NETCNewsinside

this issueSpecial Feature:

The Forum page 7

Opportunitiespage 5

Ovationspage 6

UpcomingEventspage 9

volume 11 number 4 fall 2002

A QuarterlyPublication of the

New England TheaterConference, Inc.

The 51st annual NETC Convention will be held November1, 2 and 3 in Bedford, NH at the Wayfarer Inn. In additionto a fabulous lineup of workshops, performances, and specialevents, many distinguished guests—including Julie Harris,Dawn Wells, Norman Leger, Arthur Lessac, Gregory Abels,and Jean-Claude van Itallie—will number among our awardrecipients and presenters.

NETC Welcomes Arthur LessacAmong the most highly regarded teachers of voice,speech, singing and movement is NETC Major AwardWinner Arthur Lessac. At the 2002 NETC Conventionin Bedford, NH, Professor Lessac will receive theLeonidas A. Nickole Award for Excellence in TheatreEducation. He will also offer conventioneers a valuableopportunity to participate in one of his workshops.Since his three generations of alums include MartinSheen, Faye Dunaway, Irene Daily, Michael Douglas,Frank Langella and Linda Hunt, this is a workshop notto be missed!

Professor Lessac’s two books, The Use and Training of theHuman Voice: A Biodynamic Approach to Vocal Life andBody Wisdom: The Use and Training of the Human Body,have become required reading for students of theatre.Professor Lessac has taught as a Professor Emeritus ofSUNY at Binghamton, Distinguished Visiting Professorat the University of Puerto Rico, at California StateUniversity-Fullerton, and at the University of Virginia-Charlottesville. His summer intensive workshops havebeen held at college campuses across the United Statesand in Germany, Puerto Rico, Yugoslavia, Canada,Mexico, and South Africa. He is recipient of the 1991Southeastern Theatre Conference Distinguished CareerAward and the 1998 Association for Theatre inHigher Education (ATHE) Career Achievement asOutstanding Teacher.

Jean-Claude van Itallie to Receive Awardand Deliver KeynoteNo writer-actor-innovator-activist personifies the 2002Convention theme “Starting Here, Starting Now:Celebrating the Genesis of Theatrical Creativity” more

NETC Convention 2002“Starting Here, Starting Now”

Dear Members and Friends,As I wrapped up the Labor Day weekend by organizingmy files, I was ruminating on 2002. It’s been a difficultyear for all of us. Arts support has been cut from shrink-ing budgets, attendance is down in many theatresaround the region, the country is at war with anabstract foe, and the bounty of the late nineties feelslike a world away.

But there is a beacon shining against the murky culturalskies! As I shuffled sheet after sheet of paper embla-zoned with the NETC logo: “NETC: Fifty Years of

Find Strength in CommunityA letter from the Executive Director

by Tara McCarthy

Sheila Hickey Garvey, a former NETC Director andmember of the College of Fellows, co-edited and con-tributed to a new book of interviews, essays, and per-sonal recollections about Oscar-winner Jason Robards.Robards was named best supporting actor by theAcademy for the films All the President’s Men (1977) andagain for Julia (1978), but he is particularly rememberedfor having created central roles in the later plays ofEugene O’Neill. Jason Robards Remembered: Essays andRecollections, by the Eugene O’Neill Society, edited byStephen A. Black, Zander Brietzke, Jackson R. Bryerand Sheila Hickey Garvey, honors Robards in two parts.

Part One presents recent interviews of the late actor aswell as articles by Arthur and Barbara Gelb whichappeared in the New York Times on the occasions of theAmerican premier of Long Day’s Journey into Night(1956) and of the successful production of A Moon forthe Misbegotten, with Colleen Dewhurst (1974). SheilaHickey Garvey writes of the 1956 production of Icemanand gives a brief history of Robards’ work with theCircle in the square Theatre, the theatre that began theOff Broadway theatrical movement of the 1950s.Stephen A. Black, Michael Manheim and EdwardShaughnessy write of seeing Robards perform in O’Neill

Jason Robards TributeCo-edited by NETC Member

continues on page 2

continues on page 8

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separate article). For our high school students andteachers, check out Friday’s innovative new event: theNETC Theatre Olympiad! (see separate article).

The Wayfarer Inn and Convention Center in Bedford,NH is situated in a delightful New England setting onthe site of the historic John Goffe’s Mill—only a shorthour from Boston. This unique inn offers a coveredbridge, two waterfalls, and authentic antiques from theMill. Rich with history, the hotel features the mostmodern of amenities, with 194 guestrooms, indoor andoutdoor pool, full fitness center, restaurant and lounge.Shopping and restaurants are within walking distance.Complimentary airport shuttle service is available toand from Manchester Airport. For folks wishing totravel into Manchester, tours of the beautiful PalaceTheatre will be offered.

Why not make your reservations now? Roomsare very reasonable at only $94.00/night forsingle/double occupancy. The deadline for reserva-tions and for pre-registration is October 18, 2002.Call (603) 622-3766 or (877) 489-3658 or emailPam.Dustin@Starwoodhotels.com, and be sure tomention NETC.

fully than Jean-Claude van Itallie. Born in Brussels,Belgium, raised in Long Island, he graduated fromHarvard in 1958 and achieved prominence when histrilogy of one-act plays, America Hurrah, was hailed asthe watershed off-Broadway play of the sixties.

Over the course of four decades, Jean-Claude van Italliehas nurtured the creative spark to build an illustrious,innovative career. He was one of the original LaMamaPlaywrights, and was principal playwright of JoeChaikin’s Open Theatre, for whom he wrote what hasbeen called “the classic ensemble play,” The Serpent.His translations of four major Chekhov plays enjoycontinued popularity and are frequently produced. Hehas authored other plays, including The Tibetan Book ofthe Dead, based on the traditional teachings, TheTraveller, based on his experience helping JosephChaikin when Chaikin had a stroke, Struck Dumb, amonologue written with and for Joseph Chaikin, andAncient Boys, about a gay artist living with AIDS. Hehas also recently published a book on writing called ThePlaywright's Workbook, published by Applause Books.

As a performer, Jean-Claude an Itallie appeared as a in1998 in Flesh Chronicles, a piece on aging, conceivedwith choreography Nancy Spanier. He performed withtwo other men in the largely autobiographical GuysDreamin’, which received excellent reviews in Bostonand New York. His one-person show, War, Sex, andDreams has received positive reviews in both the LAand NY Times. Jean-Claude van Itallie has taught play-writing and performance at Princeton, NYU, Harvard,Yale School of Drama, Amherst, Columbia, Universityof Colorado, Boulder, Naropa Institute and other col-leges. He now teaches “Healing Power of Theatre” on-your-feet workshops around the country. He has trans-formed his farm in western Massachusetts into theShantigar Foundation, where spiritual and artistic prac-tices meet, and is the founding member of the grassroots group, Citizens Awareness Network, which com-bats production and proliferation of nuclear pollution.

We welcome this extraordinary artist, and anticipatewhat promises to be a keynote address to remember.

Something for Everyone

The 2002 Convention promises something for every-one. Workshops in acting, directing, playwriting,design, technical theatre, administration, puppetry,dance, choreography, children’s theatre, communitytheatre, summer theatre, professional theatre—toname a few! In addition to the many, colorful work-shops, we will stage performances right at the hotel (see

NETC News2

CoverStories

plays. The O’Neill bibliogra-phers Madeline Smith andRichard Eaton analyze theeffect Robards’ performanceshave had on subsequent per-formances and on scholarshipabout O’Neill’s later plays.Zander Brietzke writes aboutthe problem of performingO’Neill in the post-Robards era.

Part Two contains more personal recollections of JasonRobards. Several of Robards’ theatrical colleagues,including Blythe Danner, Christopher Plummer,Kevin Spacey, Zoe Caldwell, and Eli Wallach, to namea few, recall their times with the actor. Also includedare particularly fine obituary and memorial notices byKevin Spacey, Joe Morgenstern, and Charles Saydah,and a tribute by Jason Robards’ colleagues at TheRoundabout Theatre.

The Eugene O’Neill Society is a scholarly and profes-sional organization devoted to the study of the life andworks of O’Neill. Jason Robards Remembered is availablefrom the publisher McFarland & Co., but is also avail-able at Amazon.com, Borders, and Barnes & Noble.

NETC Convention 2002continued from page 1

Robards Tributecontinued from page 1

Delegates:Group Membership entitles two delegatesfrom your group/organization to receive theNETC News and to attend NETC events asmembers. Please print two delegates’ namesand information in this section:

Box Office Phone # (____) __________

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E - m a i lE - m a i l (very important)___________________________Web Address__________________________________________________

Membership: (check one)__ Individual $45__ Student $30 (Name school below)__ Group $95

(for Group membership, please fill outDelegate section of application)

Divisions: Choose the division(s) that mostclosely correspond to your main area(s) ofinterest or activity.

__ Children & Youth Theatre__ Secondary School Theatre__ College & University Theatre__ Community Theatre__ Professional Theatre

School / Theater Af filiations:______________________________________________________________________________________________________

[Students must name full time school.]

Craft or Specialty: (Please list)______________________________________________________________________________________________________

PLEASE PRINT!Member Name (Person or Group) ________________________________________________Address ____________________________________________________________________City ___________________ ST ______________________ Zip____________________Phone H(____)___________ B(____) ____________________ FAX(____) _____________

Complete and return with membership fee (check or VISA) to: New England Theatre Conference, Northeastern University,360 Huntington Avenue, Boston, MA 02115. Questions? Call 617-424-9275. Thanks!

For Office Use OnlyReceived _______ Recorded _________File # ___________ Car d mailed _______

2002-2003 NETC Membership Form

Call or write for brochure, application information or appointment:

Toll-free:1-888-277-GATE(4283)or (212)689-9371

28 West 27th Street, New York, NY 10001-6906www.GATEacting.com

GATE classes include: Faculty includes: Teva Bjerken, Per Brahe, David Chandler, Cynthia Reynolds, and David Wells

Guest artists from the US and abroad visit GATE throughout the year to hold discussionsTECHNIQUE: Moment to MomentAMERICAN DRAMA SCENE WORK:

The Character and the Action

WORLD DRAMA SCENE WORK:A Universe of Expression

YOGA: Your BreathTAI CHI CHUAN: The Actor’s PowerMOVEMENT: Physical FreedomVOICE PRODUCTION: Connection and

Resonance

COMMUNICATION FOR THE ACTORSTYLE: The Word as MaskSHAKESPEARE: Size with TruthMASK: Being AnybodyCHEKHOV SCENE WORK: Essence and ChoicePERFORMANCE: The collaborative develop-

mentover the year of a full production, which

O N E Y E A R

ConservatoryEnsemblePerformance Program

introduction to new york, sept. 2002introduction to new york, sept. 2002

SEPT.–MAY

ATE –Gregory Abels Training Ensemble is for student

actors with a strong desire and readiness to commit

to one intensive year of professional actor training

with a challenging and supportive Master Teacher.

Twelve student actors immerse themselves under the

guidance of Mr. Abels and a faculty of seven to mature

their technique and maximize their gifts before entering

the world of professional theatre.

Hallmarks ofGATE are strong discipline;careful, personal

attention to craft;a spirited,clean environment;

affordable tuition; serious peers; the liberating

experience of true ensemble work and full public

performances. GATE also provides student actors

with an opportunity to explore New York City as

a base and makes them competitive and realistic

in a profession which demands both.

NEW

Schola

rship

Funds

Availa

ble

“Mr. Abels is one of the foremost Master Teachers in the United States.” — Soul of the American Actor

“Bravo! An angel of a teacher.” — Stella Adler

“Thanks for the fine production.”—Arthur Miller (The Archbishop’s Ceiling)

“The work you are doing for international exchange is very important.” —VaclavHavel

(playwright; Pres. of CzechRepublic)

“Gregory Abels has put together a first class production.”—The New York Times (Show Me a

An artist of vast experience for the emergingactor, Gregory Abels has directed or appearedin nearly 800 plays, films and television dra-mas in the US and abroad. He has served onthe faculties of New York University, StellaAdler Conservatory, National Theatre Institute,National Shakespeare Conservatory, Warsaw

volume 11, number 4 5

Convention-goers will not have to travel far to get theirfill of live performances at this year’s convention. Sixexciting productions are scheduled to be performed atthe Wayfarer Inn. In keeping with the spirit of the con-vention’s theme, “Starting Here, Starting Now” theseperformances offer a broad sampling of innovative andoriginal theatre.

Thursday Evening, October 31: TheatreSports. TheUniversity of New Hampshire’s wildly popular comedytroupe will bring their special brand of hysterical improvto the convention for an evening of off the wall theatre.

Friday Afternoon, November 1: Theatre and FilmWriter/Director Albert Viola will present a dramaticreading of his newest work, Twin Towers Anthology. Theplay is a based on the Pulitzer Prize winning New YorkTimes series Portraits of Grief. The production is meantas a tribute to the fallen, as well as a celebration of thoselives lost on September 11, 2001.

Friday Afternoon, November 1: Staged Reading of the2002 winner of the Aurand Harris Playwriting compe-tition. A special presentation of this fourth-annualcompetition designed to foster excellence in playwrit-ing for young audiences.

Friday Evening, Nov 1. What better way to celebrate“Starting Here, Starting Now” than to spend anevening with the flamboyant visionary whose passionsparked the creation of the famed Group Theatre? Joinacclaimed actor Richard Rand in his solo performanceof Clurman. Experience the inspiration and exuberanceof the one and only Harold Clurman in this dynamicproduction directed by Gregory Abels.

Saturday afternoon, November 2: A special perform-ance of key note speaker Jean Claude van Itallie’sground breaking play Interview, presented by theCommunity Theatre of Saugus. This productionreceived accolades at the Eastern MassachusettsAssociation of Community Theatres, winning fiveawards, including Best Director and Best Ensemble.

Saturday evening November 2: The award winningPontine Movement Theatre presents Dearly Earned, anoriginal play that brings to life the realities of workingin a 19th century New England mill. This rich andinsightful piece makes use of a unique style of 19th cen-tury parlor entertainment known as “toy theatre.” Formmore than 25 years this impressive company hasthrilled audiences with their visually stunning andinnovative productions.

For more information on registering for theConvention, please contact NETC at 617-424-9275,or email mail@netconline.org.

Live Performances Aboundat 2002 Convention!

See wonderful plays for free! Reviewers will be neededto judge submissions for the Moss Hart Awards for the2002/2003 season. Judges will attend productions thathave been entered in the professional, college/universi-ty, community, secondary, and children’s/youth theatredivisions of the contest. After attending each show,reviewers are required to write a critique addressing thefollowing aspects of a production: vocal performance,ensemble performance, casting, direction, sets andprops, costumes, lighting, music/sound effects, choreog-raphy, overall impact on the audience and reviewer andspecial comments. We particularly need reviewers fromConnecticut, Maine and New Hampshire.

For more information about volunteering for this funjob, contact Richard Rousseau, Chairman, Moss HartAwards Committee, 1068 Pleasant Street, Canton,Massachusetts 02021, or email vze3wk8w@verizon,net.Thanks!

Moss Hart ReveiwersNeeded Opportunities

New this year at the 2002 Convention will be thefirst-ever “Theatre Olympiad.” This program, spe-cially designed for students in grades 7 through 12,will feature events in practically every area of the-atre. School theatre programs as well as other youththeatre organizations are invited to go for the gold asthey face off in such thrilling events as the 5 MinutePlay Dash, Power Lighting, Freestyle Set andCostume Design, Comedy Improv High Jump,Dance Decathlon and Musical Theatre Marathon.All events will be judged by panels of professionalsand students will receive written feedback on theirwork. Gold, silver, and bronze medals will be awardedat a special ceremony following the competition.Also included will be an exciting playwriting work-shop where students will be working on their ownten-minute play. One gold medalist will be selected

Exciting New Program forStudents at 2002 Conference

continues on page 6

NETC News6

This fall, NETC member Harriet Bigus, who claims tohave been prenatally an actress, debuts as a playwrightwith four new plays. But it all began with one play,Abigail, Harriet’s solo performance piece in which sheenacted the letters of John and Abigail Adams, writ-ten during the harrowing years of the AmericanRevolution.

After Abigail, Harriett kept reading the letters anddiaries of the Adamses, and discovered the charm ofyoung John “gallanting the girls,” besieged by “a pas-sion growing in [his] heart.” “A play!” these letterscried to Harriet, “Make me into a play!” The Fiddles,the Flutes, and Young John Adams was conceived.

Harriet then re-read the letters of the adorable youngAbigail (Nabby) of the “sweet smiles and sparklingeyes,” who signed her letters “Exit Rattle” and “Goldand silver have I none, but such as I have, I give untothee.” There was no resisting! A third play was born:Give My Love to Mr. Adams, winner of the 1998Playwrights’ Forum Contest.

Finally, Harriet revisited all the wonderful letters writ-ten during the Revolutionary period—John’s “Fly tothe woods with our children” and “July 3, 1776,Yesterday the greatest question was decided;”Abigail’s, “Remember the ladies,” and tender, deeplypersonal love letters. “They must,” thought Harriet,“be on that stage together.” Hence, Ever, Ever Yours.

“I am still,” mused Harriet, “after so many years,moved by these letters. I laugh over them and weepover them.”

Please contact Harriet Bigus at 5 Charles Street, NY,NY, 10014 or email her at BigusH212@aol.com formore information about the plays.

NETC Member Debuts as

a PlaywrightContributed by Harriet Bigus

Ovations

Local News

Pera Palas by Sinan Unel, a recipient of NETC’sJohn Gassner Playwriting Award in 1997, was theSpring 2002 production on the main stage of NewHaven’s Long Wharf Theatre. The Long WharfTheatre is one of America’s major regional repertorytheatres and hosted NETC’s awards ceremony forthe 2000 NETC annual convention. Previously, PeraPalas was performed at London’s The Gate Theatrein 2000 and in Germany and Austria.

Gassner Winning PlayPerformedContributed by Sheila Hickey Garvey

Orhan (Brandon Demery), a Turkish Gentleman, and Kathy(Kathleen Early), an American teacher, meet and fall in love in1952, despite their culutral differences. Pera Palas, written bySinan Ünel and directed by Steven Williford, was performed atLong Wharf Theatre in 2002.

from those who partake in this all-day playwritingintensive. The winning play will be performed byprofessional actors at the conclusion of the Olympiadon Friday, November 1.

An evening of activities is also planned for the nightbefore the Olympiad begins, for schools and organi-zations arriving on Thursday, October 31. Studentswill have the opportunity to enjoy a pizza and pool

party as well as a free performance by TheatreSports,the University of New Hampshire comedy improvtroupe.

Educators should be on the lookout for the TheatreOlympiad registration form, which will be mailedto schools in early September. Please contact DavidKaye at djk@unh.edu or (603) 862-0667 formore information or to obtain a registration formelectronically.

Exciting New Program at NETC Conferencecontinued from page 5

volume 11, number 4 7

Special Feature

This column represents our first installment of “TheForum,” in which opinion articles focused on topics ger-mane to contemporary theatre will be presented in shortessay form. As (informed) opinion pieces, they will notemphasize academically-oriented research and documenta-tion. Thus, the essays represent the views and ideas of thewriters, and not necessarily that of the Board of the NETCor any other contingent of the organization.

To launch this new column, I will offer the first few essays,and then solicit others from any member of the NETC. Itis our hope that members whose interest is piqued by one ofthe essays will respond with one to two paragraphs of up to150 words. Several of these short responses to the topicunder discussion will be printed in the subsequent issues ofthe NETC News. To submit a response, please email it tosramczyk@bridgew.edu as a Word document, making sureyou note how you would like your name to appear in print.

“The Primacy of Spectacle Over Text”As a theatre lover, practitioner, and academic, I havethe opportunity to see, review, or adjudicate anywherefrom about sixty to over one hundred productions inany given year, and have been pursuing this addictionfor what is now the greater part of my life. The vastmajority of these productions are at the academic orprofessional theatre (predominantly regional theatre)level. For this practitioner and educator, a disturbingtrend seems to be emerging over the past two decadesor so. To put in bluntly, “What has happened to text?”More specifically, in a large percentage of what we con-sider “period” or “style” productions, the text—themusic of the language, the literary devices, and mereintelligibility—seems to have become the sacrificiallamb to the great gods of riveting sound tracks,astounding lighting designs that can often rival that ofa Hollywood blockbuster, a whole array of mind-bog-gling special effects, and so on.

Now, I, as well as you, gentle readers, am keenly influ-enced by the plethora of 20th century advances madein the area of Aristotle’s sixth component in his sixparts of tragedy. Indeed, I often relish a masterful the-atrical “techno feat!” And, “no,” we cannot escapeBrecht’s indelible mark on contemporary theatre northat of pop culture of the late 20th century; and,“yes,” as many believe, I feel we should embrace theseforces in theatre. What happens, though, whenShakespeare’s words are barely intelligible due to araucous soundtrack and poor or lazy vocal and speech

habits on the part of the actors? What happens whenan 18th century comic classic features magnificent cos-tumes and sumptuous sets, but the director and actorsare seemingly unaware that the “artificial” languagethey speak contains some of the most magnificentliterary devices and linguistic musicality found in theEnglish-speaking theatre? My own take is that theaudience is cheated, or, at least, short-changed.

After listening carefully to audience response and por-ing over reviews, I have come to the conclusion thatthere is a sense that the audience member is plungedinto a luscious world of spectacle, in which they under-stand the general flow of the action, the overall washof character, and perhaps a bit of the thematic element.They are delighted, perhaps thrilled by what they seeand hear. They often feel that the somewhat exorbi-tant ticket price was almost as well spent as that whichthey typically shell out at the local movie house.Indeed, the costumes were as good, the sound effectswere deafening, and the set itself inspired applause!But what happens to subtlety and nuance? Whatbecomes of the great depths of characterization thatShakespeare probes? What is the fate of the many-lay-ered themes of Shakespeare’s plays or those of theGreeks? What death knell is sounded for these and forthe simple appreciation of good language spoken well?

This is not to say that period productions that elevatespectacle to the first order are not audience pleasers, asthey most certainly are. I have experienced far toomany (for my tastes) standing ovations to the plays ofOscar Wilde, Shakespeare, Sheridan, Sophocles, andMoliere, wherein the texts were severely clouded (ifnot fatally) by spectacle and/or seemingly a lack of

The Forumby Suzanne M. Ramczyk, Ph.D.Professor of Theatre Arts, Bridgewater State College and Chair of the NETC Long Range Planning Committee

continues on page 8

What happens to subtlety and nuance?

What becomes of the great depths of

characterization that Shakespeare

probes? What is the fate of the

many-layered themes of Shakespeare’s

plays or those of the Greeks? What

death knell is sounded for these and

for the simple appreciation of good

language spoken well?

Service,” I was reminded that for the last half-century,NETC has helped to foster community in the NewEngland theatre world. These are not the first hardtimes we’ve seen, and they won’t likely be the last.Together, we have weathered wars, recessions, mas-sive social upheaval and civil rights reform. We haveembraced rapid changes in technology, education,and arts funding. We have kept professional, commu-nity, youth, and college theatre alive with and with-out the help of our leaders, and we have created someof the best theatre ever made.

On November 1, 2 and 3, NETC will host the 2002Convention. The theme of this year’s gathering is“Starting Here, Starting Now: Celebrating theGenesis of Theatrical Creativity.” When we cometogether again this fall to draw strength, ideas, andenergy from our fellow members, we must rememberthat we may be starting a new era and a new season,but we are not recreating the wheel.

NETC has been a source of friendship and alliance forthousands of theatre practitioners. It has also been aresource, providing annual auditions, conventions,the New England Theatre Journal, the NETCNEWS, an annual directory of members and affiliates,and the REPA Job Fair to the New England theatrecommunity. I invite you to draw on these resourcesand connections over the next year, and to becomeactive in keeping New England theatre vibrant withNETC. If you are not yet a member, or if your mem-bership year is winding down, please use the formattached to this newsletter to join or renew.

Whatever the year ahead may bring for teachers, per-formers, administrators, writers, managers, directors, andstudents, find strength in community through NETC.

NETC News8

The Forumcontinued from page 7Special

Featurerespect for the language. Of course there have beensome more successful offerings in both professionaland academic theatre that were warmly received andfavorably reviewed. A few singular productionsoffered by the Stratford Shakespeare Festival inOntario and by local regional theatres stand out.(Mark Lamos’ Cymbeline at the Hartford Stage a fewyears back is particularly memorable as an almost per-fect wedding of spectacle and text that played tomostly sold-out houses.)

But the preponderance of productions seem to fallshort of this ideal marriage. I would propose that per-haps many contemporary stage directors, and artisticdirectors, live in fear of the great classics. That is, howcan any theatre supporting professional actors, direc-tors, designers, stagehands, and a vast amount of otherproduction and “house” personnel expect to “make”box office and dish up Moliere, or Euripedes, orCongreve without playing up every element of spec-tacle possible? I suppose the question could also beframed as, “How the heck can contemporary produc-tions of the classics compete with television andfilm?” Or, “How can we make the historical stuffpalatable for denizens of the 21st century’s technosociety?” These are all valid, and perhaps good, ques-tions, but why does text have to suffer?

I propose that even in this highly technical and visu-al society, text (and texts of historical plays, in partic-ular) has its place, a place that should remain keenlyrespected. I further propose that a patron’s experience(even that of newcomers to the theatre) will be farricher if above all the “Star Wars,” the language isheard, really heard, if the language is played well, yea,played beautifully! Beautiful language spoken wellneed not be subservient to spectacle; rather, it shouldsoar above and beyond it, providing the basis for thetheatre-going experience. Imagine the novice patronleaving a production of the Scottish play remember-ing far more than the technical feats accomplished bytechno geniuses! Imagine this same person experienc-ing Macbeth’s descent into bloody madness through amuch more vital, more personal, more visceral,indeed “rawer” experience. What a thrill to beholdthe lights, the effects, the astounding sound score thataccompany language—language that allows one toplumb the depths of Macbeth’s psyche and to experi-ence the dramatic action on a far more fulfilling andexciting level! Imagine a text-based theatre! What athought!

Deadline for all responses for the next Newsletter isNovember 1, 2002.

Find Strength in Communitycontinued from page 1

For the last half-century, NETC has

helped to foster community in the

New England theatre world. These are

not the first hard times we’ve seen,

and they won’t likely be the last.

WE WANT YOUR ARTICLES!Deadline for next NETC

News is November 1. Contact Peter Marsh atpmarsh0613@aol.com

volume 11, number 4 9

UpcomingEvents

Regis College Theatre Company PresentsLudlow Fair, by Lanford Wilson (Oct. 24 – 27)Daughters of Heaven, by Michelanne Forster (Nov.14 – 17)

Call the Box Office at (781) 768-7070 for ticketsand information!

Stoneham Theatre ScheduleLocated just 15 minutes from downtown Boston,Stoneham Theater opened its doors on December1, 2000. After decades of neglect, the space hasbeen transformed into a 350 seat, state-of-the-artperforming arts venue.

The 2002/2003 theatre season includes the follow-ing productions:

Sept . 6 – 20: Always… Patsy ClineOct. 18 – Nov. 3: The Woman in BlackNov. 29 – Dec. 22: A Christmas CarolFeb. 14 – March 2: As Bees in Honey DrownMarch 21 – April 6: Of Mice and MenApril 25 – May 18: Man of La Mancha

For additional information, call 781-279-2200 orcheck the web site www.stonehamtheatre.org

Upcoming Events NSMT Presents Melissa Manchester’sI Sent a Letter To My LoveNorth Shore Music Theatre (NSMT) proudly presentsthe New England premiere of I Sent a Letter To My Love.Based on the novel by Bernice Rubens, scored byGrammy Award-winning actress/singer/songwriterMelissa Manchester, with a book by Jeffrey Sweet, theproduction runs Sept. 3 – 22 at NSMT, in Beverly, MA.

Manchester said she and Sweet spent years adaptingRuben’s novel. “Jeff brought me the book and I immedi-ately saw a real musical heart beating underneath. It is abittersweet, funny love story, and I think people will findpieces of themselves in it. Everyone should bring a hankie.”

Tickets for I Sent a Letter To My Love are priced from $24to $62. Performances are Tuesday through Saturdayevenings at 8:00p.m. (except September 10 at 7p.m.);matinees Wednesdays, Saturdays and Sundays at 2p.m.Tickets can be purchase by calling the North ShoreMusic Theatre Box Office at (978) 232-7200, via thewebsite at www.nsmt.org or in person at 62 DunhamRoad (Route 128, exit 19), Beverly, MA.

In 2002, NSMT also will present the American pre-miere of the Gothic thriller Dracula: A ChamberMusical, Oct. 1 – 20; Chicago starring Deborah Gibson,Oct. 29 – Nov. 24; and the award-winning holidaymusical A Christmas Carol, Dec. 14 – 23.

ANNOUNCING…FOUR PLAYS ON JOHN AND ABIGAIL ADAMS

AVAILABLE FOR PRODUCTION Written and Adapted by Harriet Bigus*

The Fiddles, The Flutes and Young John AdamsA one-act, 5 character play. The 24-year-old JohnAdams “gallants the girls” and “finds a passiongrowing in his heart” for the WRONG girl.

Give My Love to Mr. AdamsJohn meets the RIGHT girl, the 15-year-old NabbySmith, with the “sweet smiles and sparkling eyes”…but who “reads too much and thinks too much.” A 5character, full length play.

*Harriet Bigus may also be available to direct. Contact Harriet Bigus at: BigusH212@aol.com or write to 5 Charles Street, New York, NY 10014-3036.

“Give My Love to Mr. Adams won the 1998 Westhampton Playwrights’ Forum Contest. It fairly leaped off the page to us when wereceived it, and that quality continued and expanded before an audience. It transfixed audience, directors, and actors by the beauty

of its language and its humanity. It was a beautifully outstanding play. Miss Bigus is a playwright with whom to be reckoned.”

—Lee Davis, author and playwright, Coordinator of the Westhampton Playwrights’ Forum Contest

Ever, Ever YoursA two character, full length play incorporating the letters ofJohn and Abigail Adams written during the harrowing times ofthe American Revolution—a tale of married lovers who endure“cruel separation” and the many dangers of war, and who sharethe glories of the American Dream for independence.

AbigailA solo performance piece, in which one woman enacts theletters of both John and Abigail. The play embodies most ofthe letters in the above.

NETC News10

A UD I-

It’s a big universe. Where do you fit in? S M

*You must be willing to relocate to Osaka, Japan,for a period of up to 12 months.

The Wild, Wild, Wild West Stunt Show ® & © Universal Studios.

Universal Monsters TM & © Universal Studios. Universal Monsters Live Rock And Roll Show TM & ©

Universal Studios. WaterWorld TM & © Universal Studios. The Blues Brothers ® & © D. Aykroyd

and J. Belushi Pisano. CHARLES CHAPLIN TM & © Bubbles, Inc. S.A. 2002. Licensed by Copyrights Group.

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successful new theme park in

history with exciting shows such

as WaterWorld T M ,̇ The Wild, Wild,

Wild West Stunt Show ® and

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the following positions at

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in Osaka.*

• Dancers who can sing

• Singers who move well

• Celebrity Look-a-Likes

• Comedic Improv Performers

Please visit our website at www.usj.co.jpor call our hotline at 1-877-776-7548 for specific location/times

and audition requirements including character profiles.

DETAILS:

NEW YORK,NEW YORKSeptember 17 & 18

TORONTO,ONTARIOSeptember 24 & 25

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Please arrive 30 minutesprior to call time forregistration. A non-return-able headshotand resume are required.

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Internships with major regional theatres

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1500 seat Mainstage

150 seat Experimental Theatre

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Southern Connecticut State University Department of Theatre

Southern Connecticut State UniversityNew Haven, Connecticut

Call for info: (203) 392-6100 or 5644www.southernct.edu

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