Out of Town
The Memory of Trees, An Interview
David Ellenstein is determined. After stints running The Los Angeles Repertory Company and The Arizona Jewish Theatre, he took over the Artistic Directorship of North Coast Rep in 2003. Since then, he has directed numerous productions, while always having a desire to revisit a piece he helmed over thirty years ago: Anton Chekhov’s The Cherry Orchard.
THE CHERRY ORCHARD – (L-R) JAMES SUTORIUS & RICHARD BAIRD – photo by Aaron Rumley
The tone of the piece has been debated since its debut. Chekhov himself declared the play a comedy, while Konstantin Stanislavski, Chekhov’s longtime collaborator, saw it as a drama. North Coast Rep’s production—which opens March 8th—promises, according to Ellenstein, to bring the laughs and the tears.
“Some good plays are of the moment and of their time,” he says. “Some good plays are timeless and ring true no matter when they are performed. The Cherry Orchard is the latter.”
Written in 1903, the play chronicles a summer spent by a group of aristocrats, servants, and intellectuals, all bracing for the impending sale of a landmark Russian estate. In short, it’s a cacophony of love triangles, guilt, grudges, and aspirations for a better tomorrow. At once raucously funny and heartbreakingly tragic, the play was Chekhov’s last before his untimely death—mere months after the play’s January 1904 premiere.
DE: I read numerous versions and translations and they vary so much. Some feel stuffy and old-fashioned. Some feel too modern and audacious. I found that the Van Itallie walked the line of keeping enough of the poetic sense of the play while allowing for an accessible and conversational vernacular that wasn’t off-putting or strange. I find this version allows the audience to experience the characters as fellow human beings without being alienated by the fact that the setting is another time and culture—yet it preserves the specifics and history of the moment that Chekhov wrote the play in a way that feels universal.
Chekhov and Stanislavski famously debated whether The Cherry Orchard is a comedy or a tragedy. What do you think it is?
DE: To me, The Cherry Orchard is a “human comedy”. Falling too far to the farcical element that certainly exists in the play, or giving over to the dark and more tragic qualities would be equally harmful to the play’s success. The genius to me is the ability of the play to find the truth in both. Chekhov’s understanding of the dichotomy that exists in all of us—how we each possess the ridiculous and the profound in our lives and in our character and his ability to weave the two together is why this play will continue to endure. It rings true.
How important is the historical context of the play to you? How much of that do you want the audience to absorb?
DE: As in any play, the more specific the context, the more universal the lives of the people feel. Understanding what the specifics of 1903 Russia were; the pressures and changes that are occurring in the society the characters exist in is extremely important for the actors to incorporate into their performances to fully embody the people. For the audience, a knowledge of the time and history might illuminate the play in a certain way, but is not essential to understand the story or the journey of the characters. Chekhov’s characters are complete people that audiences respond to regardless of their historical understanding of the specific time. Human struggles are timeless.
You’ve directed this play before. How has that experience impacted your approach this time around?
DAVID ELLENSTEIN: I had such a great experience delving into this great play the first time around, my memories and some of the choices that we ended up with then, certainly live in my mind as we create a new production. I also am keenly aware of the things in the first production that were not what I hoped they would be. But that production was 32 years ago—so time has a way of adjusting what we remember to suit our needs, so I am trying as much as possible to approach the play with a fresh outlook and remain open to new ways of illuminating the story. I am very fortunate to have an excellent cast of creative actors and designers this time around to make that happen.
What drew you to Jean-Claude van Itallie’s version of the script?
DE: I read numerous versions and translations and they vary so much. Some feel stuffy and old-fashioned. Some feel too modern and audacious. I found that the Van Itallie walked the line of keeping enough of the poetic sense of the play while allowing for an accessible and conversational vernacular that wasn’t off-putting or strange. I find this version allows the audience to experience the characters as fellow human beings without being alienated by the fact that the setting is another time and culture—yet it preserves the specifics and history of the moment that Chekhov wrote the play in a way that feels universal.
Chekhov and Stanislavski famously debated whether The Cherry Orchard is a comedy or a tragedy. What do you think it is?
DE: To me, The Cherry Orchard is a “human comedy”. Falling too far to the farcical element that certainly exists in the play, or giving over to the dark and more tragic qualities would be equally harmful to the play’s success. The genius to me is the ability of the play to find the truth in both. Chekhov’s understanding of the dichotomy that exists in all of us—how we each possess the ridiculous and the profound in our lives and in our character and his ability to weave the two together is why this play will continue to endure. It rings true.
How important is the historical context of the play to you? How much of that do you want the audience to absorb?
DE: As in any play, the more specific the context, the more universal the lives of the people feel. Understanding what the specifics of 1903 Russia were; the pressures and changes that are occurring in the society the characters exist in is extremely important for the actors to incorporate into their performances to fully embody the people. For the audience, a knowledge of the time and history might illuminate the play in a certain way, but is not essential to understand the story or the journey of the characters. Chekhov’s characters are complete people that audiences respond to regardless of their historical understanding of the specific time. Human struggles are timeless.
What do you want the audience to take away from this production?
DE: A few laughs and a few tears. An evening in the theatre where we are reminded of our human foibles and attributes. People are flawed and amazing at the same time, and we all share so much of this mixed bag we call life. I hope the audiences leave the theatre with a greater appreciation and respect for one another.
How do you characterize the director’s job?
DE: Understand the play. See a path in which it can be illuminated. Communicate that vision for the work. Empower and inspire all involved to bring their best and most creative talents to bear. Synthesize and curate the production so that the story can be received by the audience as intended.
What do you ideally want from an actor?
DE: ”You should feel a flow of joy because you are alive. Your body will feel full of life. That is what you must give from the stage. Your life. No less. That is art: to give all you have.” -Michael Chekhov. Who am I to argue with a Chekhov?
Are there any plays you haven’t directed yet that you’re champing at the bit to do?
DE: I am fortunate in that I mostly get to choose the plays that I direct. I’d like to do more Shakespeare. I am attracted to classics—but it is the variety and unexpected new challenges that surprise me that end up turning me on the most.
To find out more about North Coast Rep’s production of Anton Chekhov’s The Cherry Orchard, visit northcoastrep.org
For more go to frontmezzjunkies.com
Florence Welch Photo by De Wilde
Producers Amanda Ghost and Len Blavatnik for Unigram/Access Entertainment, Jordan Roth, and American Repertory Theater(A.R.T.) at Harvard University announced today that Gatsby, a brand-new musical stage adaptation of the legendary F. Scott Fitzgerald novel, will make its highly anticipated World Premiere at A.R.T. in 2024, and will be directed by Tony Award® winner Rachel Chavkin and choreographed by Tony Award winner Sonya Tayeh.
Rachel Chavkin Photo Credit Erik Tanner
Gatsby will feature music by Florence Welch, the Grammy Award-nominated international rock star of Florence + the Machine and Thomas Bartlett, the Oscar and Grammy Award nominee, with lyrics by Ms. Welch, and a book by Pulitzer Prize® winner Martyna Majok.
Martyna Majok by Josiah Bania
Gatsby will be produced at American Repertory Theater by special arrangement with Amanda Ghost and Len Blavatnik for Unigram/Access Entertainment, and Jordan Roth, in association with Robert Fox. Hannah Giannoulis serves as co-producer.
Sonya Tayeh
American Repertory Theater (Diane Paulus, Terrie and Bradley Bloom Artistic Director; Kelvin Dinkins, Jr., Executive Director) at Harvard University produces groundbreaking work to catalyze dialogue and transformation. Tony Award-winning and nominated productions include Jagged Little Pill; Waitress; Natasha, Pierre & The Great Comet of 1812; All the Way; The Glass Menagerie; Pippin; Once; and The Gershwins’ Porgy and Bess. Its revival of 1776, a co-production with Roundabout Theatre Company, is currently touring nationally. Learn more at AmericanRepertoryTheater.org.
Thomas Bartlett Photo Credit York Tillyer
Additional Gatsby news will be announced soon.
Other World, a new musical with an original score and story by Tony Award Nominee Hunter Bell (book), Obie Award winner Jeff Bowen (music and lyrics), and singer-songwriter and author Ann McNamee(music and lyrics) will present invite-only staged readings on Thursday, March 16 and Friday, March 17 at Open Jar Studios in New York City. With direction by Jenn Rapp (The Illusionists Director/Choreographer) and choreography by Karla Puno Garcia (Tick, Tick … BOOM! film, Kennedy Center Honors), Other World is being developed in creative consultation with the five-time Academy Award winning WĒTĀ Workshop (The Lord of the Rings and The Hobbit trilogies).
Hunter Bell, Jeff Bowen and Ann McNamee
One moment Sri and Lorraine are in a garage on Earth. The next, they’re unexpectedly transported into Sri’s favorite video game, Other World. Now trapped in the game and in a race against the clock, this unlikely pair must work together, discover their inner strengths, and connect with gifted gamers and astonishing avatars in order to survive and find a way home. With art direction provided by Academy Award–winning Wētā Workshop (The Lord of the Rings, Avatar), this heartfelt, humorous musical explores the connections we make on- and off-line, while celebrating the families and friendships we need to thrive in any world. Join us for this spectacular, original, otherwordly adventure. Your journey begins…now!
The cast features Micah Beauvais (Sri), Bella Coppola (Lorraine), Ryan Andes (Roman/Antagon), Madeleine Doherty (Myra), Kaden Kearney (Tris), Brandi Porter (Temula), Mikaela Secada (Jamie), with Sojouner Brown, Elena Camp, Sommer Carbuccia, Laura Dadap, Seth Rettberg, Sherisse Springer, Blake Stadnik, Levin Valayil, and Jason Williams.
The creative team for the developmental presentation also features music direction by Amanda Morton (KPOP), casting by Paul Hardt Casting (Once Upon A One More Time), video design by Khristian Bork (Coco live at the Hollywood Bowl, Danny Elfman – Coachella), sound design by Hidenori Nakajo (Octet), and general management by Alchemy Production Group (The Music Man, Come From Away). The Executive Producer is Lauren Tucker/Alchemy Production Group.
For more information about the show, visit https://otherworldmusical.com/
Hunter Bell (Book) earned an OBIE Award, a Drama League nomination, a GLAAD Media nomination, and a Tony nomination for Best Book of a Musical, all for the original Broadway musical [title of show]. Other credits include the books for Silence! The Musical (Lucille Lortel Nomination, Outstanding Musical), Now. Here. This. (Vineyard Theatre), Bellobration! (Ringling Bros. Circus), Villains Tonight! (Disney Cruise Lines), Found (Atlantic Theater, Drama Desk Nomination, Outstanding Book of a Musical), and Julie Andrews’ The Great American Mousical (Goodspeed). He is a co-creator of the web series “the [title of show] show” and has developed television with ABC Studios/ABC Television. Hunter is a proud graduate and distinguished alumnus of Webster University’s Conservatory of Theatre Arts, a member of the Dramatists Guild, Writers Guild, a MacDowell Fellow, and currently serves on the board of the Educational Theatre Association and Educational Theatre Foundation, national arts advocacy organizations representing theatre teachers and students.
Jeff Bowen (Music and Lyrics) wrote the music and lyrics for and starred in the Broadway musical [title of show] (OBIE Award) and Now. Here. This. Additionally, he has written music and lyrics for Now. Here. This. (Vineyard Theatre), Villains Tonight! (Walt Disney Company), and the theme songs for the web series “the [title of show] show” and “Squad ’85.” His songs can be heard on the original cast albums of [title of show], Now. Here. This., as well as Broadway Bares Openingsand Over the Moon: The Broadway Lullaby Project. He is a proud member of ASCAP, AEA, Writers Guild, Dramatists Guild, and the National Audubon Society. He serves as a faculty member of the National Theatre Institute at the Eugene O’Neill Theatre Center.
Ann McNamee(Music and Lyrics) received a B.A. from Wellesley College and a Ph.D. in Music Theory from Yale University, leading to a twenty-year career in teaching, choral conducting, and music research at Swarthmore College. After retiring as Professor Emerita, Ann composed for, sang, played keys, and toured with the Flying Other Brothers and Moonalice, both bands led by her husband Roger McNamee. She composed the majority of the songs on the Moonalice album that was part of T Bone Burnett’s nomination for Producer of the Year at the 2009 Grammy Awards. For the Lilith Fair tour in 2010, she fronted the band Ann Atomic. Another highlight was opening up for U2 at the Oakland Coliseum in November 2011. She retired from touring in 2012 in order to collaborate on musical theater projects full-time. Ann’s outside interests include co-founding the Haight Street Art Center, a community center/poster music/print shop to celebrate rock poster art in the Bay Area.
Swept Away, the new musical written by Tony Award winner John Logan (book) and “America’s biggest roots band” (Rolling Stone), The Avett Brothers (music and lyrics), was announced today as part of the 2023/24 season at Arena Stage, Washington, DC (Molly Smith, Artistic Director; Edgar Dobie, Executive Producer). Performances will begin November 25 and will continue through December 30. Tony Award winner Michael Mayer will direct the production as he had last year in the musical’s sold-out world premiere at Berkeley Rep. The Arena Stage engagement will feature an updated score with additional, never-before-heard songs. Swept Away is produced by Special Arrangement with Matthew Masten, Sean Hudock, and Madison Wells Live.
Swept Away is set in 1888, off the coast of New Bedford, MA. When a violent storm sinks their whaling ship, the four surviving souls — a young man in search of adventure, his older brother who has sworn to protect him, a captain at the end of a long career at sea, and a worldly first mate who has fallen from grace — each face a reckoning: How far will I go to stay alive? And can I live with the consequences?
Arena Stage at the Mead Center for American Theater, under the leadership of Artistic Director Molly Smith and Executive Producer Edgar Dobie, is a national center dedicated to American voices and artists. Arena Stage produces plays of all that is passionate, profound, deep and dangerous in the American spirit, and presents diverse and ground-breaking work from some of the best artists around the country. Arena Stage is committed to commissioning and developing new plays and impacting the lives of over 10,000 students annually through its work in community engagement. Now in its eighth decade, Arena Stage serves a diverse annual audience of more than 300,000. arenastage.org
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