Passion Drives Us

Every year our apprentices come together and select a play they are passionate about to produce from the ground up. Everything from the marketing to all of the design elements are created by them. It’s a culmination of their time with us, and all they have learned from this past season. This year’s class has selected Lauren Yee’s gripping play in a word. We asked the members of this year’s apprentice class why they picked the play, and what about it speaks to them.

By Ian Sutherland

Gabriel Peñaloza-Hernandez, Brandon Cayetano, Lauren Schulke, and I have been working on the Apprentice Capstone Project since this last June. This project is the culmination of our year in Lanesboro, presenting us with an opportunity to put our new learned ideas into practice. We will use all the knowledge we have gained this year from both observing the Commonweal’s many administrative teams, and experiencing first hand how productions are planned and executed.

When the four of us had all finally assembled as a team last summer, we were tasked by the company with finding a script to produce using our combined talents. We spent quite a while going back and forth over scripts, finally landing on in a word by Lauren Yee, a script that all four of us are excited and passionate about. In the show, Fiona and her husband Guy come to terms with the loss of their son Tristan, while the words they use to describe their situation start to morph and change meaning. Brandon says that: “…it’s a show all about language and how people may interpret it differently.” Though the show centers on a heavy subject, it is not without playful moments, as Lauren notes: “…in a word made me smile and laugh while still telling an important story.”

The 2018-2019 Apprentice Company

in a word also presents us with some significant challenges. The play does not always follow an easy timeline, and the location of scenes varies wildly. As Gabriel observes: “We the storytellers must make sure that the audience comes along with our story or else they might lose vital information.” The responsibility will fall to us and our director and fellow Commonweal Company Member, Rachel Kuhnle, to bring the audience into the story and help them experience it fully.

Most challenging will be the simple fact that all four apprentices are taking on multiple roles in the process of producing the show. Lauren is one of the show’s three actors and taking on set and props design; Brandon is acting, costume designing, and overseeing our budget; Gabriel is stage managing and designing; and I am acting, sound designing, and overseeing the marketing for the show.
Though this show demands a huge amount of work from us, we are ecstatic to be putting on in a word, a show we have grown to love passionately.  We hope to see you there at the show in March!

It has been a joy for us to watch this class learn and grow this past season. Be sure to catch a performance of in a word when it begins on March 15th! For Tickets –> Performance Calendar 

A Milestone Season of Professional Live Theatre

30th Season Milestones

by David Hennessey

Scott and Stela read Love Letters to start
A notable year. Then others joined hearts
’Neath Salt-Water Moon.
Thereafter, we soon
Met three unsung women who learned to chart

Faraway stars: staring up at the night
We bathed, awestruck, in swirling points of light!
A fun change of pace
Brought the cut-throat chase
Of kids seeking spelling trophies. The sight,

In Clean House, of messes we can’t control—
Including sickness that will not let go—
Taught us gently how
To live in the now.
After years of writing, with heart and soul,

His masterful Dracula, Scotty thrilled
As we staged it with full suspense and chills.
Standing ovations,
Public sensation!
He basked in the glow of visions fulfilled.

When the day finally came he had to leave,
We celebrated him more than we grieved.
We dedicated
Our last show slated
To A Wonderful Life the heavens retrieved.

That Dracula script? It’s now winging high
In our lobby, soaring to Silent Sky.

Click any image below to view the full photo.

And what a season it has been! Your love and support have guided this company to the end of our 30th year producing professional live theatre in Lanesboro. This year, we logged a record number of season pass holders, welcomed well over 1,500 first time patrons, surpassed our fall donation campaign efforts and saw more than 21,000 people walk through the doors and take a seat in the theatre. On that strength and with renewed spirit and energy, we forge ahead to 2019 and our 31st season. Thank you for a fabulous year — if you like us, talk about us and we look forward to sharing more compelling stories with you next year. 

Thanks for reading and I’ll see you at the theatre—Jeremy. 

The Puzzle that is Scenic Design

When Scenic Design Becomes a Puzzle

by Justin Hooper

The Clean House set 2018
The set of The Clean House designed and built by Justin Hooper

Okay, here’s a little fact that I have never before admitted—I don’t consider myself to be a much of an artist. Most scenic designers that I know grew up sketching and painting. In school, they excelled in classes related to the arts. They are the individuals who utilize the artistic right side of the brain. I have always desired to be one of these people. I am not one of these people. I’m just really good at faking it.

I’m a math guy. I like numbers. They are concrete. Understandable. And I LOVE puzzles. When I read a new script. I look at it as a puzzle. There are a lot of factors that must be considered in order to create a successful scenic design and I find it easiest to begin by stripping them down to their simpler, more understandable numerical form. How many doorways are referenced in the script? How many windows? At most, how many people will need to be sitting on furniture at any given time? I create a sort of equation of all the items necessary to allow for the written action of the play. Over the years, I have gotten pretty good at finessing this equation. Distance between doorways, for example, can sometimes be very important, especially within a farce. If specific comedic timing is required for a character to enter, take a certain amount of steps while speaking a line in a particular rhythm, and then exit through a different doorway, this information must be taken into account. I often have to try walking these traffic patterns out myself, script in hand, in order to be comfortable enough to propose the spacing to a director. The flies on the wall in my scenic studio get a unique one-man show each time I find myself designing a farce. (Please come see Commonweal’s upcoming production of Boeing Boeing to see if I get the math right!)

The set of Dracula Prince of Blood designed and built by Justin Hooper
The set of Dracula Prince of Blood designed and built by Justin Hooper

Only when I have an idea of what the play requires structurally do I begin to take the “art” of the show into account. This is where I really begin faking it.  I am fortunate enough to have perfectly timed the beginning of my design career to the beginning of the accessible internet. A little trade secret—if you are creating a design for It’s a Wonderful Life, Radio Play, for example, it is quite simple to google “Art Deco, New York, Radio Station” and pick architectural details which you find personally appealing and easy enough to build within your scheduling and budgetary restrictions. I try my best to link many of the artistic decisions I make to subtext within the script (create little Easter eggs, if you will) but I will certainly admit that I often end up merely proposing things that I think would be personally rewarding for me to build. After all, I like building things. I’m a math guy. 

At this point, I meet with the director and try my best to use artistic terminology to describe my choices. He or she then volleys back a myriad of questions and suggestions and I return to the drawing board to rework my equation. This may sound like a negative aspect of my job—I assume that people who don’t work in an artistic field would loathe a situation in which they had just completed multiple days of work only to have their boss hand their work back to them with another several days’ worth of edits—but this is actually the part of the job that I appreciate most. It is this part that allows a left-brained math-loving guy like me to fulfill his artistic dreams. 

It's a Wonderful Life A Live Radio Play set at the start of the show
It’s a Wonderful Life set at the start of the show

Theatre is a collaborative art. Dozens of people work together to create the final product of the show itself. A scenic design is not a stand-alone art piece. It is a vehicle used to supplement the story of a play and it’s desired effect; whether that be to move an audience to tears, provoke deep thought on a subject, or to simply give them a fun night out on the town. On any given project, I find it best to use my fellow artists as a crutch; a sounding-board for my artistic ideas. I then try my best to incorporate their suggestions. I am humble enough to understand that I don’t always know what is best for the art of the show. The best collaborators are the ones who listen to criticism and adapt. The goal is to create a final product that is cohesive and everyone on the team can be proud of. In my experience, the audience usually agrees.

Justin expertly designed the last three productions of the 2018 season and will be back for more in 2019. We enjoy Justin’s work quite a bit around the CWL and hope that you all do, too. 

To see Justin’s current work on the CWL stage, get your tickets today for 
It’s a Wonderful Life: A Live Radio Play playing through December 22. 

Thanks for reading and I’ll see you at the