Do What You Will: ASC Theatre Camp Talent Show

Karl Dickey and Liam Rowland 

             Once every session, the campers get a chance to showcase their diverse talents to their peers during an ASC Theatre Camp event called “What You Will .” As the name might suggest, the campers can perform whatever they feel personally accomplished at or want to do. What You Will is a break from our standard rehearsal schedule that allows the campers to perform a wide variety of pieces, some quirky, most hilarious, all engaging, to their fellow campers.

            While not every What You Will has MCs, Karl Dickey and Liam Rowland volunteered for the task as part of their talent. Clad in uniform dinner jackets and bowties, sporting sunglasses and fancy hats, this hysterical pair introduced each of the twenty-seven pieces put on during What You Will. Both Karl and Liam are talented musicians, so they frequently introduced their peers in song. For example, before Noël Grisanti and Maggie Doyle performed the famous unpinning scene from Shakespeare’s Othello, Liam and Karl threw out a couple jokes and performed the “Othello Rap” from the Reduced Shakespeare Company’s The Complete Works of William Shakespeare (Abridged). Our MCs flew by the seat of their pants, providing hilarious, often improvised, introductions for their peers.

Hugh Raup "hypnotizes" Counselors into Contortion

            As previously mentioned in this blog, our campers this session are a particularly musical bunch, but it has never been so apparent as at What You Will. Be it performing original songs, covering well known favorites, or mashing up popular songs to create something new, our campers wowed us with their  creative, instrumental, and vocal prowess. In addition to musical abilities, many campers revealed their varied dance abilities. While we saw some magnificent traditional pieces, such as Caroline Cromwell’s ballet, some were refreshingly less conventional. Cyler Winnie did a modern robot dance fluidly, while Elise Ammondson did her own soft shoe/ hard shoe mashup Irish jig take on “Cotton-eye Joe.” Some of our campers decided to doff conventional talents in favor of physical feats. Hugh Raup decided to amaze his fellow campers by doing a series of contortions that culminated in the “hypnotization” of four counselors for a group number.

Carmen Paddock Performs a Monologue

            Some of the scenes that were being performed were original pieces written by our very own campers. Elizabeth Williams, Annalise Kiser, and Rachel Poulter-Martinez each wrote different pieces. Annalise chose to read her own work aloud while Elizabeth and Rachel  had given scenes to their peers and asked them to perform staged readings of them. Both Rachel and Elizabeth acted as directors for their scenes, and took the time before the show to gather props to bring them to life. In performance, the pieces were thoughtful, dramatic, and dark, and they well harnessed the talents of their peers. It was lovely to see this facet of our campers’ talents on display. It was interesting to see the fruits of the directorial positions that some of the campers took.

            The strong group energy that resonates during each camp activity has been remarkable. During many of the different musical pieces, the audience members would often chime in by clapping, snapping, or even stomping to the beat. Always respectful of the onstage performer, they got involved only they were encouraged to, always adding to and not detracting from the piece. This sense of group camaraderie was particularly tangible during Hugh Raup’s performance of “Mariner’s Revenge” by The Decembrists. He sang it with no instrumental accompaniment, so, taking the lead of counselor Dan Stevens, the campers beat out a percussive line to add to the song.

What You Will has consistently been a lovely night where all of the members of camp get together to watch and support each other’s abilities. What You Will is voluntary, so everyone who performed wanted to showcase and share their accomplishments with the camp. It is a beautiful evening of support, humor, creativity, and appreciation, and it demonstrates what a large pool of talent our directors at their disposal to incorporate into our upcoming productions. Though What You Will was a private, camp-only event, our performances of Shakespeare's 1 Henry VI and Much Ado About Nothing as well as Beaumont and Fletcher's A King and No King premier on Sunday, August 5th for a free and open to the public one day event. Please join us to see more of what our talented campers can do!

 --Madeleine M. Oulevey

The Lion in Winter and The Two Gentlemen of Verona

Going to see the plays at the Blackfriars Playhouse is one of the biggest perks of ASC Theatre Camp. Friday night, we found all the campers no longer in movement clothes and T-shirts, but decked out in seersucker and peacock prints. Bowties, vests, heels, and lace abounded, and as we waited by the Playhouse for the go-ahead from the Box Office staff, cameras flashed and Madeline, one of our camp alums who happened to attend Friday’s performance, received dozens of hugs from returning campers, everyone was giddy with excitement to see the show.

And what a show. We saw The Lion in Winter on Friday night, a show full of passion and history (both political and familial). As always, it is a pleasure to see these young artists so enraptured by the work of the ASC actors, actors they’ve been studying with all week in their workshops. A first year camper, Maggie, burst out, “I didn’t know I was studying with gods!” Since these campers already know and love so many of the actors, when those actors’ characters have anything sad to say, they receive from our enthusiastic section front and center of the theater a chorus of sympathetic “oooh!”s. At intermission, I overheard campers trying to figure out if, at any point, the characters were telling the truth. The characters in this drama layer deceits on deceits, and just when you think you’ve figured out who wants what from whom, you find you’re wrong. But however complex the windings of the plot, Lion’s dialogue is smart and quotable; since watching this show, the campers have been throwing around phrases such as, “Of course he has a knife, he always has a knife, we all have knives! It's 1183 and we're barbarians!” or “I never cease to marvel at the quickness of your mind” or “Hush dear, mother's fighting” or “You stink. You’re a stinker and you stink” -- all in good natured fun.

Saturday night we all returned to the theater to see The Two Gentlemen of Verona. This was a whole different experience because now we got to see the whole troupe performing, and we got to watch the actors working with Shakespeare’s text. Watching the campers is a real treat, as I see them drinking it all in, eyes wide, minds open, learning by seeing professionals at work. Though work seems like too strong a phrase. The campers clap and sing along to the pre-show and interlude songs, and they contemplate the subtleties of iambic pentameter while eating gummy bears. And after the show, conversations exploded about Shakespeare’s problematic ending, about the themes (friendship? what makes up one’s self? serving and service? loyalty?) or about the performance choices. These conversations continued back to the dorm, to the gelato shop, even into brunch and to the day on the lake the next day.

Alumni Camp's Macbeth

Although Session 1 ended on Sunday, the excitement of camp never pauses during summers at the ASC. This week, which falls in between Session 1 and Session 2 of ASC Theatre Camp, the ASC alumni camp is producing Macbeth. Campers who have aged out of both sessions have come together in a theatrical reunion under the direction of Matt Sincell. This weeklong frenzy is certainly intensive, as the twelve person cast rehearses around eight hours a day. After a move-in day, the alumni have only six days in which to memorize, block, and rehearse the entire play. Fortunately, these dedicated campers are so passionate about this play and about ASC Theatre Camp, that they are willing to suffer through these challenging conditions and commit themselves fully to this endeavor.

Watching the rehearsal process has been fascinating because the show is such an equal collaboration between actors and director. Matt is completely open to the campers’ visions and ideas for the show and many of them are incorporated throughout. Because this age group is eighteen and up, these actors are well equipped with the skills they gained attending ASC Theatre Camp, as well as general knowledge of theatrics.

Shakespeare’s Macbeth is notorious for its eeriness and violence, elements which the alumni are taking by stride, sparing the audience no mercy. The play’s magic is brought to life not only in the three witches, but also in Macbeth; this production highlights his interest in the supernatural. With fight scenes choreographed by Matt Sincell and Ben Curns, this production will raise goose-bumps on the skins of whoever dares to attend.

The performance will be on Sunday, July 15th at 5:00 p.m. at the Blackfriars Playhouse. Admission is free.

Facebook Event: http://www.facebook.com/events/403953632975435/

--Emma Lo

Coming Soon to a Playhouse Near You: ASC Theatre Camp Pre-show!

A unique trademark of the American Shakespeare Center that contributes to their commitment to authenticity is their retention of the early modern association of music with playgoing . At the ASC, actors perform music in the half-hour before the show begins, to welcome audiences and to entertain them as they settle in to the Blackfriars Playhouse. The ASC Theatre Camp has adopted and adapted this tradition and will be performing a pre-show for the ASC’s The Lion In Winter on Friday, July 6th and The Merchant of Venice on Saturday, July 7th. They’ll also be performing the pre-show before their own shows on Sunday, July 8th. Symmonie Preston, the ASC's new Director of College Prep Programming, directs this year's pre-show.

ASC Theatre Camp pre-shows have varied in the past, sometimes taking on a specific theme or a single concept. This year, Symmonie’s vision for the pre-show is that it serves as a teaser for the three shows: Twelfth Night, Gallathea, and Romeo and Juliet. Most audiences will not be familiar with John Lyly’s Gallathea, and the pre-show will give the camp a chance to present some of Gallathea’s main plot points as well as the more familiar themes of Twelfth Night and Romeo and Juliet, hoping to entice the audience with hilarity and preposterousness of the play.

Gallathea’s source of conflict for its characters is the monster Agar, who comes once a year to devour the fairest virgin sacrifice, threatening to destroy the land if the citizens fail to provide the maiden. Though he never actually appears in the play, the pre-show realizes Agar using eleven campers and Symmonie’s movement choreography. In progression, the campers fly on stage from various entrances, forming the monster out of many devilish birds. The whirlwind of capes and masks that swarms around the virgin sacrifice has a chilling effect. Another group of campers has created a soundscape for this scene that involves a haunting melody with saxophone and the triangle. Together, the movement and music bring the creepy Agar to life.

The monster scene is one of many in the pre-show, which includes scenes from all three plays. Excerpts from Twelfth Night outline Viola’s predicament and introduce most of the play’s characters. Likewise, the audience gets to witness Sampson’s and Abram ’s fight and a peek into Romeo and Juliet’s cursed lovers’ lives. All ASC Theatre Camp shows run for 60 minutes only, necessitating significant cuts to each script. Luckily, the pre-show gives us the chance to restore some of these cut scenes. Peter’s big scene in Romeo and Juliet had to be cut from the play for Sunday’s performance, but is a part of the pre-show. Campers with more minor roles in their plays are featured prominently in the pre-show so that everyone has an opportunity to lead the stage while at ASC Theatre Camp. For example, Mercutio does not deliver his famous Queen Mab speech for the pre-show; instead, several different campers share the speech, giving them a stab at this famous speech. These campers used diction guidance from the Ralph Cohen workshop they attended to tell a collaborative version of Queen Mab’s tale.

In fact, the pre-show not only gives the audience a preview of the three plays, but also a look inside many different workshops and master classes that the campers attended, as certain elements from these events are part of the pre-show tapestry. At Chris Johnston’s music workshop, the campers helped to write a song called, “Lady, Lay” that involves singing, a troupe of guitarists, and complicated hand-claps. “Lady, Lay” features in the pre-show, along with several other songs that the campers arranged.

The ASC Theatre camp pre-show may precede the main performances, but it is an entire show of its own, making an outstanding start to an afternoon of theatrical wonder on Sunday. Join us at 7:00 on Friday and Saturday night and 11:30 on Sunday morning to see ASC Theatre Camp’s pre-show!

--Emma Lo

What else is happening at YCTC?

Wednesday evening, the “What You Will” talent show went up, and since I know it beggars all description, I will simply pass along some photographs of the evening as soon as I can.

Thursday, instead of having a lecture, the whole camp went to see part of another show at the Blackfriars Playhouse: the Touring Troupe’s production of The Winter’s Tale, which was having a dress rehearsal during normal lecture time. However, the campers were only able to see the first half of the production, so there was a great variety of response to the pre-intermission part of the story. Some mentioning, “Leontes is pretty opinionated. I don’t think I like him at all.” or "Yay, for the depressing half!" Some of the campers have been in productions of this play; one had acted in The Winter’s Tale at ASCTC earlier this summer. Others were in the camp production two years back, and some had never seen or the play and had no idea of the story. It’s one of my favorites in Shakespeare, so here’s hoping they come back sometime to see the end. :)

As always, the weekends at camp are full of trips to the Playhouse to see the ASC’s shows, but this weekend featured two other special events. Saturday night was the Masquerade ball, a dress up affair featuring everything from Elizabethan Ball gowns to fairy wings. On Sunday the whole camp drove out to Lake Lofton to spend the day outside, where everyone had some time in the sun, on the beach, in the water, and just time to relax in the midst of all the craziness of camp.

Today we begin the home stretch, heading towards the final productions on Sunday afternoon. Everyone’s way more comfortable. We might make ice-cream runs during siesta, or sit around chatting about where best to find stain remover in walking distance of Stuart Hall. We start the late-night rehearsals in the Playhouse, where the campers get a chance to rehearse their plays in their performance space. This morning was the last workshop. There are only two more lectures, and the rest of the camp will be devoted to preparing for the final shows and preshow performances. You can feel the energy among the campers despite how much of their days are just plain hard work. Watching them succeed when we set the bar so high is a pleasure every day.

Weekend and Monday workshop

On Friday evening, the campers went to their first show at the Blackfriars Playhouse, the opening night of The Tempest. Everyone was dressed for the occasion, and it was great fun to see the campers all cleaned up. After a week of yoga pants, running shorts and T-shirts, here they were, sporting ties and hats, heels, summer dresses, scarves, and suspenders. Their enthusiasm infected the whole playhouse. Sometimes this energy showed itself in silent rapt attention, sometimes in applause after a particularly impressive scene, and at intermission their energy broke into dancing to the actors’ music as they waited in line for the snack cart. I had hoped to go with the campers to The Importance of Being Earnest the following evening, but the house, including standing room, was completely sold out, so I had to take it on good report that everyone had a good time.

The weekends at ASCTC feature a lot of much-appreciated time out of doors. During the weekdays, the campers are free to spend time outside during their siesta after lunch, either on the Stuart Hall grounds or walking in pairs around downtown Staunton. Sometimes in rehearsal a few campers will head outside with an assistant director, working on another scene or running lines while the director works on a different scene, but otherwise most of the workshops, lectures, and rehearsals are held indoors. On Saturday, however, all the campers went to Gypsy Hill Park for a picnic lunch, and on Sunday, everyone headed to Lake Lofton for a day of cookouts and sunshine and swimming -- exactly what they needed after a week full of working their minds.

Monday morning opened with other pair of workshops, one in Voice with Allison Glenzer and another in Alexander Technique with Jeremiah Davis and his teacher, Daria Okugawa. She describes Alexander Technique as an endless study, like learning to play a musical instrument, but says that even a few pointers in a 2-hour workshop will give you enough to start thinking and working. Much of the morning was spend simply identifying areas of stress and tension in our bodies and in our lives and realizing that awareness of these areas will allow us to change our habits, so we can expend less energy on simple actions like walking or sitting or standing and be more focused on whatever task we are hoping to perform.

This was my first experience with any sort of Alexander workshop, and though I usually sit and take notes on the workshops, Jeremiah encouraged me to join in, saying that I’d learn a great deal more by doing it, rather than by just looking at the campers work. The most amazing thing for me was watching the way that the campers' bodies changed just by having Okugawa shift their head or shoulders so that their spine was erect and not curved or slumped to one side. Suddenly the teenagers I had become used to seeing as slumped, tired, or lacking physical confident turned into beings of statuesque beauty and elegance. Every inch of their bodies became suddenly engaged and alive in a matter of seconds. The rest of the campers were gasping at the change, which wasn’t necessarily one they could hold onto, as all of them had build some pretty strong habits. At least now they knew what they were capable of, had had a glimpse of it, and they can take that shimmer into the way they carry themselves in the world.

Interview with Hugh, Emma, and Finn

Finn had mentioned in a lecture that morning that he had never been to a Shakespeare play before this past weekend, so I asked him at lunch if he would be up for an interview, and as it turned out, I got Emma and Hugh as well. Hugh is a veteran of this camp, but Emma had also never seen a Shakespeare play, and they were both eager to talk.

Me: So Hugh, you’ve been to lots of shows at Blackfriars, right?

Hugh: I’ve been going to the Blackfriars for I don’t know, maybe two or three? Three years.

Me: And what have you seen? What is the best show you’ve seen?

Hugh: [...] My top three would definitely be Tempest, because the crossdressing scene and the Shakespeare rap just blew my mind. But then the other two before that would have to be Titus Andronicus. Just because it was so well done.

Me: What made it well done? What did you like about Titus?

Hugh: Sarah Fallon. And the tasteful use of blood. Not over-blooded, not under-blooded, but just the right amount of blood. And I don’t know, good acting. And there was another one. [...] Taming of the Shrew. Favorite play ever. Loved Petruchio. Ben Curns. Love Ben Curns. So awesome.

Me: [...] So what about you guys? Never been to a Shakespeare play?

Emma: I’d never been to a Shakespeare play before.

Me: […] So what brought you to this camp?

Emma: Well, for the experience! 'Cause it’s completely different from what I’ve been trained to do.

Hugh: What have you been trained to do?

Emma: Always face the audience, never turn your back on the audience, and now, you’ve got audience all the way around you. It’s really, really different from what I’ve learned. Being able to see it all and with the lights on. I’d never even heard of that. [...] The Tempest was the first Shakespeare Play I’d ever seen, and it just absolutely blew my mind, so fantastic. My favorite line of Shakespeare is, “We are such things as dreams are made on,” and it had totally slipped my mind that that was the play it was from, so when he said that line, I totally had a spaz attack in the middle of the audience. It was hilarious.

Hugh: Me and Cam, we were just dying. […] I had heard the “We are such stuff as dreams are made on” speech like so much. I never had to say it, but I have it pretty well memorized because they say it at the end of every day at the [Virginia] Renaissance Faire, which is an awesome closing speech. And I was like “that’s The Tempest!” And I was just making Cam die, because I was just leaning over and whispering the lines. Prospero would say a line and I’d be like “next line.” I’d whisper the line, and then he’d say it, and then I would say a line, and then he would say it, and she was, like, so confused by me, like, “Why do you know what he’s saying!?”

Me: Finn, you’d never seen a Shakespeare play either,

Finn: And it was so drastically different from my views of Shakespeare.

Hugh: Well, this is not normal Shakespeare.

Emma: Yeah, that’s true.

Me: What were you expecting?

Finn: For one thing, I didn’t expect to understand it or follow the plot at all. I thought, “It’s going to be words I don’t know, spoken way too fast.” Because I’ve read Shakespeare, but I’ve always had to read it, to read each line, six or seven times. And I thought I’m not going to be able to do that, and it’s just going to be really fast talking, and not even, or hardly even English, and I’m not going to know it. And then I went there, and for a moment I was totally terrified, and then not only was it understandable, like really comprehensible, it was also surprisingly relatable, it didn’t seem that ancient at all.

Hugh: That’s why we still do Shakespeare.

Finn: It seemed really connected to modern life in a way I didn’t think was actually possible.

Emma: What I absolutely loved about this was that when we went to see the plays, we knew the actors. It makes it so much better, just really, really cool.

Hugh: Ariel, the music guy [Greg Phelps].

Finn: We wrote a song with Ariel!

Emma: And Miriam [Donald] played Miranda.

Me: And you had voice with Alli [Allison Glenzer]?

Emma: Just yesterday.

Hugh: I haven’t yet, I’m looking forward to it.

Emma: Yeah, it’s pretty awesome, she taught me how to vacuum my lungs. Oh. Mygod. It was just amazing.

Me: How do you vacuum your lungs?

Emma: You breathe all of your breath out, and when you think there’s no breath left in you, you keep breathing out. And then you put your hand over your mouth and then your nose, and then you hold it for a very, very long time until you can’t hold it anymore and then you breathe in and you can feel it, and it’s just awesome.

Me: So, it’s to help you breathe deeper?

Emma: It’s to open your lungs, kind of vacuum out everything.

Me: cool.

Emma: I never heard of doing anything like that, and the second she said we’re going to vacuum out your lungs, I was like, "ohmygod I’m so excited!"

[everyone laughs]

Finn: That would not have been my original response.

Hugh: I would not have been excited.

Emma: I just love making a better environment for singing.

[lunch was pretty much finished by this time, and all the campers were dispersing, so Finn summed it up for us]

Finn: So the moral of my story is I was pleasantly surprised.

First Couple Days of Camp

Dear parents, friends, interested readers, all,

I am writing from the library at Stuart Hall, and while everyone else is hard at work in rehearsal, I thought I would post a first update on the camp and what the last day and a half has held.

For me, the auditions at ASCTC are as exciting as the final performances. Monday morning, these campers come full of potential and energy and dive right into the excitement and the joy of working. Doreen begins with exercises to help get some jitters out, and to remind the campers of the importance of timing and focus, of beginnings and endings, and the place of stillness onstage. All of which skills they put straight to use after learning to sing a round composed by some of the counselors and then divide into groups of three and make their own performances out of that song. Highlights of this section included a camper making up a guitar part to accompany his group, some use of mime, storytelling, unison movement and beatboxing, all of which gives the directors not only a good sense of the special skills of the campers but also shows teamwork, energy, stage presence and creativity.

The next section of the auditions is another sort of devised performance but in much larger groups. In three groups the campers tell the stories of the plays of this session without words, but aided by ten carefully chosen lines from the plays, and a list of required actions. These performances can be so beautiful they take away one’s breath, as Shakespeare’s images become physicalized, and these young people present stars burning in their spheres, the pain of isolation, the delight of young love and the sorrow of endings. Perhaps most impressive was the ten seconds of stillness as all the villagers gathered around the maddened Jailer’s Daughter, who was staring into the distance, “dreaming of another, better world.”

By the time the audition gets to the much anticipated 10 lines of prepared text, the campers were so enthusiastic and so eager to applaud each other’s success that we had to stop them to avoid spilling over into lunch.

The other particularly exciting part of Monday is the tour of Blackfriars Playhouse. After a brief of dense introduction to the whole of the building, including costume shop, trap door, backstage, balcony and then onto the main deal, which is again lead by Doreen, who gets all the kids onstage, all waking up the space and fills them full of questions.

How can you frame yourself in the architecture of this particular stage?
How can you give or command power onstage?
Everything is full of straight lines and angles except for the discovery space, the little curtained entrance right in the middle. How can you use that fluidity?
How can you hide onstage? What makes you take up more than usual?
What about your own voice in the space?
How much sound can you make?
How soft can you be and still be totally clear? It isn’t any easier than being loud, and takes all sorts of energy and focus.

The campers all got a chance onstage to feel themselves in that space, but also were right there in the theater watching their fellow campers, and learning just as much from watching others work, as working themselves. We looked at geometric figures and how, like painters, we can use shapes and lines to create focus and beauty onstage. As Doreen says, “make it art. Don’t make a ‘sort of’ line, make a line!”

Right before dinner the cast lists were posted and that evening the directors ran a “Paraphrase Extravaganza” teaching scansion and meter, rhetoric and how to paraphrase so the campers can begin really digging their teeth into the text.

This morning, Jeremy Febig lectured “On Shakespeares and Centers” which introduced Shakespeare and a smattering of history surrounding the man, as well as the ASC and some of the founding goals of the company. Covering conceptions of Shakespeare as unfamiliar, commonplace, mandatory, unimaginative, fixed up or intimidating, Febig explored some causes of these understandings of Shakespeare and what places like the ASC change these understandings. When produced with skill and imagination, using the staging conditions for which the plays were written, Shakespeare is seen for what he really is, relevant to his own day and ours, in conversation with our world, and with the world in which he wrote the plays. The campers engaged the material and asked lots of questions, shared many ideas of how Shakespeare is and could be taught. One camper said she hadn’t had a bad time learning Shakespeare in her English classes at School, but that it was difficult because they never read anything out loud. In her words, “it’s easier to act Shakespeare than to read it.”