Virtual Performance

Pasadena Playhouse Launches Playhouse Live

/ May S Ruiz / Leave a comment

Originally published on 28 September 2020 in the Pasadena Independent, Arcadia Weekly, and Monrovia Weekly

Javon Johnson in ‘Still’ | Photo by Jeff Lorch / Pasadena Playhouse

Theatre saw its early beginnings over two thousand years ago in Athens, Greece when festivals were held in March to honor Dionysus. Today, this art form is staged all year around the globe. And it can be argued that nowhere is it performed more at its magnificence than at the Pasadena Playhouse, the state theatre of California.

In the 103 years since its founding by Gilmor Brown, the Playhouse has evolved from being home to a small troupe of performers, to becoming the ‘star factory’ for film studios and a source of talent for the radio, television, and movie industries, to delivering groundbreaking theatrical experience, authentic community engagement, and life-long dramatic learning under the leadership of Producing Artistic Director Danny Feldman.

The Playhouse continues its mission in the wake of the global pandemic that shuttered all theatre companies, with the unveiling on Sept. 30 of PlayhouseLive – a first-of-its-kind nonprofit streaming platform that brings theater directly to its audience. Members will be able to access a new digital hub for high-quality theater experiences, presenting live and live-captured performances, original series, educational programming, and other industry-related content. 

PlayhouseLive will highlight a wide array of theatrical voices through new and revisited work and will break down the physical boundaries of theater walls and open access to audiences all over the world. Distribution channels will include a standalone website, iPhone and Android apps, AppleTV, Amazon FireTV, Roku, Chromecast, and AirPlay, among others. This new digital platform will also serve as an online companion to the work that Pasadena Playhouse and partner theaters create on the stage when live theater performances resume.

Feldman, who graciously agrees to be interviewed by email, expands on the concept, “PlayhouseLive has a little bit of everything! There are some marquee pay-per-view events, there are original series and special offerings just for digital members, and then there is free content as well. In addition, we’ve moved all of our classes online and you can find that on PlayhouseLive as well. The theatrical events will be on for a few weeks while some of the other programming will remain on PlayhouseLive all year long. You’ll  just have to check it out to see what we’ve got at any given time!”

PlayhouseLive launches with the premiere of ‘Still.,’ a newly commissioned work written by and starring Javon Johnson, and directed by Donny Jackson. The production is part of the fall line-up of pay-per-view streaming programming. As one of the nation’s most prominent spoken-word artists, Johnson shares his very personal experience as a Black man in America at this crucial time in our history. Blending powerful imagery, witty prose, and beautiful lyricism, Johnson shines in this unforgettable theatrical event.

I ask Feldman how he decided on the performer and experience to spotlight. He explains, “Our Board chair had worked with Javon in the past and connected us. From the moment I saw his work, I was captivated and knew I had to work with this artist. After the murder of George Floyd and the ensuing unrest that took over our nation, I was really looking for a way to respond with a piece of theater. For me personally, art has the unique power to bring to life ideas and emotions that simply can’t be captured on a page or in text alone. So I spoke with Javon about bringing his poetry to life on our stage to respond to the moment. I’m really proud of the piece and we’re all excited to share it with our community and the world.”

Streaming simultaneously with ‘Still.’ are ‘Jerry Herman: You Like,’ a new musical revue dedicated to the works of legendary Broadway composer/lyricist Jerry Herman, and new works from Ojai Playwrights Conference.

Bob Baker Marionette Theatre | Photo by Ian Byers-Gamber / Pasadena Playhouse

There’s also ‘Family Entertainment’ with the Bob Baker Marionette Theatre‘s production of ‘The Circus.’ Filmed in front of a live audience, it features over 100 of Bob Baker’s exquisitely hand-crafted marionettes – where the fiercest and the mildest of animals roam, trapeze performers execute daring, spine chilling aerial feats of acrobatics, and the clowns do what clowns do best. A beloved Los Angeles tradition, a Bob Baker puppet show has been experienced by more than one million children of all ages since the Theater’s establishment in 1963.

Other programs include the pilot episodes of four new series: ‘In Development’ gives an insider’s look at unproduced theatrical works as they are introduced to the world for the first time. The first episode will feature Megan Mullally and Nick Offerman performing excerpts from ‘Iceboy!,’ a new musical by Mark Hollmann, Jay Reiss and Erin Quinn Purcell.  

‘Intermission with Hashtag Booked’ features celebrity interviews hosted by LaNisa Frederick and Danielle Pinnock, a comedic duo that started the web series ‘Hashtag Booked.’ Their first guest will be acclaimed actor Alfred Molina.

‘Page to Stage’ goes behind the curtain to explore the theatrical journey from concept on to opening night. In ‘Page to Stage: Little Shop of Horrors,’ the creative team at Pasadena Playhouse takes us from rehearsal to opening night of their groundbreaking revival. It features interviews with George Salazar, Mj Rodriguez and Amber Riley. ‘Page to Stage’ is free to the public.

‘From the Archives’ celebrates the unique impact regional theater has had across generations in shaping American culture. Initial episodes include a silent film featuring rare vintage footage of The Playhouse from the 1930s; a documentary short chronicling the years the Playhouse went dark (1968 through 1984) and the journey of the extraordinary woman who kept the hope alive to bring the historic theater back; and a fascinating look at the historic 1928 production of Eugene O’Neill’s ‘Lazarus Laughed’ which brought 151 actors together to perform 420 roles in a four-act play – a memorable production that put Pasadena Playhouse on the map.

PlayhouseLive will also feature educational Programming, including ‘The Everyday Avant Garde in Black Theatre Making,’ led by award-winning writer, composer, and performer Eisa Davis; ‘Shakespeare Masterclass’ led by internationally-recognized director and actor Rob Clare; ‘Basics of Stage Management,’ led by Broadway stage managers Kathleen Purvis and Andrew Neal, and the return of Adam Epstein with ‘The Contemporary Broadway Musical’ and Janet Fontaine with ‘Playtime with Miss Janet.’                    

Alfred Molina in ‘Intermission with Hashtag Booked’ | Courtesy photo / Pasadena Playhouse

I then ask Feldman to describe the challenge of pivoting from live stage productions to virtual offerings, what went into planning the events for PlayhouseLive, and how he plans to recreate the communal experience of live theatre when we can’t physically be with other people.

“First of all, nothing can replicate the live experience and that wasn’t something we were trying to do in any way,” clarifies Feldman. “Rather, we wanted to provide an alternative experience that merged the worlds of theater, film and television. It’s a hybrid experience and something we had fun exploring. In addition, we wanted to pull the curtain back and expose the backstage world with documentaries, interviews with artists and other behind-the-scenes shows giving patrons an experience they can’t get by sitting in our seats in the theater.”

“This was a massive challenge and I’m so proud of our Playhouse team for pulling this off. Between learning new skills, adapting our existing expertise, and all the COVID complications, we’ve all grown so much since we started this effort a few months ago,” declares Feldman.

An empty theatre must be a lonely sight and I ask Feldman if he has been to the Playhouse since the lockdown began in mid-March. He replies, “Yes! I’m actually here in the building right now! It’s a little haunting seeing the empty theater but it’s actually one of my favorite things. There is an amazing energy inside the empty auditorium. The potential of what is to come is present when you stand on the bare stage. I like to think about all the people and great theater that will inhabit this building when this mess is all over. That’s exciting!”

What lessons can we learn from these extraordinary times, I query. Feldman responds, “I think through the grief and loss of what we had all expected these past few months to be, we can refocus on what is important to us. I have felt myself and others around me change and have a better understanding of ourselves.”

Lastly, I invite Feldman to share any other thoughts he would like me to write. He says, “There are so many people in need in our community right now. And for those who are fortunate enough to be able to support others during this time, I’d just want to advocate for thinking about supporting the arts. If we all band together, getting through this time and don’t support our cultural institutions, is that really the world we want to come back to? We must recognize that in order for us to return to a world that is full of vibrant culture, NOW is the time to invest in our nonprofit cultural institutions. Otherwise, many won’t be with us on the other side of the pandemic.”

Live theatre performances went on even at the height of the world wars. Let’s ensure the survival and endurance of theatre for the next several thousand years after we’ve won the fight against this global pandemic.          

A Noise Within Goes Virtual

/ May S Ruiz / Leave a comment

Originally published on 15 May 2020 in the Pasadena Independent, Arcadia Weekly, and Monrovia Weekly

A Noise Within’s virtual gala performance on Zoom (clockwise, L-R): Erika Soto, Kasey Mahaffy, and Rafael Goldstein | Courtesy Photo / A Noise Within

The unprecedented stay-at-home orders that were put in place mid-March following the coronavirus outbreak caused a closure of all businesses deemed non-essential. Venues where people usually gather, like theatres, had to shut down practically overnight; events were cancelled and performances were rescheduled. 

For A Noise Within (ANW), however, the show goes on – virtually. Speaking with me by phone, Producing Artistic Directors Geoff Elliott and Julia Rodriguez-Elliott disclose that work doesn’t stop despite the lockdown.   

“We’re essentially doing everything that needs to be done from home – lots of Zoom meetings with the various departments, the executive committee, the board. It’s a different kind of busy but it’s busy,” says Rodriguez-Elliott.

Stay-at-home orders notwithstanding, ANW recently held their first-ever virtual gala. Elliott explains, “A lot of planning went into holding a virtual gala in lieu of having our fundraising annual dinner on stage event. In the past, obviously, the money raised from the dinner on stage went to the educational department. This year it’s a little different because there are other challenges, so it was an overall ask to our supporters that they be a part of the gala. We didn’t know what to expect but it actually went very well – we hit our goal, which was wonderful.” 

Describes Rodriguez-Elliott, “People were able to join Facebook Live for the event. People who purchased tables for the event pre-COVID donated it back to the theatre. That was really incredibly generous. And then pretty much all the activities that we usually would do during the dinner on stage were all done virtually. We had a paddle auction which lasted 48 hours, we had performances of scenes from ‘Alice in Wonderland,’ which people were able to view through Facebook Live and also through Vimeo. Geoff and I paid tribute to the honorees, as we usually do every year during the dinner on stage event. Everything that we would have done at the dinner on stage, we tried to duplicate except that it was all virtual. It was a different experience but it was a wonderful way to stay connected. It’s not a substitute for being together in a room but it was a playful way to do it. I think people appreciate the opportunity – I know we do – to connect even if we’re doing it in a little box.”

“You’re trying to be as normal as possible virtually,” I comment. And Elliott, who thankfully hasn’t lost his sense of humor, quips, “As normal as possible for people who are abnormal generally.”               

Alicia Green at the virtual gala | Courtesy Photo / A Noise Within

After two months in lockdown, Californians are slowly coming out of isolation. But our world will be vastly different from life as we know it. Even when restrictions are lifted for theatres at last, our new normal will probably involve wearing masks in public spaces and distancing in large gatherings. So how will theatre companies navigate this uncharted territory?    

Rodriguez-Elliott says, “Various scenarios for the fall and spring seasons are one of the many things we talk about with our staff, with each other, and with Michael, our executive director. We’re crunching numbers and looking at half capacity – for instance, having every other seat, every other row. And if that were the case, we could have longer runs. We think that’s what’s going to be the scenario for a while in our line of business. We’ll just have to see how it plays out. We’re looking to Gov. Newsom as to the different phases of reopening and we’re paying close attention to the advice of the experts. It’s a day-to-day situation which changes constantly.”

“And we expect that when all is said and done, there will be very specific guidelines that we’ll follow – whether they’re based on national directives or at the local level – about places where people assemble in terms of what you can and can’t do,” Rodriguez-Elliott adds. “As Geoff said we’re trying to determine what that might look like for us. Traffic-wise, how do you get people in, how do you get people to the bathrooms, etc.”

I inquire how they’ll handle the season schedule and Rodriguez-Elliott asserts, “The schedule that we announced is what we’ll uphold and anticipate we’ll be following. That said, things are shifting on a daily basis so we have to be able to adapt to that. We’re looking at multiple contingencies, various plans that would address changes in our ability to get into the space, or in the number of audience members that we’ll be able to accommodate.”

“What message do you want to impart to your audience,” I ask. “We will honor tickets and subscriptions, if and when the schedule changes,” replies Rodriguez-Elliott. “Also, people can help their local arts organizations during these very challenging times by either contributing if they’re able to or by purchasing a subscription.”

“I want to add one thing that picks up on something Julia said earlier,” Elliott interjects. “We’re not going anywhere. We’ll be back healthy and strong. There’s something about live theatre that can’t be duplicated. We’ve been in caves, and rooms, and around fires, for tens of thousands of years telling stories to each other and relating the human experience. And that’s something that’s always going to be with us. We personally are in a very good place – we have a lot of support and supporters. At this moment in time we’ve been able to keep our whole staff on without having to furlough anybody. We have a full staff working from home. Who knows what the future holds, but that’s where we are right now. But we’re feeling pretty confident about it.”

“We have a lot of online content,” continues Rodriguez-Elliott. “We’re hosting classes online. Our ‘Summer with Shakespeare’ (SWS) program is going virtual this year, which should be interesting. We’re doing as much as we possibly can until we can get back into the theatre.”

From June 15 through July 17, students attending SWS can access the dynamic and immersive classes safely while under the tutelage of professional artists working at ANW.

Little kids participating during ‘Summer with Shakespeare’ camp | Photo by Brian Feinzimer / A Noise Within

“Connecting with our community has always been a key component of A Noise Within,” pronounces Alicia Green, Director of Education and Community Outreach. “With health and safety at the forefront of our strategy, we decided to transform our schedules and programming so we can engage with our students from their homes. The online program has been designed so that it can continue to provide unique exposure to a variety of classic plays and guide students through the intricacies of the world of theatre.”

As in years past, the classes will cover a wide range of topics to enrich students and teach them about all aspects of stagecraft and what goes into a stage performance. Campers will learn about swords/stage combat, magic, mask work, voice work, stagecraft and design, and movement. Beyond expanding traditional theatre skills, SWS helps students with public speaking, builds their self-confidence, and connects them with pedagogically trained professionals.

“We’re offering several options for each of our tracks,” Green says. “It’s very flexible so that anyone can do it, and we make it work for every student. With everything being so unknown, we want to make sure to do what we can to provide top-tier theatre education while understanding that a full five weeks is not viable for everyone. Our program is structured so that families can choose what works best for their family, whether that be one week, or three, or attending our entire five-week camp. We want to give children the chance to be creative and collaborate with their peers while still being safe.” 

Even older students have fun at the summer acting camp | Photo by Brian Feinzimer / A Noise Within

There are three tiers of the program broken down into age ranges. Track 1 is for students aged 14 through 18, Track 2 is for students aged 10 through 13, and Track 3 is for students aged 6 through 9. Each track is curated specifically to the age group and can even offer class credit for certain schools. The summer acting camp culminates in a final performance that will be livestreamed on YouTube to share with students’ friends and family.

“Students and families can expect the same quality they have always known with Summer with Shakespeare,” assures Green. “But now we are able to welcome families from across the country and incorporate technical elements via the magic of the digital age we didn’t have available before. Classes are both live and pre-recorded (utilizing platforms that are still engaging even when not live) and the schedule is flexible to allow students breaks from screen time and also provide ease of sharing computers and space. We have built in unstructured fun time to allow students to engage socially. While it’s not the same as being in the same room together, the social component of camp and youth is so important that we did our best to replicate it online!”

By now, parents have spent over eight weeks essentially home-schooling their children. They can take a break by sending their kids to ‘Summer with Shakespeare’ online camp (enroll here). Come fall, maybe schools will reopen and we can slowly get back to normal, whatever that looks like. We may even be able to once again see a play – A Noise Within’s ‘Alice in Wonderland’ would be a great escape from our new reality.