The yoke of Hollywood celebrity, gender dysphoria and our decade’s popular realization that the roles played by Mom and Dad were, in reality, tragically failed performances are some of the themes explored in "Bad Night," penned by elusive local playwright Ira Bateman-Gold.JMarcus Newman helms this world premier commissioned by Compass to salute San Diego’s Gay Pride activities. I first met JMarcus when he went by the name of Nonnie Vishner. I cast Nonnie in the rough and tumble first production, "Lunch and Dessert," that sprung Diversionary Theatre into the San Diego Theatre scene, over 20 years ago. Nonnie turned in a strong reliable performance then and he has since continued to fortify San Diego’s small theatre scene over the years and served as a popular photographer for actors. He also wrote, directed and produced his play “MOMS in AMERICA.”
# # #
Espresso Refill: Why did you change your name?
JMarcus Newman: In about 1997 I decided to give it one more "good college try". In order to avoid rejections letters that read "Dear MS. Vishner we have CAREFULLY reviewed your resume."
ER: What is the play about?
JMN: “Bad Night” is a multi-layered exploration of personal truths. For those of us who do theatre, it asks the very daring question, "am I more honest on stage than I am in real life?" Bateman-Gold uses a play within a play construct to explore love and sexuality, familial dysfunction, gorilla and wartime murder, forgotten incest and how these factors influence how we live in the world.
ER: Which was the most difficult role to cast?
JMN: Jake. No, wait, that was pre-cast with the producer, Dale Morris. But that worked out very well because Dale turns in a wide-ranging and committed performance that fans of his will admire.
Each of the characters had his/her unique challenges in casting. There was of course the bottom line difficulty of finding actors who would be willing to appear nude on stage and make love to another man. I think, given the extremely small number of actors who auditioned for this play, that we have put together an incredible ensemble. I don't know whether it is due to this particular company, my approach to directing, or a combination of the two, but these actors have been so great in their exploration of their characters, the homework they have done and the truths on stage that they have committed to. Each of them has taken a giant leap forward in their growth as an actor.
ER: Yes, that is a given. What do you expect an actor to bring rehearsals; the homework that is the practical work, which gives dimension and enriches the character’s stage life in the overall scheme of the play?
JMN: Once an actor understands who the character is, then the only things he can bring to a line, using the actor's equipment of voice and body, is honesty. Respond to the line you've just heard in a way that makes you, the actor, feel as the character would.
ER: Was the playwright participating in the rehearsal process?
JMN: Yes. We got numerous changes. And we accepted them with good humor and professionalism and a great deal of good-natured grumbling.
ER: Opening night can be difficult. Watching a play I wrote or directed, I usually start off standing at the back of the house and slowly move to the street, even when audience is getting it, when the silences and laughs occur at the appropriate times. How do you handle opening nights?JMN: If there is a seat available I will sit in it and watch. I'm too old to pace. If there are no empty seats, which would be a good thing. I will probably go home (I live nearby) and come back for the Opening Night reception and ask how it went.
When I dabbled in painting during my high school and college years, I decided that once I signed the painting I could no longer work on it and would just have to accept it for what it was. Just before opening night of “Bad Night,” I have a few notes about a script change to give the actors tonight and a suggestion or two about costuming and make-up. Then I am signing off! It is theirs to enjoy and share with our audiences. But I have spies who will tell me whether they change things on their own, something paintings cannot do.
ES: Some new works remain "in process" during their run as a playwright and director continue work on the piece evolving with an audience. You have no plans to continue work on "Bad Night" with rewrites, structure and such?JMN: To my knowledge there are no plans to continue rewriting "Bad Night" during the run.
# # #
Photos: JMarcus Newman; Eduardo Cao (left) Douglas Myers (right), courtesy of Compass Theatre
# # #
"Bad Night in a Men’s Room off Sunset Boulevard"
By Ira Bateman-Gold
Compass Theatre
June 5 - June 28, 2009 through Fri Sat 8pm, Sun 2pm
Penn and 6th Ave, San Diego
$18 - $15
619-688-9210
http://www.compasstheatre.com/bad_night_in_a_men.html
2 comments:
Thanks Thom.
Correct title for my play though is MOMS in AMERICA ... for all the producers trying to find it ...
Corrected! tv
Post a Comment