A Swirl of Collaboration Brings Peter and the Starcatcher to Life

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Artistic director Art Rotch just spent his birthday in “tech.” I get the feeling that’s how he’d like it to be. For designers–the artists that create the world of the theatre through sound, lighting, set, paint, costume, props, and more–technical rehearsals are when everything is finally layered together in real time with the acting and movement on the stage. Art snapped some photos during tech, and generously left us some notes below about the process that we usually don’t see until it’s complete on opening night!

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It’s tech week for Peter and the Starcatcher, which is the time we work through every moment of the show with the actors, sound, lighting and other designers, get used to working in the costumes and finish them off, add in the live musicians and learn their cues, and generally make all the tiny details that add up to great theatre perfect. Between figuring out two different sailing ships, a tropical island that turns into Neverland, and magic, that’s a lot of details! Fortunately Amy Altadonna and Dan Anteau, our stellar sound and lighting designers, are both talented artists who never grew up themselves, and we seem to have found a group of actors who have lots of pirate DNA already.
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We were working on a section of the play where Molly and the lost boys sneak around different parts of the ship, discovering lots of strange goings on below decks in different cabins. Then Molly talked to her father using their magic amulets, which are a great prop put together by Julia Garrity , our stellar props master. And no rehearsal for this play would feel right without stars, which Dan Anteau, Matt Allar and Julia created using atmospheric lighting and very simple glowing props spread over the multi-level set. Oh yes, and then we made Molly ‘fly’. All in a nights work.
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In this play, the actors become their characters as actors can do so well, but they also create an ensemble of storytellers who just love the magic of live acting, kind of like the group of actors who originally made the script together in the original production. It’s most like what Perseverance did when we put The Thirty-Nine Steps on stage a few years ago, taking a script originally made by actors with all the creative theatricality that actors love, and finding that heartbeat again with our own Alaskan gang of theatre-loving performers.

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PAY-AS-YOU-CAN PREVIEWS for Peter and the Starcatcher are TUESDAY, AUGUST 16, and THURSDAY AUGUST 18. We open AUGUST 19. Come see the magic!

Raffle Winners Announced for 32nd Annual Travel Raffle

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Perseverance is happy to announce the winners of our 32nd Annual Travel Raffle.

Grand Prize Carolyn Garcia
2nd Prize Christ Goard
3rd Prize John Parsi
4th Prize Anya Maier
5th Prize Dave Lefebvre
6th prize Roger Birk
7th Prize Rafie Wilson
8th Prize Munkh-Urguu
9th Prize Barb Potter
10th Prize Adam Wilkinson
11th Prize Elaine Loopstra
12th Prize Laura Stats
13th Prize Karrold Jackson
14th Prize Laura Kurt
15th Prize Heather Sinclair
16th Prize Suzi Pearson
17th Prize Liz Babstead
18th Prize Bob Wild
19th Prize Michael Johnson
20th Prize Koko
21st Prize Daniel Collison
22nd Prize Margie Ramos
23rd Prize Lyn McCoy
24th Prize Amy Dressel
25th Prize Jackie Schulz

Moving Mountains: Annapurna goes from Anchorage to Juneau

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Perseverance Theatre’s statewide season allows designers the opportunity and challenge to build a set that works in two very different theatres: the modified thrust stage of the theatre’s Douglas, AK space, and the traditional proscenium in the Sydney Laurence Theatre at the Alaska Center for the Performing Arts–Perseverance’s Anchorage home. We asked Artistic Director Art Rotch, the set designer for Annapurna, to talk about the process of designing in two places. Here are his thoughts and a few behind-the-scenes photos.

Juneau Scale Model

Juneau Scale Model

Annapurna’s design was made for both theatre, as always, and we work in a scale model, in this case 1/2” to 1’-0”, a relatively detailed scale, which was great for this show because the interior of the trailer where the story takes place lets us do slice-of-reality-type theatre, as if when you see the play it’s like a big a can opener had been taken to the trailer so we can peak inside. Lots of details to render, very fun, and to make the greatest effect of sliced away reality, our set piece trailer has a partial roof as well as walls and a raked floor for the effect that rakes have of visually pushing the action closer to us watching.

Anchorage Scale Model

I wanted Emma’s arrival and presence to change the space, by cleaning it up, so we put a lot of stuff in a great state of disarray. In Anchorage, the stuff was harder to see, but in Juneau, we added details like labels on the pill bottles and book titles that the audience could actually read because they sit so close.

Getting set up in Anchorage

The story includes references to two mountains: One is a peak in the rockies that Ulysses describes his attempts to climb and can be seen out the windows. The other is Annapurna, the 8000 meter Himalayan peak that is the title of the play, and that Ulysses names his final epic poem for. Being able to see the mountain while watching was important, so I designed a drop that the shop painted beautifully. The trailer set piece was tall, so the peak of the mountain had to be placed high on the drop to be seen above it. This took a lot of trial and error in the model making phase, looking at where to place the mountain in the stage picture. Kevin and Rebecca did a great job of rehearsing the places where the mountain is referred to by the characters even though we did not see it until the last day of rehearsals on stage in Anchorage. Because the Anchorage theatre is taller than Perseverance, the drop is taller than the space, so you can see some of it rolled up when you see the show.

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Tech Rehearsals in Juneau

Finally, we added an old scrim, a type of translucent fabric, that is torn, patched, and dipped in earthy browns, that hangs in front of the drop and frames the trailer piece. The idea is to separate the outside world of mountains and the trailer park that Lucy Peckham’s sound design brings to life (Sounds of dogs barking, cars starting, birds and cicadas, etc) from the world of Emma and Ulysses’ interaction–which is a world unto them as a couple and separate from others. The scrim shape was quite different in the Anchorage space, and had to be adapted to fit, kind of the reverse of how we usually do is when the sets go from Juneau to Anchorage

As we put the set in and began working with it, we were able to add more details to the set dressing, to how the actors played moments could be more subtle and detailed as well. The show was very good in the Anchorage space, but being closer to it and being able to read the details more intimately makes the experience in the Juneau theatre space really special. You can see Annapurna through May 29 in Juneau.

A Letter from Artistic Director Art Rotch

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Dear Friends,

We are as shocked and saddened as anyone to learn of the serious allegations regarding one of our actors, Jack Dalton. The fact that Mr. Dalton is alleged to have preyed on a child, while participating as an actor in a play that depicts the damage such behavior does to families and communities, adds to the difficulty of making sense of what to do next.

Here is Vera Starbard’s thoughtful, heartfelt response.

The theatre has great partners in the behavioral health field that supported our production and our artists involved in the play, and we’ve been in contact to confirm they will help us again as we deal with the aftermath of this news.

Most of all, we are reminded that the play Vera Starbard wrote describes a community in the aftermath of discovering an abuser and their victims, much as we are now. This news is affirming–if gut wrenching–of the need to speak up and call for an end to the cycle that perpetuates predatory behavior and creates new victims. The need to speak is the same as the need to support, to end isolation created by silence, to call for healing.

We are not alone, none of us is alone, as long as we share our true hearts.

Regarding our next steps:

As an arts organization dedicated to telling stories in the form of theatre, we do not judge, but leave that to the legal system.

We are not counselors, but recommend those services where needed. In Juneau, Perseverance is grateful for the services of SEARHC and AWARE. In Anchorage, STAR and the Alaska Children’s Trust provided invaluable support during the making of Our Voices Will Be Heard.

Most of all, we support our playwright, Vera Starbard, in her efforts to make theatre that is true and effective at bringing to life on the stage the Alaska that she loves. We support all of the writers and artists, especially actors, who put so much of themselves into creating worlds for us to experience. We support our audiences and communities with what we make. Particularly when we make worlds of Alaska come alive on stage, we seek to make those worlds as true as we can: Sometimes funny, always loving, sometimes frightening, and never alone, because theatre is always a shared experience between us as storytellers, and our community in attendance.

As we seek understanding and a path forward, we do so in community with you. Thank you.

Sincerely,

Art Rotch
Artistic Director, Perseverance Theatre

STAR 2016

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STAR 2016

Summer Theatre Arts Rendezvous

Rehearsals and performances at Perseverance Theatre

Summer Theatre Arts Rendezvous (STAR), Perseverance Theatre’s five-week youth acting program, provides theatrical training and performance opportunities to students who are excited about theatre.

It is time to register for Perseverance Theatre’s Summer Theatre Arts Rendezvous! Work with local and out-of-town professional directors and designers on one of three exciting shows. This five-week program is perfect for young actors who are committed to theatre and performance. As a theatre training program, STAR is a great opportunity for young people with little experience. In addition to rehearsals, students will participate in daily workshops on voice, movement, and acting technique. Students aged 10-18 will perform one of three plays: the musical Singin’ in the Rain JR., a modern adaptation of Sophocles’ Antigone, or Extreme Theatre!, an original piece using improvisation, physical theatre, and playwriting.

STAR runs June 27 through July 31. Tuition is $450.

The Plays:

Singin’ in the Rain JR.

Adapted by Betty Comden and Adolph Green from their original screenplay

Songs by Nacio Herb Brown

Lyrics by Arthur Freed

Join director Dawn Kolden in this humorous and uplifting story about love and stardom. As silent films are being replaced with talkies, starlet Lina Lamont is faced with the challenge of making her nasally, high-pitched voice more appealing to the ear. A different arrangement is worked out when fellow actor, Don Lockwood, convinces their film producer to hire another actress he admires, Kathy Selden.

Antigone

Adapted by Greg Banks from Sophocles’ play of the same title
Join director Doniece Gott in a modern and lively retelling of Sophocles’ Antigone, the tragic story of a young woman’s fight for justice. The unshakable Antigone, determined to give her deceased brother a proper burial against the orders of her equally headstrong uncle, must confront a steadily darkening fate. This play addresses morality, family, sacrifice, and rebellion.

Extreme Theatre! 

Seattle-based actor and playwright K. Brian Neel brings his extreme talents to Juneau for the STAR program. He uses physical improvisation to create bold and visionary theatre performed all over the world. Join him in combining physical theatre, Viewpoints, playwriting, and improvisation to create an extreme devised show.

Rehearsals:

Monday, June 27-Friday, July 22

Monday–Friday, 10am-2pm and 1-5pm

 

Performances:

Friday, July 22-Sunday, July 30

 

Rehearsal/Performance Location:

Perseverance Theatre

 

Who:

Students ages 10-18

 

Registration:

To register, call Tom Robenolt at 907-364-2421, ext. 226.

 

Cost:

$425 if payment is received before May 27, 2016. Tuition after that date is $450.

 

Payment and Refund Policy: If the student is accepted to the program, pays and withdraws before June 10, 2016, 50% of the tuition will be refunded. No refunds thereafter.

 
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Perseverance Theatre 2016-2017 Anchorage Season

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Peter and the Starcatcher
By Rick Elice based on the book by Dave Barry and Ridley Pearson
September 30 – October 16, 2016
The Neverland you never knew.
13-year-old Molly Aster adventures with pirates, a giant crocodile, and lots of angry Mollusks as she and three orphan boys attempt to return a trunk of precious star-stuff to her father. Pursued by a mustached pirate captain and his sidekick Smee, Molly searches for her father and makes some startling discoveries about herself, while the orphans take up residence on the island where dreams are born and time is whatever you wish it to be.

Not Medea
By Allison Gregory
(An NNPN Rolling World Premiere)
November 11-20, 2016
A classic story of modern motherhood.
A tired mother finally gets one night to herself. She escapes to the theatre but becomes part of the performance and reveals the secret of her past. She is not Medea, but a contemporary riff on the Greek classic that asks surprising questions about motherhood, marriage, adoption, and how our actions impact our children. Surprisingly funny and tragically honest, Not Medea is the show you did not know you meant to see.

A Christmas Carol
By Arlitia Jones and Michael Evan Haney based on the book by Charles Dickens
December 16-29, 2016
An Anchorage Holiday Tradition.
Witness Ebenezer Scrooge’s miraculous Christmas Eve transformation in our own adaptation of Dickens famous book. Ebenezer Scrooge is a greedy businessman, with no place in his life for kindness, compassion, or charity, destined to a lonely old age. But when four ghosts appear and warn him of a miserable afterlife, Scrooge is reminded of all the chances he had before to make different choices. Charles Dickens classic tale of redemption never ceases to please.

Hold These Truths
By Jeanne Sakata
January 6-15, 2017
The nail that sticks out gets hit.
Gordon Hirabayashi always knew he was different. When he was a young man in 1943, and Japanese-Americans were being moved into camps, Gordon chose to fight US Government action rather than obey an order he felt was unlawful. His experiences in the courts and camps of the time sparked his passion for the U.S. constitution, and his belief in our duty to uphold it. This is his true story.

They Don’t Talk Back
By Frank Henry Kaash Katasse
(A World Premiere produced in Association with Native Voices at the Autry and La Jolla Playhouse)
March 3-12, 2017
Two Tlingit cousins come of age.
When 17 year-old Nick takes a floatplane from Juneau to live with his grandparents in their village, his arrival means changes for his fisherman grandfather, his cousin Edward who hasn’t spent much time outside the village, and his Desert Storm-veteran father. Just as these Tlingit men are adjusting to their new lives together, the boys’ grandmother delivers shocking news. A world premiere portrait of a modern Alaska family.

To Kill a Mockingbird
By Christopher Sergel, based on the book by Harper Lee
April 28 – May 7, 2017
A compelling classic with urgent relevance.
Young Scout watches her father, the lawyer Atticus Finch, defend a black man accused of a horrible crime. Can Atticus secure justice for his client in this racially charged case, or does his influence have limits? Will the family pay an unacceptable price if he tries? See Harper Lee’s beloved tale of a young lawyer and his family testing their limits and the unwritten laws of their time.

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Perseverance Announces 2016-2017 Anchorage Auditions

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Perseverance Theatre invites actors to open auditions in Anchorage at the Alaska Dance Theatre for the 2016-2017 season. Fifteen-minute audition slots are available from 12-5pm, Sunday, April 10. Audition sides will be available. If you would like to audition for a specific show, you can request audition sides to be sent to you in advance. To be considered for Peter and the Starcatcher, bring 16 bars of a musical theatre song to be sung without accompaniment. Please also bring an artistic resume and a headshot or recent photo.

To sign-up for a 15-minute audition slot or to request specific audition sides, contact Lizzie Buchanan: elizabeth@ptalaska.org or (907) 364-2421, ext. 221.

PRESS RELEASE – Perseverance Theatre Bring Sarah Ruhl’s In the Next Room, or the vibrator play to Anchorage

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FOR IMMEDIATE RELEASE
CONTACT:            Joshua Lowman, Perseverance Theatre
(907) 364-2421 x237          joshua@ptalaska.org
Art Rotch, Perseverance Theatre
(907) 364-2421 x229          art@ptalaska.org
Perseverance Theatre presents In the Next Room, or the vibrator play by Sarah Ruhl in Anchorage at the Alaska Center for the Performing Arts.

March 25, 2016 – Perseverance Theatre presents In the Next Room or the vibrator play, by Sarah Ruhl. The play takes place at the dawn of the age of electricity and with that a groundbreaking piece of technology.  The perfect gentleman and inventor, Dr. Givings has created a device to treat “hysteria” in his patients by inducing “paroxysms” that attract the attention of his wife, who hears the sounds of success through the walls of his operating theatre.  Meanwhile, Mrs. Givings struggles with a new baby and her own urgent desires.  This modern comedy of manners is full of exploration and fulfillment.

Production Schedule and Tickets
The production runs from Apr. 15-24, 2016 in the Sydney Laurence Theatre at the Alaska Center for the Performing Arts located at 621 w 6th in Anchorage, Alaska. Tickets are available now at the Centertix box office, online at Centertix.net or by calling 907-263-ARTS (2787). There is a Pay-As-You-Can Preview on April 14, 2016 at 7:30pm.

Cast and Crew
Perseverance Theatre has put together a wonderful team of mostly Alaskan artists to bring a play that, we think, audiences will find truly electrifying.
Sarah Ruhl is one of the most produced American playwrights of the last two decades.  Her plays have appeared all over the United States and internationally, Perseverance Theatre last produced a Sarah Ruhl play in 2010 with Eurydice.  Sarah Ruhl’s plays include In the Next Room, or the vibrator play (Pulitzer Prize finalist, Tony Award nominee for best new play), The Clean House (Pulitzer Prize Finalist, 2005; The Susan Smith Blackburn Prize, 2004); Passion Play, a cycle (Pen American award, The Fourth Freedom Forum Playwriting Award from The Kennedy Center); Dead Man’s Cell Phone (Helen Hayes award); Melancholy Play; Eurydice; Orlando, Demeter in the City (NAACP nomination), Late: a cowboy song, Three Sisters, and most recently, Stage Kiss and Dear Elizabeth.
Carolyn Howarth returns to Perseverance Theatre, she last directed Vanya and Sonia and Masha and Spike.  She makes her home in Grass Valley, CA.  Her directing credits include productions at The Colorado, Lake Tahoe, and Sierra Shakespeare Festivals, Capital Stage, and 15 seasons with the Foothill Theatre Company.  Previous directing credits at Perseverance Theatre include The Importance of Being Earnest.  As an actor she has performed in over 50 productions with FTC, ranging from classics to new works.  Other credits include appearance with the Jewish Theatre of San Francisco, the B Street, Sacramento Theatre Company, the Lake Tahoe and Sierra Shakespeare Festivals, and the Maxim Gorky Drama Theatre in Vladivostok, Russia.  Carolyn is a member of Actors’ Equity Association and Stage Directors and Choreographers Society.
The cast includes four Juneau actors; Christina Apathy will play Mrs. Givings and Katie Jensen will play Anne the nurse. Enrique Bravo and James Sullivan, the actors in Residence at Perseverance Theatre will play Leo Irving and Mr. Daldry.  Margeaux Ljungberg, who last performed at Perseverance in Oklahoma, is back from Skagway to play Mrs. Daldry.  Tiffany Cooper joins us from Anchorage to play Elizabeth.  It is her first show at Perseverance.  These 6 Alaskan actors are joined by Torsten Hillhouse from New York.  Torsten has worked all over the country at regional theatres including American Repertory Theatre and New York Classical Theatre.  This is his first performance at Perseverance but he recently worked in Sitka at the Sitka Arts Camp in 2011.
The creative team includes: Art Rotch as scenic and lighting designer, Clare Henkel as costume designer, and Lucy Peckham as sound designer

In the Next Room, or the vibrator play Fact Sheet

WHAT: Perseverance Theatre presents In the Next Room, or the vibrator play by Sarah Ruhl, directed by Carol Howarth.

WHEN:  April 15-24, 2016 (Opening Night: 7:30 p.m., Friday, April 15).  Performance times: 7:30 p.m., Wednesday-Saturday and 4 p.m. Sunday. Thursday, April 14  there will be three pay-as-you-can preview at 7:30pm.

CAST AND CREW
Dr. Givings – Torsten Hillhouse*
Catherine Givings – Christina Apathy*
Sabrina Daldry – Margeaux Ljungberg
Mr. Daldry- James Sullivan
Annie – Katie Jensen
Elizabeth – Tiffany Cooper*
Leo Irving – Enrique Bravo*
Scenic Design— Art Rotch
Costume Design— Clare Henkel
Lighting Design— Lauren Miller
Sound Design— Lucy Peckham
Stage Manager – BJ Brooks
* Actors Equity member

WHERE: Sydney Laurence Theatre at the Alaska Center for the Performing Arts, 621 W 6th Ave Anchorage, AK 99501.

TICKETS: Tickets to In the Next Room, or the vibrator play are now on sale and range from $15-$49.25 and are available at the Centertix box office, online at centertix.net, or by calling 907-263-ARTS (2787). Discounts are available for Military, Seniors, and Students. $15 RUSH Tickets are available for all performances starting 30 minutes before show time only at the Centertix box office.

PR: Josh Lowman, Perseverance Theatre 907-364-2421 ext. 237 or joshua@ptalaska.org. (This phone number and email are not for publication.)

PHOTOS: Email joshua@ptalaska.org for photo availability or to schedule a photo shoot.

Perseverance Theatre 2015-2016 Season Sponsors are: Andrew W. Mellon Foundation, Atwood Foundation, Benito and Frances C. Gaguine Foundation, Charlotte Martin Foundation, National Endowment for the Arts, Shubert Foundation, Alaska State Council on the Arts, The City & Borough of Juneau, The Juneau Arts & Humanities Council, Alaska Airlines, Juneau Empire, 800 KINY – 630 KJNO – MIX 106 – TAKU 105 – 1330 KXJ, KTOO-KXLL-KRNN, Anchorage Dispatch News, Alaska Experience Theatre, Alaska Public Media, and Anchorage Press.
Sponsors for In the Next Room or the vibrator play are Alaskan Brewing Co., Altman, Rogers, and Co., Haight and associates, Heidi Reifenstein Design, The Prospector Hotel.
Founded in 1979, Perseverance has grown to produce a season of classical, contemporary and new plays, including over 70 world-premiere productions, for audiences in Juneau and Anchorage, reaching 24,000 attendees annually, employing over 400 artists from across Alaska, and engaging 200 volunteers. Perseverance Theatre believes theatre going creates community by fostering empathy, relationships and communication skills, thereby creating more vital and cohesive communities. Perseverance Theatre’s mission is to create professional theatre by and for Alaskans. For more information on Perseverance Theatre visit www.ptalaska.org, or follow Perseverance Theatre on Facebook.com/PerseveranceTheatre.

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Actor Tiffany Cooper Makes a Case for Theatre in Alaska

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Tiffany Cooper. Photo courtesy Vo Photograpy.

Tiffany Cooper. Photo courtesy Vo Photograpy.

Earlier this week, actor Tiffany Cooper who plays Elizabeth in the current PT production of Sarah Ruhl’s In the Next Room, or the vibrator play, (running through Saturday, April 2), visited the KTOO studios with our actor-in-residence James Sullivan to talk about the play and the ways that theatre supports the community, and our community in turn supports Perseverance Theatre. Tiffany is an accomplished Broadway and television actress, she is a resident of Anchorage, and also a donor to Perseverance. We thought she spoke so eloquently on Juneau Afternoon, that we asked her to jot down her thoughts for us for the blog. Here’s what Tiffany has to say:

I support Perseverance Theatre because it brings Alaskans together to share an experience that may be beautiful, funny, moving, thought-provoking, or hopefully at least diverting. And in an age when most of our communication happens in front of a screen, I think that this gathering function of theatre is, in and of itself, something that matters.

 

One of the things I love about Perseverance is that theatre contributes to education and literacy. Watching characters talk back and forth in the theatre is tricky; it requires sharp attention, quick mental shifts, and nimble language skills. It teaches us about human motivation and psychology.

 

For me, the bottom line is that Perseverance supports and hires artists throughout the state. It’s not just a small town theatre company. It’s an organization that brings artists together from across Alaska to present theatre statewide.

Thank you, Tiffany! See Tiffany and the rest of the cast of In the Next Room, or the vibrator play, through Sunday April 2nd in Juneau. The play opens April 15 in Anchorage at the Alaska Center for the Performing Arts.

Creating the sounds in the next room, part 2.

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Recently, we’ve been in conversation with sound designer Lucy Peckham about her work on In the Next Room, or the vibrator play. You can read our first post where she discusses her original compositions.

Today, Lucy tells us about the research she did for In the Next Room.

As soon as I knew I’d been given the opportunity to design for the show, before I’d even read the script, I put “antique vibrator” in a search engine, and low and behold! There’s a museum dedicated to the history of this niche instrument.
The Antique Vibrator Museum is located in San Francisco, CA. I emailed to ask if they would allow me to visit after hours to record the sounds of the vibrators for use in the play. My email was forwarded to Dr. Carol Queen, an educator with the Center for Sex and Culture, and a docent at the museum. She said she’d be glad to help, but they have never tried to plug in or turn on any of their museum pieces, so she couldn’t guarantee that they worked, especially not the older ones. I decided it was worth the risk, and in October, I flew to San Francisco to visit the museum with my recording gear. There I met Carolyn Howarth, our director, and before the museum opened for the day, we met Dr. Queen, and started recording vibrators.
The first vibrator was designed for direct current but not labeled that way, and blew the outlet when we tried it. Ooooops! Fortunately, the rest of the Vibrators were clearly labeled for alternating current, and we were able to record them with little difficulty. There was one small problem–The Eskimo Vibrator, circa 1920, gave our brave guide, Dr. Queen a couple clearly audible shocks as it ran, so she quickly shut it down… Fortunately, she was not harmed, and her sacrifice is put to good use in the sound design. In the scene where the vibrator on stage malfunctions, I was able to use the sounds of the shocks she received as part of the cue.
Carolyn and I had a wonderful visit with Dr. Queen, hearing, seeing, and learning about the real vibrators of the time. What you will hear in the theatre is REAL, which is always my goal as a sound designer.

Here’s a clip of one of Lucy’s recordings that made it into the play.

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