Tag: theatre

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Creative

Irish Theatre on Broadway

By Jordan Levinson

Irish theatre has a long and storied history on Broadway, dating back to the early 20th century. From the works of great Irish playwrights like George Bernard Shaw and Sean O’Casey to contemporary productions like “The Ferryman” and “Hangmen” Irish theatre has made a significant impact on the Broadway stage.

George Bernard Shaw at Shaw’s Corner, his home for 44 years (photo: Granger Historical Picture Archive / Alamy Stock Photo)

One of the earliest examples of Irish theatre on Broadway was George Bernard Shaw’s “John Bull’s Other Island,” which premiered in 1904. The play tells the story of an Englishman who travels to Ireland to build a hydroelectric power plant, but finds himself at odds with the locals and their way of life. The play was a success and helped establish Shaw as one of the leading playwrights of his time.

From left, Adam Petherbridge, Clare O’Malley, John Keating and Ed Malone in “The Plough and the Stars.”

Another notable Irish playwright who made an impact on Broadway was Sean O’Casey. His plays, including “Juno and the Paycock” and “The Plough and the Stars,” dealt with the struggles of working-class Irish families during the early 20th century. These plays were praised for their realistic depictions of life in Ireland and helped introduce American audiences to the political and social issues of the time.

The Weir 1999 Broadway Production Photo

A new generation of Irish playwrights emerged, including Brian Friel and Conor McPherson. Friel’s “Dancing at Lughnasa” (1991) tells the story of five unmarried sisters living in rural Ireland in 1936, while McPherson’s “The Weir” (1999) is a ghost story set in a remote Irish pub. Both plays were critical and commercial successes on Broadway, and helped establish Ireland as a major force in contemporary theatre.

In recent years, Irish theatre has continued to make an impact on Broadway. In 2012, “Once,” a musical based on the 2006 film of the same name, premiered on Broadway and went on to win eight Tony Awards, including Best Musical. The show, which tells the story of a Dublin street musician and a Czech immigrant who fall in love, was praised for its heartfelt music and authentic portrayal of life in Dublin.

Another recent Irish production that made waves on Broadway was “The Ferryman,” a play by Jez Butterworth that premiered in 2018. Set in rural Northern Ireland during the Troubles, the play tells the story of a family caught up in the conflict. “The Ferryman” was praised for its powerful performances and gripping storytelling, and won four Tony Awards, including Best Play.

(Mel Melcon/Los Angeles Times)

You cannot write a piece about Irish theatre without playwright Martin McDonagh, a renowned Irish playwright and screenwriter who has made significant contributions to Broadway. He is best known for his dark comedies and exploration of human nature through his works. McDonagh made his Broadway debut in 1998 with “The Beauty Queen of Leenane,” which was critically acclaimed and won four Tony Awards, including Best Play. He followed this up with “The Lonesome West,” “The Pillowman” and “Hangmen,” all of which were also well-received by audiences and critics. McDonagh’s works have brought a unique voice to Broadway, with their dark humor and complex characters. His contributions to the world of theater have helped to shape and define the modern stage, and his influence continues to be felt in productions around the world.

Gabriel Byrne’s “Walking With Ghosts”

Irish theatre on Broadway has also provided a platform for Irish actors to showcase their talent. Actors like Liam Neeson, Gabriel Byrne, and Saoirse Ronan have all appeared in Irish productions on Broadway, helping to raise the profile of Irish theatre in the United States.

Irish plays have captivated audiences with their poignant storytelling and authentic depictions of Irish life. As long as there are talented Irish playwrights and actors, Irish theatre will continue to thrive on the Broadway stage.

Categories
Creative

Talkin’ Turkey

Talkin' Turkey

Exclusive excerpts from Talking Turkey: The Wit and Wisdom of President Charles H.P. Smith. For one night only, tune in on Thursday, May 7, 2020 at 8pm ET to see President Smith (John Malkovich) and two key members of his campaign team, Clarice Bernstein (Patti LuPone) and Archer Brown (Dylan Baker) tackle major American concerns just days before the upcoming Presidential election. To quote one of President Smith’s most famous lines:  “I always felt I’d do something memorable… I just assumed it’d be getting impeached.”

THE ELECTORAL SEASON

My opponents are yapping at my heels.

I have been asked if I wish them ill.

No, I do not wish them ill. If I wished them ill I would withdraw from the race. For this job, finally, is an unmitigated pain in the ass.

Yes, there are moments of reward – as when the Press goes home, or I can just sit back on Air Force One and tell racist jokes; but, by and large, the job is a never ending grind, with little to look forward to but the hundreds of millions of dollars my supporters will be called upon to cough up when I have left office.

Let me serve notice on them now: you may call it “directorships,” or “Charitable Institutions,” or stock tips, or the “loan” of your beach house, but, friends, I did my part and you’re going to do yours.

And, should one of my opponents prove successful come November, I say to them what the aged parents say to those with a newborn: “Ha Ha – you’re in for it now!”

God bless the United States.

Charles H.P. Smith

ON THE SUBJECT OF THE CONSTITUTION


The constitution is one of the foundation documents of this great country. No, it is not written on stone, it is written on parchment or the skins of some animal which, though perhaps endangered now, was, at the time of its composition, perfectly disposed to have its skin written on.

Is this different than tattooing? Yes and no.

Tattooing is a custom brought to thee shores by those intrepid mariners who first ventured to the great south seas, bringing syphilis and bringing back coral, pineapples, and those cunning print shirts so popular during the summer months. Tattooing is also used, as we know, in identification of the lips of horses, poodles, and other beasts both of burden and enjoyment. These tattoos identify the animals, should they be lost or stolen. So the next time you see an ownerless horse, thank those visionaries who drafted that compact which keeps us safe and secure: your constitution.


Sincerely, 

Charles H.P. Smith, President of the United States

MY MILITARY SERVICE

Military Service, as I understand it, means nothing more and certainly nothing less than service in those branches of the Armed Forces we, as a Nation, have assembled to stand between us and those countries, individuals and groups which want us dead.

What is America? Some might say it but a “washer” keeping Mexico from crashing into Canada, and thus, unacceptably mixing the beavers and the gauchos.

But it is more than this. It is the place where we, many of us, first got laid; and, as such, it is inexpressibly dear to us. Perhaps it was in the backseat of a Chevy, perhaps it was “up against a tree.” How, and wherever, it is an event graven on our memory. And a country worth fighting for.

I recall a poster from the Days of World War II: We’re one for all and all for one Behind the Man, Behind the gun” – as was I, during the years of my eligibility for Military service. 

Did I “serve” – in the commonly accepted sense of the term? Not in uniform, no.

I wear that uniform now. It is a blue suit, and I wear it to my office. Every Day, as Commander-in-Chief of those who also risk their lives, their jobs, and the stability of their marriages, while their spouses, tempted beyond restraint to cavort with the grocer, the UPS Man or Woman, the poolboy, clerk, firefighter, secretary, whose combined effort is summarized in the phrase: “United States.”

DO I WEAR A TOUPEE?

When young we are taught not to make personal remarks. 

Which of us has not seen the unschooled youngster, shocking and disgracing its parents with the remark, “Mommy, look at that Jew!” or similar slurs.

No, we must curb our tongues. The foundation of a viable community is our ability to refrain from those thoughtless commends which sow discord.

“Look at that Big Fat Pig,” for example, is a phrase acceptable only as an expression of delight at the State Fair; and I am hard-pressed to imagine an acceptable situation for “Mormons make me vomit.”

We are all in this together, and even the least of us, the homeless, the old, producers of Reality Shows, are entitled to the same courtesy we extend to their productive neighbors.

Don’t make personal remarks. Teach your children so that they may teach their children (such conceived, hopefully, after the former’s teenage years).


Yours for Abstinence,

Charles H.P. Smith

CONGRESSIONAL SEX SCANDALS

Congressmen should be allowed to turn over a new leaf, but not allowed to turn over one of the pages.

YOGA

Yoga is responsible for more human vice and misery than any force I know.

Children in India steal, some from their very parents, to get money for the study of yoga.

I would rather have a child on drugs than “on” yoga. 

For there is an organization especially created to counter drugs, we call it the police, but where are the heroes, standing up to the scourge of yoga?

I therefore have asked congress to prepare a bill which will be named: “Defense of the Country – The War on Yoga”.


Your President, 

Charles H.P. Smith

P.S. If you see anyone “bending over” too long – call the police.

March 26, 2008

Categories
Interviews

Giving Props to Broadway’s Secret Hoarders

Props to Kathy Fabian

A lamp, a locket, a fiddle, a pie. To theatre fans, these four items conjure up images of iconic shows, and that’s the secret power of props. Though they often blend into the scenery, each prop has its own story to tell and can become the eternal image of a production. But how do you go about finding that all-important piece?

“My process starts with dramaturgy—reading the play, reading the play, reading the play,” says Kathy Fabian, owner of Propstar. “I read about the play, the playwright, about the playwright’s other plays, listen to the director and the other designers [discuss] their interpretation of the piece and their goals so I can attempt to interpret what’s in their ‘mind’s eye’ when they picture the world we are about to create.”

Kathy Fabian - courtesy American Theatre Wing
Kathy Fabian – courtesy American Theatre Wing

Since 2005, Kathy’s company has designed and managed large-scale prop packages for dozens of Broadway and Off-Broadway shows, as well as for TV and film. From All My Sons to Kinky Boots, her keen eye and amazing artistic vision have dressed the sets of some of the biggest productions in New York—and her latest challenge is quite a feat.

Kathy will provide the props for David Mamet’s classic play American Buffalo, which is due to open at Circle In The Square Theatre this summer. Set in a junk shop in the late 70s, it tells the tale of the shop’s owner, Don, who plans to steal back a buffalo nickel he believes is worth more than he sold it for.

“The junk shop definitely has its own presence, and even though it doesn’t have a voice, it’s integral to telling the story,” Kathy explains.

“People who do what I do enjoy the hunt…so I got on a plane to St. Petersburg.”

Like an actor building their character, she digs deep to get to know her subject inside and out ensuring it becomes a real place in the minds’ of the audience. “I ask myself many questions like what’s the history of the shop? How long ago did the junk begin to amass? What are Don’s personal interests that might influence what he collects? Does he curate his goods or did he just happen upon/steal/salvage/buy them? What’s the difference between a pawn shop, a thrift shop, an antique store, and a junk shop?”

Monger’s Flea Market

Just like a missed line or an ill-timed lighting cue, a prop from the wrong decade or even a piece with the wrong texture can pull an audience out of the world presented on stage. But sourcing items takes time, research, and patience, particularly for a set that’s densely layered. “I start looking at advertisements from the era and head to eBay and Etsy to look for hero items first. Once I’ve got my smattering of jaw-dropping 60s and 70s lamps, famous toys, posters, comic books, car parts, and specific items mentioned in the script by name, I move onto vintage fillers. Other than a few iconic gems an audience member might recognize from their past, the merchandise, (if you can call it that), is truly junk – used items you wouldn’t believe anyone would buy.”

Kathy Fabian – courtesy American Theatre Wing

Though filling a junk shop may be a prop master’s dream, each show offers its own opportunity, challenges and excitement, with no two jobs ever being the same. “You probably won’t learn something from one project that you can use as a go-to solution on the following ones. One morning, you may find yourself embarking on a play that’s set on an imaginary planet 100 years in the future, and after you’ve translated the playwright’s words into 3D for the stage, your next endeavour might be to recreate the inside of a military hospital during World War II.”

With a breadth of eras, locations, venues, and environments to create, the number of items needed by such a prolific prop specialist is astounding. “Space is always an issue, especially in Manhattan,” Kathy explains. “I keep two large rooms of small items like houseware, tools, soft goods, and collectibles at my studio on 52nd Street. We offer smaller companies with challenged budgets the option to rent items for $5 to $10 a month. This keeps things moving. I keep larger items in storage units in New Jersey and Yonkers. Shows like American Buffalo provide a great opportunity for spring cleaning as they allow me to lend things from my own stock and make some much-needed space for a while.”

With rows and rows of incredible items that have created their very own time capsule, along with all the equipment any theatre company may need to kit out a rehearsal space, Propstar’s warehouses are treasure troves that would wow anybody lucky enough to explore them. Packed full of vintage telephones and signs, banquets of fake food and old-school accounting calculators, miniature books and handmade textiles, Propstar’s wealth of products are more than a starting point for any production’s needs. However, Kathy’s hunt for the perfect items never stops. “I visit flea markets, Goodwills, salvage yards, Craigslist… the online auction sites these days are so very helpful. When I started my career, all my shopping was on foot, and in some cases, I really had to get lucky!”

Kathy is part of a community of prop specialists that work on Broadway. Between them, they form a network of knowledge and contacts that can find almost anything a director could want or need for a show. “If I hit a wall and can’t find the particular item I’m looking for, I call around to some of my junk dealers and other pals in the business. People who do what I do enjoy the hunt, so often once I put the word out there that I’m after something, folks join in on the search. We trade favors.”

However, there are times when all the favors in the world aren’t enough to find that one special item and you have to go a little further afield to find what you’re looking for: “For Fiddler on the Roof in 2004, no one could come up with the authentic Russian antiques which were required to fulfil the design vision, so I got on a plane to St. Petersburg.”

With tight schedules and a creative team awaiting input, prop masters don’t always have time to fly across the world. Luckily, there are other ways to get your hands on that elusive object. “Sometimes, rather than wasting too much time looking for something, I decide it’s more effective to just start from scratch and build a copy of the item. The wealth of talented craftspeople in this local network affords us that option as well.”

Kathy herself has always had an interest in making and creating, learning crafty hobbies at a young age. “Both my grandmothers taught me to sew, and so my hands were busy with crochet projects, needlepoint, doll-making, etc. from a very young age.”

This creative nature followed Kathy throughout her life and eventually led her to a career in props. “During my time at the University of Vermont, I was very active in theatre, both the performance side and the technical side. I took a special interest in carpentry and finish work. When I first moved to New York, I worked as a furniture maker and began receiving offers for props work. Slowly I took on more and more projects (while keeping my night job, of course), built a small company, and graduated from Off-Broadway to Broadway offers. Finally, one day I realized I didn’t need to wait tables anymore.”

For anyone interested in starting a career in props, Kathy has two pieces of advice: “Number one, call me! And number two, be prepared for a wild ride of multitasking and shedding your fears of trying new things and asking questions. You will never find the words ‘I’m so bored’ floating in your mind again.”