Regarding the nudity, or lack of it, in the Aurora Fox's production of "The Graduate", John Moore's mention of it in the Sunday Denver Post and the current dialogue... The decision about the nudity was made before I signed on to do the show. I was aware that the script called for it when I auditioned and as a professional actress and playwright, I would have bucked up (or should I say 'buffed up'?) and done it. Frankly, I am not a fan of alterations to theatre (that's for you John) scripts, and I'm not sure of a playwright who is. I find additions, subtractions and 'improvements' to plays by other theatre artists disrespectful at the least, hubris if I'm being dramatic. As an actress/playwright I must remember which hat is on my head to avoid conflict, though we writers actually have unions and guilds to prevent these decisions from being made and recourse for them when they are. But that's a discussion for another column, another blog.
Basically, disregarding the author's intent is equal to the actor not honoring the director's directorial notes, or the costume designer blowing off the agreed upon color palette, you get the idea. It says that you may have your job, but I know better. What if, for example, playing Mrs. Robinson I chose to take the same liberty and come out one evening stark naked? The hierarchy of theatre has always been skewed. We claim to serve the play and mouth that the playwright is king or queen, then make changes as suits our needs. Happens in film, happens in TV... where there's a writer, there's an editor. The line of demarcation here is in intent. Does deleting the stage direction of her nudity alter the action of the scene or the impact on the characters? Does it make my Mrs. Robinson more or less seductive, powerful or desperate? I don't think so. Would it be more shocking and intimate if I were standing naked in front of Jack Wefso as my Benjamin? Yes. But the real vulnerability would have happened between us, in rehearsal, long before the audience filed in. I'm sure there are many theaters in Aurora and in Glendale for that matter, where the nudity of the woman on stage would be critical to the quality of the show. I don't think that would apply in this case. Theatre ethics and theatrical risk aside, the real and most important question here is this: would the show receive more stars if I showed my tits?
Showing posts with label the graduate. Show all posts
Showing posts with label the graduate. Show all posts
Monday, February 15, 2010
Thursday, January 21, 2010
A COUGAR AND HER SPOTS
A COUGAR and HER SPOTS
I’m in rehearsal, which is usually no big thing, but this time it’s for the iconic role of Mrs. Robinson in the upcoming production of The Graduate. When the thirty-six year old Anne Bancroft signed on to play the role, I doubt she knew she’d let the cougar off the leash, but standing, silhouetted in the threshold of Benjamin’s doorway that’s exactly what she did. Like the ‘door slam heard round the world’, as Nora walked out of A Doll’s House, Mrs. Robinson flung open wide ‘the bedroom door that would not close’. Both characters changed the world’s perception of women but Bancroft’s portrait of female sexual power post-40 is a tall pair of stockings to fill.
The play blends the biting, beautiful humor of the Buck Henry screenplay and story elements from the original Charles Webb novel. These changes affect Mrs. Robinson most directly, and bring a keen balance of hope and bitterness to her character. Societal views have changed a lot since 1964, especially toward women. How will these script and perspective changes affect an audience so familiar with the only Mrs. R they’ve ever known? Is it possible for me to create an original performance from such an original character? We shall see… As I pack my script and notebook, heading east toward the theatre; I recall a fitting quote from Ms. Bancroft herself. "I am what I am because of what I am and if you like me I'm grateful, and if you don't, what am I going to do about it?"
---Here’s to you Mrs. Robinson.
THE GRADUATE February 12- March 14, 2010
Aurora Fox Theatre 9900 E Colfax Ave
6 miles east of the State Capitol in Aurora, Colorado.
Fri & Sat at 7:30, Sun at 2:00
For tickets call 303 739-1972 or visit www.aurorafox.org
I’m in rehearsal, which is usually no big thing, but this time it’s for the iconic role of Mrs. Robinson in the upcoming production of The Graduate. When the thirty-six year old Anne Bancroft signed on to play the role, I doubt she knew she’d let the cougar off the leash, but standing, silhouetted in the threshold of Benjamin’s doorway that’s exactly what she did. Like the ‘door slam heard round the world’, as Nora walked out of A Doll’s House, Mrs. Robinson flung open wide ‘the bedroom door that would not close’. Both characters changed the world’s perception of women but Bancroft’s portrait of female sexual power post-40 is a tall pair of stockings to fill.
The play blends the biting, beautiful humor of the Buck Henry screenplay and story elements from the original Charles Webb novel. These changes affect Mrs. Robinson most directly, and bring a keen balance of hope and bitterness to her character. Societal views have changed a lot since 1964, especially toward women. How will these script and perspective changes affect an audience so familiar with the only Mrs. R they’ve ever known? Is it possible for me to create an original performance from such an original character? We shall see… As I pack my script and notebook, heading east toward the theatre; I recall a fitting quote from Ms. Bancroft herself. "I am what I am because of what I am and if you like me I'm grateful, and if you don't, what am I going to do about it?"
---Here’s to you Mrs. Robinson.
THE GRADUATE February 12- March 14, 2010
Aurora Fox Theatre 9900 E Colfax Ave
6 miles east of the State Capitol in Aurora, Colorado.
Fri & Sat at 7:30, Sun at 2:00
For tickets call 303 739-1972 or visit www.aurorafox.org
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