of people who appreciate
and support the arts, we must provide opportunities for people
to participate in the arts in active and exciting ways. By
combining professional actors with community theatre actors
on stage, Shakespeare Miami creates a new paradigm that will
make a lasting impact on both lives.
State funds for the arts have dried up and Parks & Rec
departments across Florida have been given the mandate that
public parks, and the public performance spaces therein, are
now to become profit centers. Amphitheaters, playhouses,
community centers and park lawns are now competing with
commercial performance venues to make a buck. Spaces
already paid for with public dollars are now financially out of
reach to community groups, and residents who paid for them.
Rehearsal space has become prohibitively expensive and arts
groups are closing their doors in record numbers.
Occasionally, when I tell someone that I don't work for a salary
or any pay at all, a look of disdain or pity crosses their face.
Sometimes it is just a fleeting look, sometimes I am the
beneficiary of a word of wisdom. Sometimes it provokes anger
or utter confusion on the part of the listener. The worst was
the morning I "took a meeting" with a tour promoter. He was
a tough talking New Yorker who spent time bragging of his
successes and how much money he would make for me.
When I told him that I worked for no salary and all the profits
would either go back into the company or directly into the
actor's pockets, he lost all interest. When he asked me how
much I was charging and I answered, "It's always free to
whomever wants to show up.", he told me in no uncertain
terms, "If you give it away for free, no one will respect you.
People who give it away are considered chumps in the eyes of
the world. No one who has any self respect does anything for
free."
Call me a chump.
Til' next year:
It's
We
In
Colleen
| Email from Miamishakes to Nicholas LaMedica November 22, 2011 Subject: |
| Are you up for an adventure in Miami? |
| Email from Nick LaMedica to Shakespeare Miami November 23, 2011 Subject: |
| Sign me up! I'm In. |
Blog post
January 2011
January 2011
Is Community based theatre "Legit"?
Heroes for Hire
Heroes for Hire
| Joey Costello, Company Stage Combat Director, teaches safe & effective violence. |
| Pick your weapon: Bullwhip, Broadsword, Fists or Foil... Joey and his team spend hundreds of hours making our violence safe & terrifyingly realistic. . |
Miami Skyline.
| HOW THE INTERNET SAVED SHAKESPEARE |
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