Listen closely when the Idaho Shakespeare Festival opens its 35th season
By Dana Oland – email@example.com
“Boom!” A loud clap of thunder ripples through the Idaho Shakespeare Festival amphitheater on a hot summer night. As the sound slowly rumbles away, it leaves a vibration in your chest. You look up and then around. Clear skies, then — “Boom!’
You tighten your collar and reach for a hat or plastic bag. Rain is a hazard of outdoor theater, except this isn’t real thunder. It’s a Peter John Still sound cue.
Call it the “Peter Effect,” a phenomenon that the resident ISF sound designer has been pulling off for 20 years at the festival’s various locations. [0x0b]
You can’t tell a Peter Still thunder crash from a real one, says the festival’s producing artistic director, Charlie Fee.
“I can’t tell you how many times that’s happened,” he says.
It’s bound to repeat this summer when ISF opens its 35th season the first weekend in June. This year, you’ll hear Still’s sounds in “The Two Gentlemen of Verona” in June and “The 39 Steps,” a Hitchcockian farce, in September.
Still is the mad professor of the Idaho Shakespeare Festival who approaches a play with a penchant for cultural research.
“Peter brings a huge knowledge and perspective — and sometimes a truly crazy sensibility — of global music and theatrical traditions,” Fee says. “That has been enormously helpful to me and anyone who is willing to work with him, that allows us to go in directions I don’t think we would achieve without him.”
Still came to ISF in 1992 as part of director Bartlett Sher’s creative team for “Richard III.” Still started working with Fee the following year, fell in love with Boise and stayed.
Still grew up in the lush English Midlands. He studied music at Oxford’s New College, training in early music choral traditions. He learned about theater by working in it — in storefront theaters in San Diego, repertory houses in London, regional theater in the U.S., on Broadway and in Boise.
He settled in Boise in the late 1990s and took his citizenship oath at the U.S. Federal Building, “looking at the Boise Foothills,” he says with a smile.
Still works at ISF, its sister company — Great Lakes Theater Festival in Cleveland — and Boise Contemporary Theater. He also helps Sher create work at the Metropolitan Opera, such as this season’s “Le Comte Ory,” and on Broadway with Sher’s 2006 Tony-winning revival of “Awake and Sing.”
THE MAGIC OF SOUND
Over the years Still’s sounds have elicited coyote howls from the surrounding hills, incorporated the actual birds in the amphitheater into the soundscape and created stirring moments on the ISF stage.
Last season’s ghost story “The Woman in Black,” a show that is in essence about imaginative theatricality, was the perfect sound feast for Still. He packed it full of thunder, wind, horse hooves on gravel, London street sounds, trains, screams and one magic squeak.
Actor Chad Hoeppner sat on a chair next to a picture frame, which became the window and seat on a train. As the train pulled into the station, he used his sleeve to rub the nonexistent glass. Hoeppner’s move came with the perfect “squeak, squeak, squeak” of a shammy rubbing on glass. (Actually it was the squeak of an antique spyglass.) And bam — in that instant the glass was there. That’s what sound adds to the art of theater, Still says.
Still is eccentric, quirky, captivating, maddening, difficult, mystical and brilliant. He chose the less-trodden creative path, following esoteric ideas, such as theories of subliminal sound and mystical approaches to Shakespeare’s texts.
“If you take a bad idea and keep working it, you’ll end up with something amazing, because no one else would have done it,” Still says. “That’s the truth of how it (theater) works. The way we’re brought up thinking doesn’t teach you that.”
Not all ISF directors will work with him. His shows are technically dense and difficult to run, Fee says with an exasperated sigh. One sequence can have more than 70 sound cues, which the production stage manager must call through the headsets.
“It boggles the mind how complex they are, and there is no simplifying for him. He can’t do it,” Fee says. “It’s so frustrating, and yet — is the play better? Probably. It seems like it when I’m working with people who aren’t Peter. They’re easier to call, but they’re not better somehow.”
ENTER AT YOUR OWN RISK
Still’s small cave-like basement room has been his home away from home since the building opened as a theater 11 years ago. (The ISF offices are in the Boise Contemporary Theater’s building.)
The office is lined with shelves that are stuffed full of plays, books on bird sounds and theater aesthetics, binders full of cues from past shows, bits of wire, electricians’ tools, blocks of wood, the bass drum used by the Sgt. Pepper mechanicals in “A Midsummer Night’s Dream,” working and broken guitars, bells, whistles and a jumble of other things that make interesting sounds.
He spends more time in his office on his computers and 1980s vintage Soundcraft mixer than he does in his apartment.
It’s easy to forget he’s there, says Hannah Read, marketing director of ISF and a costume designer for BCT.
“There have been many late nights when we’re working and it’s midnight, and suddenly there’s Peter emerging from his basement,” Read says. “And oddly it’s usually at a time when we need something done.”
Still likes to stay behind the scenes. He tried acting once in a stage-crew send up of a Christmas panto (a traditional British holiday comedy). At the end of the run, the backstage crew puts on a parody.
“I had three small roles in one of them, which is enough to understand that walking out in front of 550 people is pretty much the same stress level as a minor car wreck,” Still says. “That’s a standard piece of knowledge that any theater person can tell you. An actor really has no skill, except themselves. They either like you or you fail. It’s very different.”
He wears backstage crew-wear — T-shirts and Levi’s 501 jeans (cut-offs in the summer) — every day, even when he’s not at the theater. He rides his bicycle year-round, seriously practices aikido and is known for esoteric dinner parties where he prepares 18th- and 19th-century recipes such as elk en croute and pheasant with mustard cream sauce.
Still practices Shintoism, an ancient religion. Shinto mysticism dovetails into Still’s approach to classical theater, he says.
“The more Shakespeare you do, the more you’re taken out of your own culture, and the more you learn about theater,” Still says. “More people are getting into the mystical side of things; it’s really not that obscure. The thing about my interest in Shinto is it really is the closest thing to pre-Reformation, slightly pagan Catholicism, the thing that Shakespeare and his family, and milieu were nostalgic for. It wasn’t Catholicism as we think about it. This was also about going off and dancing in the woods and in the churchyard.”
WHAT YOU DON’T HEAR
OK, this is where it gets spooky. Besides the audible cues, Still employs subliminal sound in his designs. So there always is sound going on, though some of it is below human perception (but not a coyote’s). Still is convinced subliminal sound changes the dynamics on stage.
“I’m trying to make scenes work from the get-go from moment to moment. If you feel a lack sometimes it only takes a subliminal sound to fill the absence and make if feel right.”
It’s an idea Still came up with working at ISF’s ParkCenter location where street noise was constant. In 1993’s “Julius Caesar,” he added a low-level gunshot that you couldn’t hear on stage, but “I felt on edge,” Still remembers. “It created a mood.”
These techniques get used in Hollywood, he says. Sound editors underlay animal cries in car crashes, or low-pitch pipe organ sounds under dramatic music to create tension.
“We (humans) are very sensitive,” Still says. “Different sounds activate different parts of the brain. You can stimulate emotions on stage.”
Your nonconscious mind processes subliminal input. That’s where you feel things before you intellectually understand them.
“It works with evolution and instinct. So does telling a story. That’s why you come out of play feeling whole, because your mind has been filled two different ways,” Still says.
There really is something to it, says BCT artistic director Matthew Cameron Clark.
“I’ve seen it work on stage and from the audience,” he says. “There was a subliminal dog cue in ‘Zoo Story.’ Jerry, my character, is making reference to a dog growling. The sound was coming from a speaker mounted under the floor. It really gave me something.”
Still does some of his best sound work at Boise Contemporary Theater, where he has complete control, and a stage manager, Kristy Martin, who doesn’t mind calling hundreds of cues she can’t hear.
“There’s no question that the quality of the work being put on stage is higher because of Peter being here,” Clark says. “He’s this extreme on both ends of the spectrum. The attention to detail and this impressive scientific approach to things, then he always leaves a door open for something to be totally by chance.”
That makes it stand out.
Dana Oland is a former professional dancer and member of Actors Equity who writes about performing and visual arts for the Idaho Statesman. She also writes about food, wine, pets, jazz and other aspects of the good life in Boise. Read more arts coverage in her blog at Voices.IdahoStatesman.com/oland.
Boise City Revue
Posted by Diana M Cammarota in Places
If it were up to me, With our Good Will: 30 Years of Shakespeare in Idaho would be required reading not only in Idaho schools, but schools all over the world. Doug Copsey’s look back at the formation of the Idaho Shakespeare Festival, from their 1977 beginnings on the steps of the One Capitol Center in downtown Boise, to its current home in one of the most beautiful outdoor amphitheaters in the world, is a book for anyone with even the slightest interest in business, history and the triumph of human determination. Even if you’ve never so much as glanced at a Shakespeare play, this book will inspire and enlighten you in ways that you can never imagine.
Published in 2006, With our Good Will offers a rare, first-hand look at how the Idaho Shakespeare Festival came into being. Designed to look like the big book of family memoirs that it essentially is, its pages are brimming with everything from snap shots of original letters, budget records and invoices, to photographs and drawings that are works of art in their own right. The text is rare because the story told within is straight from the source. It’s not often that movers and shakers like Doug Copsey have the ability to sit still long enough to put pen to paper, but, as readers will come to see, the author’s gift for storytelling is as keen as his talent for acting, directing, producing and organizing successful enterprises.
The story of the Festival begins just after Copsey’s return to Boise in 1976 after nearly a decade away. After cutting his teeth in Helen Farrer’s drama department at Boise High School in the mid-1960’s, Copsey went on to obtain his undergraduate degree in Theater Arts from the University of Nevada, Reno, in 1968. After further training in film and video production, Copsey returned home to Boise and picked up his first acting gig as guest artist in a Boise State production of One Flew Over the Cuckoo’s Nest. The actor was inspired by the pool of talent he encountered at the University, but he was equally disheartened knowing that these artists would eventually need to leave Boise if they wanted to make a living at their craft. At that time, the only outlet in town was the well-established but all-volunteer Boise Little Theater (founded in 1948), and Copsey thought it was time to create a professional company.
“Look down and think Greek” was the fateful suggestion to developer Arthur “Skip” Oppenheimer, as he and Copsey gazed out of Skip’s 8th floor office of the then brand-new One Capitol Center. What Boiseans see now as the outdoor dining area of Angell’s Bar & Grill on the corner of 9th & Main, Copsey saw as a spectacular outdoor amphitheater, just begging to come to life. “The blank, concrete whiteness,” he mused, “cried out for the color of sets and costumes, the movement and action of actors, dancers and musicians.” Copsey thought that surely the designers had this in mind when building this natural amphitheater.
The developers were not aware of any such plan, but the idea of bringing outdoor theater to the downtown area – and more folks to the center – was certainly something worth considering. The newly opened Main Street Bistro, Boise’s first full-scale restaurant, occupied the ground floor and could have used a shot of adrenaline itself. Recognizing this opportunity, as well as an opportunity to support the arts, the Oppenheimers opened their space (and their checkbooks) to Copsey and his crew to see what they could do. With a total budget of $4500.00 ($1000.00 of Copsey’s own money and a $3500.00 loan from Doug Oppenheimer), the wide-eyed cast and crew embarked on the seemingly impossible task of transforming One Capitol Center into a verdant, functional and convincing outdoor theater and at the same time persuading people to come. The show to run at “The First Annual Main Street Bistro Summer Theatre Festival” in 1977 may have been A Midsummer Night’s Dream, but, at times, it played out more like a comedy of errors.
Several members of the original core group were fellow Cuckoo’s Nest cast members, and the rest were friends and enthusiasts that could be “cajoled into chasing a wild and crazy dream.” In the months leading up to opening night, actors worked as stagehands, directors as costume designers, and rehearsal space was shared with the likes of horses and Cocker Spaniels. City officials were pushed to the limit as were the budget and the occasional temper, but on opening night, all signs of struggle were ushered off stage, and in their place appeared all the sights, sounds and magic of A Midsummer Night’s Dream. Over 350 people came that night, and, by the time the run closed on August 6th over 3500 people had come to share in this “crazy” dream. After the bills were paid and creditors made whole, each member walked away with $225.00 for his or her eight weeks of hard work.
Success had come in surprising and welcome measure to the men and women of the budding Festival, but the struggle was far from over. By the following year, the coffers were once again empty, and Main Street Bistro had closed its doors. Indoor rehearsal space remained elusive, and it seemed that just about all that survived the winter was some salvaged lumber and a few sturdily stitched costumes. But, the spirit of the crew remained, and while the summer of ’78 season would take some doing, they had a few things going for them. The Oppenheimers allowed use of the amphitheater for another year, and Ray’s Oasis – the successors to the Bistro – were as supportive as could be. This year, however, the fledgling company was financially on its own. There were no loans to count on, and a source of significant funds from the previous year was snuffed out. A large portion of the seed money from their first season came from selling advertising space on the surrounding fence, but the city had put a stop to that, citing violations regarding the placement of billboards within the city. But, true to form, the players worked their way around this deficit by printing up the company’s first program, and an affectionate community snatched up the advertising space in no time flat. Despite a series of potential disasters including destructive winds, oppressive heat and a disappearing Duke of Milan, The Two Gentleman of Verona drew more than 4500 audience members and garnered much-deserved attention from the local media.
By 1980, this scrappy group of talented individuals that seemed to come from nowhere was very much on its way to becoming the world-class institution that we see today. By the end of that fourth summer, they had expanded their seasons by offering multiple shows and longer runs, formed a patron committee, executed well-organized marketing and public relations efforts, held their first public fundraiser and incorporated officially as a non-profit under the name of the Idaho Shakespeare Festival. Attendance was topping 11,000, and the entire community seemed to embrace this cultural phenomenon. But, to say at this point that they lived happily ever after would very much be remiss. Growth and expansion also meant increased cost and debt, and with the pace at which members had been working over the years, fatigue understandably began to set in. 1980 was also the year that they needed to leave One Capitol Center and begin a 17-year search for a permanent home. Ray’s Oasis was moving out and Angell’s Bar & Grill – with plans of their own for that fabulous outdoor space – was moving in.
I’ll leave the rest of the story for you to discover in With our Good Will. It will lead you on a wild ride through their three years at the Plantation Golf Course and the fourteen years next to Ore Ida on Park Center Boulevard. It will introduce you to the entire cast of producers, directors, actors, officials and philanthropists – as well as some memorable guest appearances from wandering ducks, buzzing mud wasps and a pair of amorous Llamas. It will lead you, finally, to the special place they now call home – The Idaho Shakespeare Festival Amphitheater and Reserve at 5657 Warm Springs Avenue – a place that seems to have always attracted magic. A place that Native Americans called “Peace Valley” and early Boise settlers called the “moonshine capital of the world.” A place where each winter, the noble bald eagle comes to roost and where over 200 species of wildlife live in harmony with the cottonwood trees and the Boise River. It is, perhaps, as it was best said by board member Norena Gutierrez, a place where “people find themselves again, in the stories Shakespeare tells, and truths of time are always acknowledged…”
Doug Copsey is still moving and shaking. He continues to write for area publications and over the last three years has helped form the Idaho Writers Guild – an arm of The Cabin (a literary center for Idaho located in Julia Davis Park) – and is head of that group’s Governing Committee. His connection to the Shakespeare Festival continues as both an ardent fan, and as a member of the Advisory Committee, and he wants folks to know that he continues to be “humbled and amazed by the support this community continues to give to what has become one of Idaho’s artistic jewels.”
I owe a hearty thanks to the Festival’s Directing Manager, Mark Hofflund, for his patience with my tedious questions, and for his service to the Festival for almost twenty years.
With out Good Will is available at most booksellers as well as at the concession stand at the Festival. The author will be hosting several pre-show book-signings this season and for this schedule – or for more information on the Idaho Shakespeare Festival Including educational programs, tours and the upcoming season – please visit: www.idahoshakespeare.org or call 208.429.9908.
See you under the stars!
Click to read original article online
By Steve Bunk, 1-4-2011
Cold weather traditionally means no work for a lot of repertory theater actors, but an extra-long break during these holidays is all that the Idaho Shakespeare Festival's troupe will be getting. In February, they'll start working again, and a good many of them won't be done until December. Under the leadership of artistic director Charles Fee, the Boise-based festival has perfected an innovative business model that has achieved the seemingly impossible: turning local theater into a full-time gig.
The 2011 season will be Fee's 20th as artistic director of the Idaho festival, which will be celebrating its 35th year of existence. Since 2002, Fee also has held that post at the venerable Great Lakes Theater Festival in Cleveland, and in 2010, he assumed artistic directorship of a third group, the Lake Tahoe Shakespeare Festival, whose outdoor stage sits on the western shore of the magnificent lake.
The practical result of this synergy is that not only do three repertory companies get a lot better bang for their bucks, but professional actors associated with the organizations can work steadily year-round. For example, selected actors and crew drawn from the three groups will be in Cleveland in February to start rehearsals for two plays that will open there in the spring. Later, they'll bring those plays to the theaters in the other cities.
Fee, who earned an MFA in acting from the University of California, San Diego, before becoming artistic director of a community theater in Northern California, has demonstrated the rare touch of pulling financially shaky rep companies back from the brink of extinction.
He did it with the Idaho festival, which was essentially performing in a big yard, had one full-time staff member and an annual operating budget of less than $300,000 when he took the job in 1991. Seven years later, the much larger company had an impressive new amphitheater and was in the black for the third of what has now been 15 consecutive years.
He also did it with the Cleveland organization, which was carrying a full-time staff of 24 and was in financial straits in 2001, the 50th year since the troupe was founded by the father of actor and writer John Lithgow.
“My first thought was this isn't really what I want to do,” Fee recalled. “I'm not going to leave Boise for a theater in Cleveland that's in crisis.”
Eventually, he agreed to take the Cleveland job for one year, on the quantum-leap condition that he would stage some of the Idaho work through the Ohio company. It was an idea he had been entertaining for years.
Observing other Shakespeare festivals around the country, Fee often had wondered, “Why are so many of us producing the same work, and paying people to do virtually the same thing?”
He was dismayed that such expensive productions were performed a few times and then tossed out of the schedule. “We're all spreading our resources so thin that no one's actually creating real work at real wages for anyone.”
Sharing cast, crew, materials, and related expenses between two companies seemed an obvious fix, albeit not an easy one to achieve.
“In Cleveland, the writers were very skeptical of this whole relationship,” Fee admitted. Theater critics and other commentators regarded Boise with raised eyebrows, but all that changed after the first Idaho production, “Much Ado About Nothing,” was staged at the Great Lakes festival.
“Thankfully, they ate their hats,” he said. “It's that simple: you just have to do great work.”
A pattern was established in which two shows staged in Cleveland were then performed in Boise's next season, and vice versa.
In the summer of 2007, Fee was contacted about becoming artistic director of the financially ailing Lake Tahoe festival, but he was in the midst of a $20 million renovation of the theater for the Great Lakes festival. By 2009, that theater was running well, and his staff was talking about adding a third company to the project.
Fee explained the reason for the proposed expansion: “We had essentially invented this idea, and we had gotten really good at it.”
At about that time, he got another call from the Tahoe festival, and arranged to work its schedule into the group's 2010 plans. In January, Fee had carpenters available in Cleveland, so the set for the comedy “The Complete Works of William Shakespeare,” was built there. It was staged in Boise in early summer 2010, followed by Lake Tahoe performances in July. Fee subsequently was appointed artistic director of the Tahoe festival.
The boards of directors and other people in the various cities have expressed worries that one company might get more attention or financial benefit than the other, but Fee has worked through such fears by emphasizing he does not regard them as different companies, but as a whole project.
Even so, as financial entities, the companies remain entirely separate. Fee said the key is transparency, so each company knows exactly what the costs and savings will be when materials and personnel are transferred from one place to another and back.
Another concern of the boards and other people was that not all the actors would be local, but that's a red herring to Fee, because professional actors often are selected for repertory troupes through regular auditions held in Los Angeles, New York, Chicago, and elsewhere.
The real challenge regarding actors and crew, as he sees it, is in arranging for them to move from one venue to another. “It's a shell game, and the key is to keep the best people employed the largest amount of time.”
If an actor doesn't want to go, say, to Cleveland, or has commitments elsewhere, the larger size of Fee's talent pool gives him options he otherwise might not have for a substitute actor. When performers move from one place to the next, they mostly stay in rented apartments in Cleveland; in Boise; about half of them stay with families; and at Lake Tahoe a third stay in private homes.
Staff remain separate, with the exception of the executive director in Cleveland, Bob Taylor, who recently assumed the same job at Lake Tahoe. Staff members in the different cities know one another and exchange ideas and information about marketing or other strategic and logistic considerations. The Cleveland full-time staff was quickly reduced by Fee from 24 to 14. Boise has 10 full-timers, and Lake Tahoe has three.
The combined budget of the three festivals is about $7.4 million, with a total annual audience of about 220,000.
In spring, “The Complete Works of William Shakespeare” will be staged in Cleveland and will play for the second consecutive season in Boise, which is another way to reduce production costs.
Some time ago, Fee discovered that a local audience is not depleted by one season of a given play, particularly if it's a crowd-pleaser. “People will come back and see it again, and bring friends, because they know the piece,” he said. “It's a great way for audiences to start the season with something they already know.”
It's true that the bard deplored the tedium of twice-told tales. Even so, Charles Fee has learned there is reward in the repetition of great stories.
By George Prentice, published November 17, 2010
About the only thing on stage at Idaho Shakespeare Festival right now is the occasional snowflake. Yet the home fires are burning behind the scenes as the pieces come together for the 2011 season. Early-bird tickets go on sale Thanksgiving weekend.
Next year will mark Charlie Fee's 20th season as producing artistic director with ISF. He is also producing artistic director of Great Lakes Theater Festival in Cleveland and Lake Tahoe Shakespeare Festival in Nevada.
How is the company doing financially?
We're doing fine. Because, quite frankly, we're good at planning. 2008 was, like for everybody else, down a bit. 2009 saw a bigger drop. In 2010, we are actually up on season tickets, but single tickets came down a little bit, so we came out fine. We've been in the black for 15 seasons straight. These last few years, we tightened and tightened and tightened, and we managed to cut a lot of expenses.
But for 2011, I've picked a giant, populist season. I do feel we can plan for, push for and hope for real growth this coming season.
You'll open the season next June when you direct Two Gentlemen of Verona.
A big, big Shakespeare comedy, because we're looking for the big comedies to anchor our season.
Are you at a stage where you're considering a cast for Two Gents?
I went into Two Gents thinking I had the key players set. I actually ended up with none of them. I chose to go forward anyway. It's exciting for us as a company because now I have an opportunity to cast the four lead roles with four young actors who haven't been working with us for the last few years, or perhaps ever.
Do you have open auditions?
Yes. Our union requires it. We plan to audition in Chicago in December and Los Angeles in January.
You'll be directing the second production as well, The Complete Works of William Shakespeare (Abridged).
We had a blast with this show last summer in Lake Tahoe. I didn't know this past summer whether we would bring the show here to Idaho. It's fun but also a little scary because I've got a number of open roles to cast.
Third will be the season's big musical.
Cabaret is a spectacular, dramatic piece of musical theater as opposed to traditional musical comedy. It's set in a time [pre World War II] and a place [Germany] fraught with danger. I'm interested in engaging our audiences into an experience with musicals that are deeper than traditional fare.
Have you thought about who you will cast in the lead roles?
Eduardo Placer [Puck in 2010's A Midsummer Night's Dream] will play the emcee. Jodi Dominick [the baker's wife in 2008's Into the Woods] will play Sally Bowles.
And your fourth production will be another Shakespeare comedy, The Taming of the Shrew.
I chose this for two reasons. First, I picked it for Sara Bruner [2011 will be Bruner's 15th season with ISF]. This will be a very different kind of role for her. Sara has played so many different ingenues and women in the Shakespeare canon: Rosalind, Viola, Juliet, Desdemona, Ophelia. But she's never really had this opportunity. This is a great role for her at this point in her career.
Plus simultaneously, I met a new director at the Shakespeare festival in Ashland, Ore., Tracy Young. She directed a 2009 production of The Servant of Two Masters, which I adored. I told her, “We have to work together.” So I have a new director with a style I just love: wildly improvisational with a deep background in physicality and commedia dell'arte. And Shrew sort of feels like that. So this is a very good match. Bringing a woman as a director to this play introduces a very different sensibility, because Shrew is considered the ultimate battle of the sexes story. Tracy is brilliant and I'm very excited about bringing a new director into the team.
And the fifth production will be The 39 Steps.
It's so much fun. Four actors play all the characters. So, it'll be a quick-change show. It's a theatrical form that is a blast for our audiences but it's technically very difficult. Because it's based on the classic novel and the Alfred Hitchcock film, it brings together a 1930s period sensibility that's a wild romp.
Do you seriously consider building a second stage someday?
Yes. All the time. But it's still not the moment to launch a major campaign. That day will come. Building a new theater would be a big undertaking and you really have to plan carefully for that. Read article at Boise Weekly
We're so excited for 2011: We don't have our website updated and Earlybird season ticket sales won't begin until Thanksgiving weekend but we couldn't wait to share with you!
Here it is!
Idaho Shakespeare Festival's 35th Anniversary Season
The Two Gentlemen of Verona by William Shakespeare
The Complete Works of William Shakespeare (Abridged) by Adam Long, Daniel Singer, and Jess Winfield
Cabaret Book by Joe Masterof; based on the play by John Van Druten and stories by Christopher Isherwood; music by John Kander; Lyrics by Fred Ebb
The Taming of the Shrew by William Shakespeare
The 39 Steps adapted by Patrick Barlow. From the novel by John Buchan. From the movie of Alfred Hitchcock
Earlybird season subscriptions begin Thanksgiving weekend! Gift Certificates available anytime. Click here for Gift Certificates (the perfect gift for every occasion).
Save up to 42% with Earlybird season tickets. Earlybird savings end December 31st, 2010.
*NEW* The Student! Season ticket package for students introduced this year for our 35th Anniversary Season. See all five shows for less that going to five movies! All you need is a valid student ID.
Can't wait to see you at the Amphitheater!
When a drama company puts on two shows in alternating repertory, it's smart for the artistic director to pick a pair of scripts that can be played off one another—though not necessarily in an obvious way. You wouldn't think, for instance, that Shakespeare's “Othello” and Oscar Wilde's “An Ideal Husband” have much of anything in common, but they prove in practice to be mutually illuminating, bearing as they do on the subject of how suspicion can wreak havoc on a marriage. Cleveland's Great Lakes Theater Festival is mounting handsome stagings of both plays in collaboration with the Idaho Shakespeare Festival, where the two productions originated this summer, and as I watched them in close succession earlier this week, I was struck by how smoothly they fit together.
Risa Brainin's “Othello” is a modern-dress staging whose reference points are wholly contemporary, all the way from the clamorous action-flick incidental music of Michael Keck to the central-casting performances of the excellent actors: Othello (David Alan Anderson) plays the regular guy gone wrong; Iago (David Anthony Smith), the brash, sarcastic Bill Murray-ish sidekick with a giant chip on his shoulder; Desdemona (Sara M. Bruner), the chirpy innocent who can't believe what's happening to her until it's too late. The results, though unsubtle in the extreme, are also terrifically effective—and not just on their own populist terms, either. This is a blood-and-thunder “Othello” that roars down the track at several hundred miles an hour, and though it's short on poetry, it lacks nothing in the way of thrills and chills.
I made a point of seeing a student-matinee performance of this production, and the high-school kids in the audience were completely on top of the plot. I especially liked their collective gasp of horror when Othello, fooled by Iago into thinking that Desdemona has cuckolded him, snarls that he'll “chop her into messes.” That's entertainment.
Nearly every production of an Oscar Wilde play that I've seen in recent years has been performed on a set that sought to reproduce more or less literally the Vicwardian décor of Wilde's own time. Not so the Great Lakes Theater Festival's version of “An Ideal Husband,” whose simple unit set, designed by Nayna Ramey, consists of a drape, some columns and a half-dozen stage-wide steps, plus enough period chairs to allow the characters to seat themselves as they please. Between the set and Jason Lee Resler's high-society costumes, nothing more is needed to create a look that is at once stylized and stylish.
Sari Ketter, the director, writes in her program note that she conceives of “An Ideal Husband” as a “fairy tale.” To that end she fills her sparsely decorated stage with a ballet-like corps of black-clad butlers at whose seemingly magical behest the other actors come and go, a charming conceit executed with the most delicate of touches. The play itself is a tricky mixture of wit and melodrama in which Sir Robert Chiltern (Richard Klautsch), a British politician of infinite promise, is put through the wringer by a kittenishly unscrupulous woman with a past (Laura Perrotta) who seeks to profit from her knowledge of a secret that could smash up Sir Robert's marriage to an ever-so-proper society lady (Jodi Dominick). The plot is little more than a rope on which Wilde has strung some of his sharpest epigrams (“Only dull people are brilliant at breakfast”). Yet it all works, and Ms. Ketter's production is especially effective at melding the play's disparate aspects.
Wilde's brand of sky-high comedy can be hard for American actors to carry off with ease. Some of the cast members speak their lines too emphatically (though not David Anthony Smith, who here changes hats from Iago to the Viscount Goring, Sir Robert's best friend, catching the latter character's fey tone with winning deftness). I wish Ms. Ketter's actors had been lighter on their feet, and that they'd thrown away more of Wilde's one-liners instead of italicizing them. That said, the total effect of this production is both impressive and persuasive. I very much look forward to seeing more of the work of the members of the production team, most of whom were new to me.
A word about the theater in which “Othello” and “An Ideal Husband” are being performed: Built in 1921, the Hanna Theatre was taken over two years ago by the Great Lakes Theater Festival. The original 1,421-seat proscenium-arch house has now been turned into a fully up-to-date 548-seat thrust-stage theater whose performing space and public areas flow together seamlessly, thus encouraging audience members to show up early and use the theater as a meeting place. (They do, too.) Rarely have I seen a a happier marriage of old and new. Read article at The Wall Street Journal
Boise Weekly 9/29/2010
We are proposing that in addition to the traditional dramatic masks of comedy and tragedy, a new mask of surprise be added so we can wear it each fall when we announce that Idaho Shakespeare Festival has, once again, been voted among the Best of Boise. By this point, no one should be surprised that the state's preeminent theater company wins this category year after year: The productions are excellent, the cast and crew are some of the best in the business, and you just can't beat that gorgeous amphitheater. Of course, the fact that most of us indulge in a few glasses of wine each time we see an ISF production only enhances those warm, fuzzy feelings. Read more
By Deanna Darr, Boise Weekly, Published 9/7/2010
Idaho Shakespeare Festival's latest production leaves as lingering a presence as its title character. The Woman in Black is at once simple and intriguing, and it's the perfect sort of tale to accompany a cool fall night.
Pulling off an effective ghost story with a two-man cast in an outdoor theater is a challenging task, but like a frightful tale told around a campfire, ISF manages to draw the audience in and hold them captivated. It's probably the reason the play has been a mega-hit in London for the better part of two decades although, surprisingly, it's little known on this side of the pond.
The story is a play within a play, as a man tormented by the supernatural events of his past attempts to purge himself of their dark memory by putting them to paper and then sharing the tale with his friends and family with the coaching of a professional actor.
Mr. Kipps (Dudley Swetland) is reluctant from the start, but his is drawn out by the actor (Chad Hoeppner), who eventually plays the role of a young Kipps, while Kipps himself takes on the roles of associated characters in his story.
As a young lawyer, Kipps is called to a remote house to settle the estate of an eccentric widow. While there, he discovers a dark secret and is pulled into it with torturous results.
As the plot is established under the bright blue sky and with a reluctant narrator, it's hard to imagine the story becoming a gripping thriller. But the production is timed perfectly so that as the tension builds and the tale begins to flow, the skies darken to complete the atmosphere.
Both actors turn in strong performances, holding the audience in rapt attention, although the use of microphones coupled with the use of the aisles for entrances and exits makes it a bit disorienting to find the actors on occasion.
Still, the production effectively weaves the web of the story, relying on the basic, but time-honored tools of the theater to do so. The set is an ode to the magic of the theater, designed to emulate an old playhouse, where the energy of past productions oozes from the walls and magic lurks within the cacophony of well-worn props.
A minimal crew takes full advantage of lighting and sound to create atmosphere–not to mention a heavy dose of fishing line to set objects (and even the occasional tree) into motion seemingly on their own. There is a decidedly Dickensian feel to the production, which completes the dressing for a good ghost story.
The simple, yet effective approach to the entire production is a perfect example of how theater can lead an audience so completely into an imaginary world.
Besides, it's hard to deny the appeal of a good, old-fashioned ghost story. Read at Boise Weekly
By Dana Oland- Cast and design team make this ghost story satisfying if not frightening
Copyright 2010 Idaho Statesman. Published 9/6/2010
One of the most difficult things to do in a theater is to truly scare audiences, especially in the 21st century when people are inured to most things that slash, scream, or go bump in the night.
Yet that is the goal of “The Woman in Black,” Stephen Malatratt's theatrical adaptation of Susan Hill's ghost story. The play has enjoyed a chilling 22-year run at London's Fortune Theatre, a jewel box Victorian theater where it is much easier to control the theatrical environment.
In the great outdoors of the Idaho Shakespeare Festival amphitheater, making this play work is a different kind of challenge. Fortunately, with director Drew Barr at the helm, this stellar design team and seasoned cast make the show – if not actually scary – at least suspenseful and ultimately satisfying.
The production starts off slow, but that's because the play is almost entirely exposition, something most playwrights avoid. After all, theater is a medium of show, not tell. However, telling is something that's intrinsic to a ghost story, which is best heard round the campfire.
To translate that to theater, Malatratt's adaptation uses stagecraft as storytelling. The play tells a ghost story; but it is really about theater.
That's clear from the moment you set eyes on Russell Metheny's excellent set. It is the outline of a theater with borders, lights, scaffolds and a fabric scrim that divides the stage and becomes see through when lit. There are bits of old sets, props and boxes stashed around that get pulled out to build the world of the play. Behind the scrim is the mysterious Eel Marsh House.
The cast and crew employ a host of theatrical devices, including mime, sound effects, lighting, props, smoke, mirrors and other visual tricks, and most important, imagination. Read more
By Dana Oland, Treasure Magazine- firstname.lastname@example.org
A hot breeze wafts through as trees rustle and flowers sway. Eagles soar overhead; the river hurries past. This is not your typical night at the theater.
You're at the Idaho Shakespeare Festival, where the fare on stage this season includes Shakespearean comedy and tragedy, a batty rock-musical and a spine-tingling thriller, and is served up in the fun, casual atmosphere of a family picnic.
From its inspired origins in Downtown Boise in the 1970s to today's state-of-the-art amphitheater, it is as much a part of Boise's summer culture as floating the Boise River and mountain biking the Boise Foothills.
“I've lived away from Boise for six years now,” says Kelly Bell, 29, who recently moved back to Boise after living in Boston.
“When I came back in the summers, I (would) run the river and go to the Shakespeare festival,” Bell says. “That's my Boise agenda.”
Shakespeare might seem an unlikely Idaho denizen, but his spirit and work have been alive and well in Boise for 34 years.
The Idaho Shakespeare Festival has survived changing venues and artistic leadership, rocky creative spurts and occasional financial woes.Today, it flourishes under producing artistic director Charles Fee and managing director Mark Hofflund and is one of the state's most high-profile arts organizations. Through innovative strategic alliances, it now puts its actors and artists on three stages nationally, while never forgetting its Idaho roots. ISF has expanded its reach, and it also has deepened its Boise roots.
“People in the other cities all think of it as a Boise company,” Fee says.
In publications such as The New York Times and Wall Street Journal, the festival receives national notice for the caliber of its productions and for its innovative eight-year partnership with Cleveland's Great Lakes Theater Festival.
Now Fee has added the Lake Tahoe Shakespeare Festival to the mix, where his “Complete Works of William Shakespeare (Abridged)” is in production through Aug. 22. The show was built in Cleveland and rehearsed in Boise.
“Who could have foreseen this stuff?” Fee asks. A tall man with expressive gestures, he relaxes in his office swivel chair between meetings, while answering e-mails from Cleveland. This actor and director turned impresario now casts, plans and raises funds for a theatrical trio.
'GOOD LORD, FOR ALLIANCE!'
The Great Lakes Theater Festival board approached Fee in 2001 to take on the financially struggling now 40-year-old Cleveland company, which at the time had a budget nearly double that of ISF.
Immediately, Fee saw the opportunity. Read more