Tag Archives: Paula Schultz

Guest blogger’s report on “Rabbit Hole” Talkback, April 20

I was out of town for the traditional second-Sunday post-matinee Talkback, so this report is courtesy of guest blogger Pona Tran, who has worked as Assistant Stage Manager on a couple of Alumnae Theatre Company productions (The Trojan Women and Cosî) as well as acting in two of my short plays for Gay Play Day and other occasions. Thanks, Pona!

"Rabbit Hole" cast & director at post-show Talkback, Sun April 20, 2014: with Cameron  Johnston  (Howie), director Paul Hardy, Christopher Manousos (Jason), Paula Schultz (Becca), Joanne Sarazen (Izzy) and Sheila Russell (Nat).

“Rabbit Hole” cast & director at post-show Talkback, Sun April 20, 2014: with Cameron Johnston (Howie), director Paul Hardy, Christopher Manousos (Jason), Paula Schultz (Becca), Joanne Sarazen (Izzy) and Sheila Russell (Nat).

Producer Brenda Darling and director Paul Hardy joined the five actors onstage. What follows are highlights from the Talkback – as best as I could capture.

Brenda introduced Rabbit Hole as an Alumnae favourite, and provided the leading question:

Q: (Brenda): Question for Paul. You wanted this to be a naturalistic set.  [Set design is by Jacqueline Costa]  Questions like “At what level should the drawers in the kitchen be placed? Where do people keep their cutlery?” were considered. Why was that important?

A (Paul): This is not my typical style. But the play really called for and demanded it. We needed to show the family as clearly and with as much realism as possible. The action of eating, folding, and doing really gives it its strength. The play is about watching people living, so that concept was the motivation.

Q: Question for each of the actors: How do your characters change from the beginning of the show to the end of the show?

A (Paula Schultz): For Becca, there aren’t any huge changes, but the ones that she goes through are very much about finding some comfort. She finds it (through Jason) in the most unexpected place, and in the most unexpected way. It was a release and one of the big things for her and her journey.

A (Christopher Manousos): It’s similar for Jason; the comfort, the closure. It was an accident, it was left at odds, and he wasn’t sure how to go on with the rest of his life. Coming to this family changes things for him.

A (Cameron Johnston): For Howie, the driving force or goal was to make some sort of connection with Becca. Most of his changes happen offstage: the group is not helping him anymore. For him, it’s the difference between being there and not being there (the support group).

A (Sheila Russell): I think Nat’s very concerned about her daughter, and that her daughter finds some comfort. Nat has been able to deal with her grief in her own way, but she was concerned about her daughter finding some way to deal with her grief. She wants her to let go. There’s a nice resolution at the end where Nat has become closer to Becca and that’s something she would have wanted. They are different characters and they are not alike at all, but they come to some sort of understanding, so she’s happy that Becca has found some comfort in the journey.

A (Joanne Sarazen): For Izzy, it’s the pregnancy and what follows that. Having the baby turns her from a fly-by-night creature into a more stable person, and lets her bond with Becca despite the bad timing.

Q: How much experience do you have/ What research did you do to prepare to play characters who are dealing with the loss of a child? It hit the spot, it was overwhelming, but you didn’t overdo it. What did you do to make it so real?

A (Paula): It was a big source of anxiety for me coming into this, not being a mother. It is such a particular loss. It’s the unspeakable loss that no one knows how to talk about, because it’s just so awful. While it was a very particular loss, grief is grief. We talked to friends and family. I have a good friend whose family lost a young boy to an accident and she was very generous to talk about it. She discovered Rabbit Hole and said it helped her understand something about her family that was never spoken about.

A (Paul): I think the research is in the piece itself; it was all done by the playwright [David Lindsay-Abaire]. He created a rich portrayal of the experience and how the family deals with it. For me, the main push of research was just the piece itself and making every moment live.

Q: I really liked the way the lighting and music bended with the play. It gave a nice atmosphere. Each character had a lot of courage in the way that they handled the situation. They were true to life, and they had good and bad moments. This reminded me that in dealing with grief, you need that courage to go on on a day-to-day basis. I don’t know if each character realized how much courage they were showing.

Q (Paul to the actors): Do you think your character showed courage?

A (Christopher): Not mine.

A (Joanne): Is there a difference between courage and balls?

A (Paul): Well despite everything, Izzy tells everyone that they all have to get it together, and that she’s not going to accept the destruction of her life and her birthday party.

Q: Have you seen previous productions or watched the movie, and did that influence you in terms of the sound choices?

A (Paul): I’ve never seen the film. The sound is all original composition.  The dog, dryer buzzer, the TV, etc. is called for in the script, but the music is original [by Angus Barlow], and creates a nice soundscape for the play.

Q: The music is so evocative, and we’re always talking about using it on stage for atmosphere. As actors, did you find yourself using it?

A (Christopher): I know it’s there, but I just kept doing what I’m doing.

A (Sheila): Same for me.

A (Cameron): It’s just there, as part of the scene. I allow it to affect me.

A (Joanne and Paula): We both use it.

A (Paula): We open the play, and we wait for it to come on, to set the atmosphere.

A (Joanne): It has weight to it but it’s not emotionally manipulative. You can listen to it and respect it, but it doesn’t manipulate you.

Four more chances to catch Rabbit Hole – Wed to Sat at 8pm.  Tickets are 2-for-1 on Wed; $20 on other nights.  Reserve seats and pay cash on arrival by emailing Reservations@alumnaetheatre.com , or purchase tickets online at www.alumnaetheatre.com.  Closing Sat April 26th!

*****     *****      ******

Pona mentions in her notes that at one point director Paul Hardy asked the audience for a show of hands: “Who thought that Howie was cheating on his wife?” and also “Who thinks that Becca and Howie stayed together?”.  Darn – would have liked to know the count on those answers!

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Rave reviews for “Rabbit Hole”

Audiences have been extremely complimentary about Alumnae Theatre Company’s currently-running production, David Lindsay-Abaire’s Rabbit Hole.   Check out the event on Facebook!

Howie (Cameron Johnston) gets a little frisky with Becca (Paula Schultz) in "Rabbit Hole".  Photo: Dahlia Katz

Howie (Cameron Johnston) gets a little frisky with Becca (Paula Schultz) in “Rabbit Hole”. Photo: Dahlia Katz

Now the critics are weighing in – MyEntertainmentWorld: http://www.myentertainmentworld.ca/2014/04/dont-miss-alumnaes-rabbit-hole/

LifeWithMoreCowbell:  http://lifewithmorecowbell.wordpress.com/2014/04/19/climbing-out-with-humour-rage-alumnae-theatres-rabbit-hole/

There are 4 more performances; Wed – Sat of this week.  8pm each night.  Wednesday tickets are 2-for-1; $20 on the other nights.  Purchase tickets online at www.alumnaetheatre.com OR reserve seats by e-mailing reservations@alumnaetheatre.com and pay cash at Box Office.

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Raves for “Rabbit Hole”

It’s a tough sell – any play about grief or loss or terminal illness… you get the picture.  A play about parents dealing with the barely-comprehensible tragedy of losing a child, well it takes a brave audience to go there.

Full disclosure:  I am not a parent.  As an actor, I did audition for the role of Becca, the grieving mother in Rabbit Hole, because it’s a fantastic part and I absolutely adored David Lindsay-Abaire’s script, which deservedly won the Pulitzer Prize in 2007.

Alumnae Theatre Company’s production, directed by Paul Hardy, just opened on Friday (April 11), and the audience response after only two performances has been amazing.  Here are a few samples:

“Beautifully acted, elegantly directed production of a moving play. Don’t miss it!”

“…a very moving and often unexpectedly hilarious show!”

“This play was sooo good! Really powerful and real, very sad but funny too. Loved it, highly recommend it!”

“…a brilliant play… It is poignant yet there is a wonderful levity to it too, despite its dark subject matter. The themes and subtext have been rolling around in my brain since I watched it last night… a great production.”

“A talented cast. Very well done.”

“So much substance! So much food! So good! Last night I fell down the Rabbit Hole at Alumnae Theatre and I will be digesting for some time. Go!”

Yes, go!  You will be transported into the family life of Becca (Paula Schultz) and Howie (Cameron Johnston), eight months after the sudden death of their only child, 4-year old Danny.   The actors, including Joanne Sarazen as Becca’s sister Izzy and Sheila Russell as their mother Nat, are perfectly real.  It’s like you know these people; you’re sitting in their very real kitchen (kudos to set designer Jacqueline Costa and the tech wizards who arranged running water onstage!) or sunken living room  eating cake and chatting.  Schultz has the brittle, dry-eyed quality of a woman barely holding it together as she navigates the pointless wasteland her life has become.  When she accuses her husband of thinking she’s “not grieving enough for you”, you can feel the pain of both parents.

Must particularly mention the scene transitions.  Sometimes they can be awkward moments in semi-darkness when actors or stagehands move furniture or place props for the next scene.  In this production of Rabbit Hole,  Hardy has the actors smoothly pick up props, replace a chair into position, etc.  in a sort of gentle dream-state. Meanwhile, Angus Barlow’s original compositions perfectly underscore the moment. As Hardy hoped, “the music is like a character onstage who speaks when silence falls over the performers.”   Exactly.  The silent moment at the end of the play is just stunning.

So’s the whole thing, actually. But you can see for yourself – Rabbit Hole runs to April 26.  Tickets can be purchased online at www.alumnaetheatre.com, or check the site for other options.  There’s a 2pm matinee today – no reservations required, and it’s PWYC.  RUN!

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“Rabbit Hole” opens on Friday!

David Lindsay-Abaire (don’t sneer – he was born David Abaire in working-class South Boston, but he and his wife, an actress formerly known as Christine Lindsay, both use the hyphenated surname) won the 2007 Pulitzer Prize for Drama for Rabbit Hole. This play was quite a departure for him – his previous works tended to be dark comedies – Fuddy Meers, Kimberly Akimbo, Wonder of the World – and although they “did mostly really well” , the playwright noted that “certain critics dismissed them out of hand for being ridiculous and absurdist and cartoon-y.”

He attended prestigious schools like Julliard and Sarah Lawrence College on scholarship. At Julliard, his instructors included playwrights Christopher Durang and Marsha Norman. It was Norman who urged him to “write about what scares you most”. At the time, Lindsay-Abaire was in his early 20s and “honestly didn’t know what that was”.  But after the birth of his son, he heard stories of parents who had lost a child. “I put myself in their shoes — and I experienced fear in a way I never had“, he says. The result was the award-winning Rabbit Hole, which allowed Lindsay-Abaire to “flex muscles I’d never used before as a writer. I had this whole new toolbox at my disposal.”

A few years later, he adapted his play into a screenplay. The 2010 film starred Nicole Kidman and Aaron Eckhart as the grieving parents.

Rabbit Hole-website bannerPaul Hardy directs this production of Rabbit Hole for Alumnae Theatre Company. I asked him about the design concepts and he responded:

Our design goals with Rabbit Hole were to create as much detailed reality inside of the theatre as possible. The general concept of the set [designed by Jacqueline Costa] was a dollhouse.  We hoped to create the perception of looking inside a real house – as though the walls have been lifted.

[Composer/Sound Designer] Angus [Barlow] created music based on iconic synth-based film soundtracks of the 90’s. American Beauty, Six Feet Under, and True Romance served as inspiration for me.  We hoped the music would give help us keep the energy of the scenes thoughout the changes. It’s like a character onstage who speaks when silence falls over the performers.

Rabbit Hole - Becca & Izzy

Rehearsal photo (taken by director Paul Hardy) of Alumnae Theatre Company’s production of “Rabbit Hole”. Paula Schultz as Becca; Joanne Sarazen (on stairs) as Izzy.

I haven’t seen any rehearsals but have peeked in at the impressive dollhouse-like set (with an upstairs level!), and absolutely adored the script. It was smart and spare, and so real. It’s easy to imagine you know these people – Becca and Howie, struggling to come to terms with this tragedy (the play begins 8 months after their son’s death) and figure out how they can relate to each other although they show their grief in different ways.   Becca’s party-girl sister Izzy, who’s got more depth than one might initially think. Becca’s mother Nat, who tries to comfort her bereaved daughter and just can’t do it right.  And Jason, the boy who – well, anyway…

The Author’s Note in the script made me laugh.  “It’s a sad play,” he writes. “Don’t make it any sadder than it needs to be.  Avoid sentimentality and histrionics at all costs…. there are, I hope, many funny parts in the play. They are important. Especially to the audience… Don’t ignore the jokes. They are your friends.”

So do enjoy Rabbit Hole, and do laugh at the jokes. It runs April 11 – 26, with performances Wed – Sat at 8pm; Sundays at 2pm. There’s a Talkback with cast and director following the matinee on April 20.

Purchase tickets online at www.alumnaetheatre.com; or reserve at 416-364-4170, xtn 1 and pay cash (2-for-1 Wed; $20 Thu/Fri/Sat; PWYC Sun) at Box Office.

 

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Meet the cast of “A Woman of No Importance” – part 5

More responses are coming in!  Today we hear from Amy Zuch and Paula Schultz.

Q #1:      Who do you play in A Woman of No Importance?  Tell us a little about your character.

AMY ZUCH:  I play Lady Stutfield. I tell my friends that if the ladies of WONI were the Golden Girls, she would be Rose.  A bit naive.
PAULA SCHULTZ:  I play Mrs. Allonby, a flirtatious and witty woman who enjoys male attention, a suggestive joke, and a stiff drink, not necessarily in that order.

Q #2:      Director Paul Hardy has changed the setting of the play from the 1890’s (which is when Oscar Wilde wrote it) to the 1980’s.  What surprised you about making the time switch?  Did you discover issues or social mores that were surprisingly similar (or not) almost 100 years apart?

AMY ZUCH: I love the 80’s so it’s been very fun to experience. If you think back to all the classic 80’s movies, class actually was a reoccurring theme. There was always the preppy kids, or the poor kid who wanted to get in with the “it” crowd that was always rich. Pretty in Pink, Some Kind of Wonderful… movies like that, but maybe not those specific movies. I can’t remember. The 80’s were a while ago.
[Ed note:  yes, about 30 years.  Love the crimped hair, Amy!]

PAULA SCHULTZ:   it certainly got me thinking about the complexities of feminism throughout the ages.  The post-dinner scene in which the women discuss their differing views on men and relationships and sex and power, certainly feels like it could happen in a contemporary context.

Q #3:      Can you relate any anecdotes from rehearsal (e.g : another actor – in character or out – doing something unexpected)?

AMY ZUCH:   I’m still a fan of grey sweater day.  Paula [Paula Schultz, as Mrs. Allonby], Gillian [Gillian English as Lady Caroline] and I all showed up at rehearsal wearing pretty much the same sweater.

Gillian English (Lady Caroline Pontefract), Paula Schultz (Mrs. Allonby) and Amy Zuch (Lady Stutfield) are colour-coordinated at rehearsal for "A Woman of No Importance".  Photo by ASM Neena Ahmad.

Gillian English (Lady Caroline Pontefract), Paula Schultz (Mrs. Allonby) and Amy Zuch (Lady Stutfield) are colour-coordinated at rehearsal for “A Woman of No Importance”. Photo by ASM Neena Ahmad.

PAULA SCHULTZ:  Well, Mr Kelvil (the wonderful James Graham) made a spectacular entrance during one rehearsal that none of us will soon forget.  Let’s just say he was drunk.  Very drunk.  His character, I mean.  Not James.

[Ed  note:  Hmmm.  This is the second mention of James’  entrance – Gillian English described it as “committed”.  Now I’m curious to hear what James himself intended!]

Q #4:      Do you have a favourite line or moment from the play – yours or anyone else’s?

AMY ZUCH:  I love Lady Hunstanton’s [Andy Fraser] lines that call out Illingworth’s nonsense talk. And that the audience is with her. She puts herself down, like it’s her fault that she doesn’t understand, but everyone knows it’s just that Illingworth [Andrew Batten] is full of it.

[Ed note:  sorry, Andrew – looks like nobody’s buying your character analysis that Illingworth is “humble, self-effacing, warm, kind…” ]

PAULA SCHULTZ:  One of my favourite lines belongs to Lady Hunstanton (the fabulous Andy Fraser):  “No, dear, he was killed in the hunting field. Or was it fishing, Caroline?”

 ********************

A Woman of No Importance runs until Feb 9.  Don’t forget:  following this Sunday’s matinee (Feb 3), there will be a Talkback with cast, director, and maybe some designers.  Tickets are PWYC.

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Meet the cast of “A Woman of No Importance” – part 4

Lady Caroline speaks!  Gillian English weighs in with her character’s view on  marriage, 1980’s morals, and the infamous gold pleather pants.

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Lady Caroline Pontefract (Gillian English) and her friend Lady Hunstanton (Andy Fraser) in "A Woman of No Importance".  Alumnae Theatre Company, Jan 25 - Feb 9, 2013.  Photo: Bruce Peters

Lady Caroline Pontefract (Gillian English) and her friend Lady Hunstanton (Andy Fraser) in “A Woman of No Importance”. Alumnae Theatre Company, Jan 25 – Feb 9, 2013. Photo: Bruce Peters

Q #1:      Who do you play in A Woman of No Importance?  Tell us a little about your character.

GILLIAN ENGLISH:  I play Lady Caroline Pontefract, Lady Hunstanton’s [Andy Fraser] best friend. She’s very quick, very witty and incredibly sure of her position in society. However, she is on her 4th marriage, and all of her bad luck in love seems to have made the poor dear insecure. Although, with the way Sir John [Michael Vitorovich] behaves, it’s not unwarranted.

Q #2:      Director Paul Hardy has changed the setting of the play from the 1890’s (which is when Oscar Wilde wrote it) to the 1980’s.  What surprised you about making the time switch?  Did you discover issues or social mores that were surprisingly similar (or not) almost 100 years apart?

GILLIAN ENGLISH:   Lady Caroline fits in perfectly in the 1980s. It doesn’t matter if the rest of society has grown past certain social issues that would have been taboo in the 1890s; everything is a big deal to Lady Caroline. If everyone became moral and good, there’d be nothing to gossip about.

Q #3:      Can you relate any anecdotes from rehearsal (e.g: : another actor – in character or out – doing something unexpected)?

GILLIAN ENGLISH:    During one of our final rehearsals before we opened, James [James Graham, as the politician Mr. Kelvil – or “Mr. Kettle”, as Lady Caroline insists on referring to him] and Amy [Amy Zuch, as flirty/ditzy Lady Stutfield] really committed to their Act 3 entrance and James fell headlong onto the stage. I’m very glad I was offstage for that occurrence. Jason Thompson [who plays Archdeacon Daubeny] never makes a weak choice, so it’s never a wise idea to look him straight in the eye on stage, because you will corpse**; or at least I will, I don’t know you.

We always warm up as a group before a run, and once we did an exercise with some deep knee bends. By the time places were called, I was completely stuck to the inside of my pleather pants. It was a very uncomfortable first act.  Speaking of those pants, I can’t actually move when I sit down on the set chairs, because the pleather sticks to the plastic. If I have to pivot or move, I have to actually pick my butt up and swing it around. It’s very feminine.
Q #4:      Do you have a favourite line or moment from the play – yours or anyone else’s?

GILLIAN ENGLISH:   I love when Gerald [played by Nicholas Porteous] says “Hello mother!” at the end of Act 4, it’s adorable. And Mrs. Allonby’s [Paula Schultz] exchange about Patagonia is hilarious, especially because she’s so drunk. And, Mrs. Arbuthnot’s [Áine Magennis] unintentional Brandy and Monica reference when she says “The boy is mine” in Act 2.

**”to corpse”:  theatre lingo for busting out in inappropriate mirth.

Blame costume designer Brandon Kleiman for the pleather pants.

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