Center Theatre Group Blog

Pier Carlo Talenti is the Resident Dramaturg/Literary Manager for CTG.

I saw Euripides’ Orestes at the National Theatre of Hungary in Budapest.  That’s right.  Ancient Greek drama in Hungarian.  It was très moderne, modern-dress, a pit full of discarded clothes, enormous mirrored flats dominating the scenery.  Orestes has been sleeping in a rusty pickup truck.  The chorus is five Hungarian housewives.

Very committed acting.  But it all got a little too obvious for my tastes, especially when Elektra shoved her tongue down her brother’s throat.

Strange thing about Hungarian audiences, which was also true at the ballet and at the opera.  During curtain call, they all applaud in their own rhythms.  But then gradually they all start applauding in unison.  It’s a bit like standing ovations on Broadway nowadays.  You can’t tell how heartfelt it is.  I don’t know.  It just felt a bit pro forma.  So I as an obnoxious American tourist was the only one who was applauding in my own time.  If I’d liked the play more, I might have subsumed my individuality to the clamor of the group. 

As for other theatrical experiences while I was on vacation in Europe, I experienced my first meal at a French Michelin-three-star restaurant.  Paul Bocuse’s restaurant in Lyon.  A whole other kind of theater:  The presentation of dishes.  Dramatic and alluring!

We here at PLAY are proud to present to you our friend, colleague, and official Pachuco Story Teller Marcos Najera. Marcos is an Actor, Performer, and PLAY Teaching Artist who hails from Phoenix, Arizona. He has been a participant in our Dana Teaching Artist Institute, and worked on Ready, Set, PLAY, the Young Audiences Program, and our Annenberg Middle School Program. We are delighted to have him be the first PLAY Teaching Artist to contribute to our CTG Blog.

Q: Can you name one person from your past that is responsible for your involvement in the theatre?

A: Anna Deavere Smith.

Q: How did you become involved with PLAY?

A: Nilaja Sun. But first, a quick rewind. For the past several years, I’ve worked as an actor and teaching artist in Arizona. I got cast in a national tour and set out across the country. During our show’s stop in Chicago, I excitedly slipped away to watch ‘No Child’ at the Lookingglass Theatre Company (I love solo performance). Just over a year ago, I moved to LA to act and saw that Nilaja’s show was coming to the Kirk Douglas Theater. Of course, I ran back to see it. A few minutes before curtain, I struck up a conversation with a woman named Kimiko who happened to be recruiting teaching artists for CTG’s Dana Fellowship program. It didn’t take long for her to convince me to apply. After completing this very smart and cogent program, I received my first assignments to teach ‘Spring Awakening’ & ‘Pippin.’ Not to mention an after-school kindergarten stage adaptation of ‘’Tacky the Penguin’ at Leo Politi Elementary School!

Q: Why do you think that the work we do here at PLAY is important?

A: El Pachuco. In 1978, when Edward James Olmos stepped on the stage of the Mark Taper Forum to tell a historic Latino story to sold-out houses filled with Chicanos, I had no idea. I was just a chubby, pre-gay, brown second-grader growing up in the Phoenix desert. What did I know about theater? Not much, except that I fell in love with it a few years before in kindergarten. That was when I made my stage debut as a yellow chicken in an Arizona Opera production.  I proudly shook my yellow tail feathers on stage whilst quacking along to fat ladies belting high C’s. It was grand to be odd and yellow in a spotlight and I enjoyed reliving my big moment vicariously through Rachel Dratch in Minsky’s recently.  Nonetheless, I wasn’t sure if I was allowed to be brown on stage and use real words. I never really saw or heard Latino people sharing a story from a proscenium.  Fast forward to my senior year in high school. Flipping through the channels one night, I stopped on PBS where a black woman of the theater was recreating a stage play in which she performed everyone, but looked really like no one except herself: Anna Deavere Smith. That instantly demystified theatre for me. And I realized perhaps I could also belong to the American theatre and participate on stage. She did that for me once. With PLAY, I can offer the same gift.

Q:  How have you seen this work impact a student or group of students that you have worked with?

A: The School of Night. “There he is! There he is!” is all I heard coming from the other side of the Taper’s lobby. A gaggle of teen-age girls was heading right for me. Programs and pens clutched in hand, they were giggling and chirping. “We knew we’d see you here! I told them you’d be here!” said one. “She’s confused and wants to ask you questions,” said another while pointing to her friend. “It’s about taboo right? Like in ‘Spring Awakening’ but different right? But still taboo stuff, que no?” asked another. “I love the actress who plays the queen, we were looking her up in the program,” added one. “Can you help us figure out what will happen next mister, but don’t tell us because we think we know, we just want to know what you think too,” said the last.

Q: What is your fondest memory as a Theatre Student, Artist and/or Arts Educator?

A: Luis Alfaro and Diane Rodriguez. Twelve years ago, I walked into the Annex for the first time. I remembered thinking that there was just wwwaaayyyy too much fluorescent lighting. But I digress. In 1997 Anna Deavere Smith hired me to work on a Taper workshop of her project called “House Arrest” (It turned out that the woman who blew me away on PBS that night back in high school was a professor at the college where I was matriculating. It was hard as hell to get into her classes, but eventually I did). Meanwhile, back at the Annex, I think we were working in the Gordon Davidson rehearsal room. Was it called that then? I don’t know. During a break, Anna said, “Come with me. There are two people I want you to meet.” We walked to what I think is now the education department/PLAY office corridor. Inside one office were Luis and Diane who were part of something very hip, devastatingly important, and futuristic-sounding called the Latino Initiative? Latino Theatre Plan? Brown People on Stage Program? Pachucho Story Hour? I honestly can’t remember. Sorry if I’m screwing the name up!  But oddly enough, this is a big, solid memory for me.  Luis and Diane said hello and gave me their cards, wished me luck and invited me back anytime. I said I would gladly take them up on their offer. I doubt neither Anna, Luis or Diane remembers that moment, but I’ve never forgotten. How could I? My barrier-breaking artistic mentor introducing me to brown art pioneers who were actually participating in full at a highly regarded American theatre and in a hall where I’d eventually be invited back again to help other students discover theater. Fond indeed.

Q: If you could see that person from your past again, today, what would you say to them?

A: Zachary Scott. “Hook ‘em Horns!” is what I’d say. Anna sent me an email the other day telling me to learn the cheer because that is what people in Austin want to hear. Later this spring, I’ll go to the Zach Scott Theatre to work as a member of Anna’s creative team for an upcoming production of her elegant new work examining human grace called ‘Let Me Down Easy.”

At left: Marcos Najera as a high school sophomore.

Patrick Owen is the Deputy Director of Development at Center Theatre Group.

My path to what I truly believe is the best job in the world is not surprising.  I grew up in a family that valued and participated in the arts and philanthropy.  I fell in love with the theatre at an early age and now everyday I go to work and get to hang out with people who are equally invested in this art form that I love - my staff colleagues, the incredible theatre artists who come through our doors, and CTG donors - how cool is that!?!  So with my background, it really is no surprise that I work at CTG.  But, I am often surprised when my life - past, present and future - comes together, and in that moment it all seems to make sense.  Do you know the kind of moments where you feel like you are where you are supposed to be and loving life?

On February 3rd, CTG hosted a group sales event for Spamalot.  Whenever CTG hosts one of these events, we here in Development invite our donors.  Our donors love the opportunity to get a first look at these productions and they are often group sales buyers themselves.  As I walked over to the event, I ran into the head of Patina operations at the Music Center who was laughing over the fact that a Patina kitchen was actually serving SPAM at CTG’s request.  I ask you, what else would you serve for a Spamalot event except SPAM pizza?  I filed that away as a good inside story to share with my donors.  As I neared the event I saw a long line waiting to board elevators for the ride to the 5th floor of the Dorothy Chandler Pavilion (DCP) where the event was taking place.  Not wanting our donors to have to wait, I gathered my staff together and said, “Let’s take them up the back way.”  The “back way” involves a trip through the artists’ entrance of the DCP where a staff badge or your name on a list is required for entry.  Then you take a ride in a freight elevator where you may be joined by an opera singer in rehearsal or other assorted staff involved in all the art-making happening at the Music Center.  At the 5th floor, you walk a circuitous route through the backstage areas of Patina’s catering operation before entering the luxurious public spaces of the DCP.  The donors loved it!  My intention was to troubleshoot a donor service issue, and the result was that our donors experienced it as a special behind-the-scenes peek - just the kind of insider’s access we provide donors on a regular basis.  And best of all, this one did not take months of planning!

So, what does all of this have to do with a transcendental moment of clarity about my life?  I’m getting there.  I first discovered Monty Python in Junior High when I started hanging out with other theatre geeks.  We knew every routine from their “Another Monty Python” album and would spend hours trying to impress one another with what I am sure must have been dreadful imitations.  Our favorite routine was SPAM.  So Monty Python and SPAM are inextricably linked in my DNA with theatre.  After thoroughly enjoying some SPAM pizza and conversation with my donors, the presentation began.  Michael Ritchie was engaging as always and by the time we got to John O’Hurley performing a number from the show I was enjoying myself immensely.  How joyful I was feeling to be in that intimate setting, surrounded by other theatre lovers and experiencing a one-time-only performance by the talented Mr. O’Hurley.  And in that moment it all jelled — my past with Monty Python, SPAM, and theatre — my present hanging out with donors and enjoying a great evening — and the future promise of more great theatre at CTG and all the opportunity that it represents.  I LOVE MY JOB!

Mike Sablone is CTG’s Literary Associate, starting left fielder and third-string shortstop for Dark Monday, the CTG softball team.

I’m often asked, “What do you do?” And, often I stammer for a few minutes, look at the floor, shuffle my feet and then look up, brightly saying, “I’m a dramaturg!”

Except without the exclamation point. That makes me sound like I’m five years old.

It’s more like a question with italics: “I’m a dramaturg?” The question not being “Am I?” but “You’re not going to know what this word means, are you?” I’m assuming you’re not, which means there will be confusion and then you might get mad at me for making up a word. Or you might have only heard the word “turd” in which case you’re thoroughly confused, and still mad that I managed to turn the simplest of icebreakers into an irritating exchange.

So the follow up question comes: “Huh? What does that mean?”

Well, friends (meaning CTG employees who read this blog), today is the day . . . that I do not answer that question.

Sorry.

Today is the day that instead I skip that and provide a snippet of research that I stumbled upon a few weeks ago.

Fine. Brief explanation of one part of the job of a dramaturg. At times it involves doing research on specific topics pertaining to plays I’m working on.

Recently I’ve been reading books for background research on PALESTINE, NEW MEXICO. Which means reading books about women in the military. Right now I’m reading Lieutenant General Claudia J. Kennedy’s memoir “Generally Speaking.” I was particularly horrified when I came across this excerpt, a mere 32 pages in:

Next came an enticing proposal to be interviewed for an assignment as the junior aide to the Commander-in-Chief-Pacific. “It’s in Honolulu, Lieutenant,” the captain at Branch told me on the phone.

Now that did sound exciting. “What about training?” I asked.

“Not necessary.”

“Why did they pick me?”

“Well,” the captain said in a confidential tone, “they saw you in LSD file.”

“What’s that?”

She explained that the Little Sexy Doll file contained just the photo of junior WAC [Women’s Army Corps] officers — no records of professional attributes — a system that was sometimes used to choose women for prestigious positions as aides to senior officers solely on the basis of their looks. I was not interested in the job.

There are times when I’m researching something new that I’m horrified. Just horrified. And I’ve got the feeling that this is only the tip of the iceberg with this subject.

We here at PLAY are pleased to introduce you all to our friend, and long- time colleague, Russell Copley; the Secondary Theatre Expert for LAUSD and the former Director of the theatre department at Eagle Rock High School, still known as Eagle Rock Stage. Russell hails from Cape Town, South Africa and is an experienced Actor, Director, Playwright, Vocalist and Arts Educator. We are thrilled to have him be PLAY’s first contributing writer for the CTG Blog.

Q: How did you become involved with PLAY?

A: In 2004, while teaching theatre at Eagle Rock HS, I attended a salary point PD course offered by CTG. Kimiko Broder informed me of the opportunities that were available for my students through PLAY. I spoke with my colleague, Howard Dando, at South Gate HS. He said his students were greatly enriched by the program. I did a fundraiser to pay for our buses and the nominal fees for participation. My students loved the Saturday workshops at Cal State LA. Parents were willing to ferry the students and we used to do lunch afterwards at a local restaurant. Some of my students were accepted for the YATS (Young Artist Theatre Series) series. They grew as professionals and this really benefited our program.

Q: What do you think are the biggest challenges facing Arts Education today?

A: Speaking as a theatre teacher, I see the lack of state approved theatre or dance credential as a major problem. It undermines the value of our work as performing arts educators. Secondly, administrators are ignoring the vast amount of research in cognitive development theory. Arts education is a proven stimulus for all core content subjects and for the very strong foundations it provides for a child’s self esteem. Hence, funding for the arts is insufficient – and this poses the greatest threat to our survival.

Q: What do you hope the future of Arts Education in Los Angeles looks like?

A: I hope a comprehensive arts program brings credentialed arts teachers into schools that currently do not have instruction in one or more arts disciplines. Arts teachers will help to establish the foundation for growth in arts education, building capacity in all the arts, and addressing the creative needs of students and their communities. The current LAUSD Arts Education Plan is designed to give students the opportunity to reach a proficient level of learning in the arts; to give schools a way to provide greater access to the arts; and to offer the opportunity to develop high quality, standards-based arts programs. All of these objectives require teamwork and collaboration among teachers, administrators, parents and the school community. The plan sets out that all art forms will be available at all schools, for all students at all grade levels. I hope to see this plan realized to its fullest potential.

Q: What is your fondest memory as a Theatre Student, Artist and/or Arts Educator?

A: My fondest memory as an arts educator was taking 24 students on an overseas trip to tour London’s theatres in 2007. I will never forget the moments of awe I had as we walked the RSC stage at Stratford after its final production, before it was demolished. I remember the technical workshop backstage at the National Theatre; sitting with my students at a Blue Man Group concert; climbing the steps to the top of St. Paul’s Cathedral; and doing a very kinesthetic workshop at the Globe Theatre. Experiencing this with my students for the first time, made me really understand the meaning of the term “Theatre Company”. It means taking a risk with people you care about – and living the dream together.

Ashley Rumburg works in Development (Devo) as the Corporate Giving Coordinator at Center Theatre Group where she dwells everyday in the sexy world of non-profit fundraising. 

“Why on God’s green earth would you want to work for a non-profit theatre company?!?”

I promise you - this is the first thing that comes out of people’s mouths when they discover what I do for a living.  It is unfathomable to most why I would want to sacrifice my time, my paycheck and my career (in their opinions) for the greater good, the betterment of society or some other equivalent trite expression.  But to me, the answer is simple. 

Back in November, I experienced firsthand how important my work at CTG was when I volunteered to help with a Target Young Audiences Program event surrounding The School of Night.  The entire premise of these performances is to bring students in from underserved schools in the surrounding community and treat them to a free daytime performance and cast Q & A session.  When I arrived my colleagues were ready and raring to go. They explained to me how fulfilling it was to witness the students’ reactions to theatre. I graciously smiled and nodded as I tried to down as much coffee as possible before they started arriving.  It was only when the yellow school busses started pulling up to the curb that I began to see how much a trip to the theatre really impacted these kids.  Their relentless giggling and incessant chatter completely reinforced the idea that we were doing something good - something meaningful. 

After the play, I stuck around to watch the Q & A session with the cast, only to be utterly astounded by the depth of their questions.  By viewing this one play, these students were able to reveal and dissect certain elements of truth that I never understood in my 4+ years at university.  This one performance really affected the way they viewed their own lives, and made me realize the great work that we do at CTG.

It’s imperative that we continue to raise funds so we can provide arts education and vital creative outlets for other Los Angeles natives.  If I can help bring even a little joy to their lives, fulfill their basic needs by nourishing their minds and enable them to have a little fun, then my need has been fulfilled.

Photo caption: Students attend The School of Night during the Target Young Audiences Program. Photo by Kathryn Indeik.

Hey Spring Awakening fans!

If you liked the music from Spring Awakening, then you’ll love this!  Songwriter Duncan Sheik will be performing live in Los Angeles! 

Check him out at the Vista Theatre on Thursday, February 19th at 7pm. He’ll be performing music you know and love from Spring Awakening as well as new music from his upcoming CD/Theatre Production Whisper House.  PLUS joining him will be Lauren Pritchard, one of the original Broadway cast members of Spring Awakening!

Click here for more details!

Thursday February 19^th @ 7:00 PM

Duncan Sheik, Featuring Lauren Pritchard from Spring Awakening

Vista Theatre (4473 Sunset Dr., LA 90027)

Photo by Shannon P. www.duncansheik.com

Watch exclusive footage from the opening night of Minsky’s – audience reaction, celebrity interviews and more.

And for more about Minsky’s, check out our interviews with the creators of the show, including writer Bob Martin, director Casey Nicholaw, and composer Charles Strouse.

Eric Sims is the Operations Manager for the Kirk Douglas Theatre.

I’m not easily impressed by celebrity. Sure, I’ve seen Gary Coleman and Todd Bridges at Ralph’s (the same Ralph’s, weirdly enough) and William Shatner having breakfast in Santa Barbara with his grandchildren. I’ve even had the pleasure of bumping mediocre comics at Stand Up New York so Jerry Sienfeld can get some stage time in, and listening to them grumble at the bar about what a hack he is. There was something especially cool, though, about meeting Danny Hoch since his show, Jails, Hospitals and Hip-Hop affected me more than just about any piece of theatre I’ve ever seen and had changed the way I thought about an entire aspect of American culture. I saw the show eleven years ago, when I volunteered to usher for it at PS 122.I should mention, at this point, that I was a terrible volunteer usher. I showed up 45 minutes late while my girlfriend, who was ushering with me, diligently folded programs, straightened up the literature display, and set up folding chairs. By the time I breezed in on a cloud of slackerdom, there was nothing to do but seat people and be charming. Anyhow, the show blew my mind. Having misspent my youth as a post-modern suburban Deadhead, I never paid too much attention to hip-hop culture. Aside from knowing the words to a couple of Beastie Boys songs, it had never occurred to me to contemplate the reach and impact of this art form. Hoch perfectly captured the way in which hip-hop impacted all strata of society- spiraling outwards from the streets of the inner-city to the exurbs of Indiana.

I was particularly affected by two parallel monologues – one in which a suburban white kid imagines his Letterman interview as a famous rap star while preparing for his shift at Hardees and another in which a famous rap star is interviewed on Letterman and talks about the development of the form and the joy he discovered when he realized the breadth and scope of life beyond the inner city. The searing irony- that those on the inside could sell the fantasy of the streets to those on the outside in order to gain the freedom and opportunities that those on the outside take for granted was fascinating to me- and the way in which Hoch effortlessly embodied this concept without sacrificing the dimensionality of his characters or passing judgment on them left me, quite literally, a babbling idiot.

When I met Danny a couple of weeks ago, before his first performance of  Taking Over at the Kirk Douglas Theatre, I played it cool, mentioning briefly that I liked Jails, before going over the minutia of late-seating and merchandise sales in the lobby. Meanwhile, the copy of Jails, Hospitals and Hip-Hop which my wife- who, I think has forgiven me for my crappy ushering- bought for me ten years ago, sat burning a hole in my bag as I wondered how I could get him to sign it without appearing unprofessional. After all, nobody wants to work with a fanboy- and once I cross that line, it’ll be hard to talk to him seriously about the climate control in his dressing room and the hot-water in the backstage restroom- the types of serious artistic issues I’m often asked to weigh in on. Still, I’m a fan- I can’t help it. At some point, I’m going to need to swallow my pride and ask him to sign the book- hoping it doesn’t blow all my credibility (or “cred”) as a theatre professional so that I can still talk to him sternly about out backstage visitor policy, if necessary. I just hope I remember to do it before he leaves town for points unknown and I don’t see him for another dozen years.

Photo by Kevin Berne

Artist/performer Danny Hoch recently did an exclusive online-only “Guest DJ” spot for KCRW host Garth Trinidad, selecting and discussing songs that have inspired his work.

You can listen to the podcast here and read the transcript to get an inside glimpse of how Danny’s incorporated hip-hop mainstays and rarities into his projects throughout his career.

 ( mp3 | 9.00Mb )