Q) You are no stranger to the Dock Street Theatre stage. What are a few of your favorite past roles that you’ve performed with Charleston Stage?


I have been fortunate enough to perform many dream roles with Charleston Stage. If I had to pick a few, I’d probably say Lord Wessex in Shakespeare in Love, Chef Louis in Disney’s The Little Mermaid, and Carmen Ghia in The Producers.

 


Q) What is your role in Mamma Mia and what do you like most about your character?


I play Harry “Headbanger” Bright, the uptight, British, potential father of Sophie. I love him because he’s kind of a wet blanket, but he’s still holding on to those golden years…

 

Q) What drew you to performing in Mamma Mia?


I have to be honest. I had never seen Mamma Mia! when Charleston Stage announced that it was opening the season. And I was jumping at the chance to try another role played by Colin Firth after Wessex in Shakespeare in Love.




 

Q) What are you most excited about that audiences will experience with Charleston Stage’s production of Mamma Mia?


I cannot wait for audiences to see these costumes. They start out so beautiful and just get bigger and bolder as the show continues. They are stunning!

 


Q) Share a little bit about yourself.


I am a Third Grade Assistant Teacher at The Cooper School and a Charleston native. I am the middle child of three boys, and I think that’s probably what drove me to performing.

 


Q) What’s up next for you?

I will be reprising my role as Bob Cratchit in A Christmas Carol this December and am so thrilled to be closing Charleston Stage’s 41st season in my childhood dream role, Lumière in Disney’s Beauty and the Beast.

 

Performances continue running Sept. 19 – 23 at the Historic Dock Street Theatre. Purchase tickets today by clicking here.

 

 

 

 

 

 

 

 

 

 

 

 

 

Q) You are no stranger to the Dock Street Theatre stage. What are a few of your favorite past roles that you’ve performed with Charleston Stage?

I was an acting intern with Charleston Stage’s 2005-2006 season. That season I was in a production called Beehive: The 60’s Musical (Wanda). It was my favorite show that season because that musical is based on 60’s music, which happens to be my favorite! I’ve been blessed to return and be in other productions. Of those, my favorites were The Seat of Justice (Ruby) and Hairspray (Motormouth Maybelle).

 

Q) What is your role in Mamma Mia and what do you like most about your character?

I have the privilege of playing Rosie in Mamma Mia. Rosie is the voice of reason and the life of the party. She’s the one you go to when you need sound advice, a shoulder to cry on and a laugh to follow.

 

 

Q) What drew you to performing in Mamma Mia? 

I’m actually a replacement Rosie.

The original Rosie had an injury and I was called in. I knew coming in I would have big shoes to fill and I’m grateful for the opportunity to be apart of this amazing cast.

 

Q) What are you most excited about that audiences will experience with Charleston Stage’s production of Mamma Mia?

Charleston Stages production of Mamma Mia is sincere and present. The entire cast gives 100% every night! Audiences will enjoy the commitment to storytelling as well as the fantastic lighting and set design, dancing, and costumes. It’s a great all around production!

 

 

Q) Share a little bit about yourself.

I was born and raised in the outskirts of Memphis, TN, but I have lived in New York for nearly 11 years.  That makes me a Southern New Yorker!  I’m the daughter of a Preacher and an educator. My values, love for people and welcoming demeanor are mostly based from my southern roots. I’m a wife of 9 years to a fantabulously handsome and supportive man and an auntie to 4 of the most warm-hearted children the world will ever know. When I’m not auditioning for the gig, I’m a nanny, a murder mystery actress, an Autistic technician for children with Autism or on the spectrum, and an ESL teacher for children in China.

I’m a natural born storyteller with creativity and a vigor for life. My motto is to live life like you’re dying- with no shoulda, coulda, woulda’s. My authenticity is what sets me apart and my love for people is what invites them in. Life is as fun or as boring as we make it. My desire is to inspire people to see the glass half full and consistently refillable.

 

Q) What’s up next for you?

I’m currently awaiting my next contract and excited about what that will be. Until then, I’m living life fully in the present moment with gratitude and open arms for life’s about the journey, not just the destination. 💛

 

Performances continue running Sept. 7 – 23 at the Historic Dock Street Theatre. Purchase online today by clicking here.

 

 

 

 

 

 

 

 

Q) You are no stranger to the Dock Street Theatre stage. What are a few of your favorite past roles that you’ve performed with the company?

I loved playing Sister Mary Patrick in Sister Act!

 

Q) What is your role in Mamma Mia and what do you like most about your character?

I play Donna Sheridan, Sophie’s momma and the owner of the Summer Nights Taverna. I love that Donna is a strong and independent woman. She works hard and can accomplish anything she puts her mind to!

 

 

Q) What drew you to performing in Mamma Mia?

I love the music and it’s just such a fun show. I also went to the ECC (Equity Chorus Call) a million and a half times when I lived in NY. I figured it was about time to actually get to dance the show!

 

Q) What are you most excited about that audiences will experience with Charleston Stage’s production of Mamma Mia?

The energy is contagious!! There is no way to see the show and not dance/sing along.

 

 

Q) Share a little bit about yourself.

I co-own a music, movement, and drama program for kids called Dance.Laugh.Learn. as well as teach private voice lessons. I live on James Island with my husband, Ben, and our 1-year-old daughter Vivian.

 

Q) What’s up next for you? Will you be performing in another role with Charleston Stage?

I will be playing Judy in The Curious Incident of the Dog in the Night-time as well as Mrs. Potts in Disney’s Beauty and the Beast.

 

Performances continue running Sept. 6 – 23 at the Historic Dock Street Theatre. Purchase online today by clicking here.

 

 

 

 

 

 

 

 

Q: Where did you grow up? Were there any activities you did as a child that led to your passion for the arts?

I grew up in Rio Piedras, Puerto Rico, just outside of San Juan. While other kids did sports, all I wanted to do was crafts. I also loved to sit and watch my Mom sew. Classic film musicals like West Side Story, The Sound of Music, and The Wizard of Oz mesmerized me. I knew from a very early age, after seeing a school Christmas play, that theatre was what I wanted to do.

 

 

Q: Where did you receive training? How did this prepare you for your work in the theatre world?

After my freshman year at The University of Puerto Rico, I transferred to The University of Tennessee in Knoxville. I immediately gravitated toward the costume shop where I met Marianne Custer who became my mentor, inspiration, and now, dear friend (Marianne will be designing our upcoming production of Of Mice and Men). Working in costumes was safe for me because English was not my first language. By graduation I felt confident enough with my English to pursue my passion, so I attended The University of Utah where I got my M.F.A. in Directing Musical Theatre. Still, I designed many shows. I was very lucky to have attended two great universities, both with resident professional companies, working alongside these professionals gave me a great foundation to be who I am today.

 

 

Q: Where have you worked previously before designing/working with Charleston Stage?

I have worked all over: Salt Lake City, Park City, Phoenix, Little Rock, and New York City, where I worked my way up from crafts person to General Manager of Izquierdo Studios Ltd.

 

Q: What is your full-time position with Charleston Stage?

Production Manager. I hire, supervise, and work alongside our team of technicians and artists that comprise our production staff. The easiest way to summarize my job is that my main responsibilities are to make sure it gets done. I am involved from the moment the show is selected to the moment a show closes, from the first conversation, the designing of the shows, rehearsals, openings, and the run of the show to insure a smooth and, hopefully, successful process and production.

 

 

Q: You are also the Costume Designer for Mamma Mia! Please discuss your process and what is involved with designing for this musical sensation.

I saw Mamma Mia! on Broadway, then most recently was the Production Manager for a production and first time as a designer. It is very important that I am designing the show the director wants, yet give her (Marybeth Clark) things she never expected. I start with the text and the music. I close my eyes and then imagine it. And if I can please myself, be excited about it, then I know I am on the right track because I am my own toughest critic.

 

Q: What are you most excited about that audiences will experience with your designs for Mamma Mia!?

I don’t want to spoil the surprises but I can say with certainty that our audiences will be transported to a different world and that there are many surprises in store all the way to the end of Curtain Call. So stay in your seats until the lights go up!

 

Performances continue running Sept. 6 – 23 at the Historic Dock Street Theatre. Purchase online today by clicking here.

 

 

 

 

 

 

 

 

 

 

 

Q) You are no stranger to the Dock Street Theatre stage. What are a few of your favorite past roles that you’ve performed with Charleston Stage?


It’s fun to be the villain, so I loved playing Velma von Tussle in Hairspray. All of the shows have been a joy to be a part of but my other favorites would probably be Cabaret, Legally Blonde, and Young Frankenstein.

 


Q) What is your role in Mamma Mia and what do you like most about your character?


I’ve wanted to play Tanya since I first saw the show as a teen, so I am very grateful for this opportunity! Tanya is one of Donna’s best friends and a member of Donna and the Dynamos. She’s wealthy, cultured, fun, fashionable, and confident, and she loves to let loose with her friends.

 

 

Q) What drew you to performing in Mamma Mia?


I have always loved this show! It is pure fun, and the songs are so catchy! I think the way ABBA’s songs are worked into the plot is very clever, and I like the show’s multi-generational appeal.

 

Q) What are you most excited about that audiences will experience with Charleston Stage’s production of Mamma Mia?


I think they will love the music and the costumes, and I hope they will get up and dance at the end!!

 




 

Q) Share a little bit about yourself.


I am originally from Virginia. I went to school in NYC and moved to Charleston soon after. I work with Storytree Children’s Theatre, East Cooper Montessori, Dance Laugh Learn, Village Kids on Woolfe, and Curiouser Entertainment. I love kids and theatre, so it’s a blessing to make a living by combining the two. I recently got married and moved to West Ashley with my husband, Ian, and our shih tzu, Fozzie Bear.

 


Q) What’s up next for you?

Up next I’m playing Jerusha in Daddy Long Legs at the Woolfe Street Playhouse and Babette in Charleston Stage’s Beauty and the Beast.

 

Performances continue running Sept. 13 – 23 at the Historic Dock Street Theatre. Purchase online today by clicking here.

 

 

 

 

 

 

 

 

By Grace Schmitz, Costume Design Coordinator/Senior Costume Technician

 

 

 

Serious planning for Shakespeare in Love began in the Costume Department at Charleston Stage as far back as October of this past year. We started by analyzing the script in depth and identifying each character that needed to be represented, that character’s historical background, and their status at the time of the play in Elizabethan England. I even initially created a flow chart of characters to help me visually map how each fit into this world and to mentally familiarize myself with them all. Once we were able to identify groups the color palettes began to come together, the upper class in their metallic gold and silvers and the lower class in their earthy rustic tones. We identified key scenes where we wanted certain characters to pop forward in the audience’s eyes, and where an actor was perhaps playing their third character and we needed them to blend more to support the scene. It was very important that Viola stand out above all as she is really the only character who is stepping out of the expected behavior in her environment. She is brighter than an other lady in the show which supports the scenes where several of the male characters are drawn to pick her out of the crowd.

 

 

With these story focused designs in hand we then moved to how to make it happen. The shop manager Gillian and I actually created 3 different budgets for the show utilizing 3 different plans of action from renting it all to making every single piece. The existing Charleston stage stock unfortunately didn’t have what was needed to produce Elizabethan characters, and there was a large need for new pieces. The best plan of action revealed itself to be a combination of sources which included help from The Oregon Shakespeare Festival, The College of Charleston, independent period costume makers from Etsy, and several costumes we would create from scratch in the costume shop. Overall there are over 200 costume pieces in Shakespeare in Love.

 

 

Many pieces from across the country arrived in Charleston throughout the spring and went through alterations and re-workings in order to create a cohesive world on stage. We also had the challenge of many of the historically accurate costumes needing to be reconstructed as functioning theatrical garments. These alterations included cutting additional openings, joining pieces that were once separate so they could all go on at once, and in many cases the addition of quick closures such as snaps and hidden zippers. We are so grateful for our volunteers Eileen McIntosh, Joanne Marcell, Fran Williams, and Kathy Honan for helping with all parts of these projects, as well as our TheatreWings students who made many of the hats. We could not have done it without you!

 

 

 

 

 

 

 

 

By Alison Frimmel, Properties Master Tech Intern

 

As Charleston Stage’s Properties Master Tech Intern, I’ve been responsible for props used onstage all season.  “Shakespeare in Love” has been one of my most complicated shows. We have a number of special items from realistic swords to period lanterns—even these beautiful candelabras (featured in the photo below).

 

 

One of the fun elements I got to make was a period jester’s head that Shakespeare mistakenly grabs in the midst of a sword fight thinking he is grabbing a dagger. Both Shakespeare and his opponent are in for quite a surprise. In that same sword fight they also have a trick dagger where the blade disappears into the hilt!

 

 

While this show was very complicated, in the end, it has been amazing to hear how much the audiences have been enjoying themselves. I hope that this show inspires a love for theatre, not just for the cast members onstage but for the backstage crew as well.

 

Thank you all for your support of this show and I hope you join me in saying to the cast and crew of this show “Break a Leg!” in your final weekend of performances.

 

 

 

 

 

One of the best parts of the “Shakespeare in Love” movie is its sweeping romantic score—a score not available for the stage production. Theatres around the country have created their own scores for their productions and we listened to a number of these. But in the end, our Sound Designer, Luke Walchuk, decided to write an all original score for our production.

 

Here are some notes from Luke Walchuk about the process:

 

This project was a daunting but rewarding challenge. Though I have written incidental music (a term for any music written for a play that isn’t specifically a “musical”) for nearly every non-musical since I joined Charleston Stage in Season 39, Shakespeare in Love represents a step above. Normally, the music I write for a play is primarily transition music between scenes and occasional underscoring; it is intended to move the story along and enhance the emotions of a scene but does not usually require close interaction with the cast.

 

For this production, we had those things plus dances, sword fights, and a chorale sung by the whole cast. This meant that I had to be involved earlier in the process than usual. I attended rehearsals and worked closely with Directors Julian Wiles and Marybeth Clark, as well as Choreographer Cara Dolan and Fight Choreographer Evan Parry, to create music that complemented the action. Whether I was illustrating William Shakespeare’s writer’s block at the beginning of the show, adding intensity (and comedy) to an exciting sword fight, or supporting an emotional love scene, every piece was tailored specifically for this production of this play. I also created recurring themes for some of the major characters (you can check them out below). These themes help to subtly give focus to specific characters or aspects of the story. In the case of the Queen, perhaps not so subtly.

 

Creating a score for a play is not like creating a score for a film; I did not have each scene on a screen in front of me as I wrote, with perfectly concrete, consistent timing. Live theater is more unpredictable than that. This required the music itself to be written differently than a film score. If you listen closely during scene transitions or long pieces like the sword fights, you may hear sections that repeat on a short loop. This allows the action to catch up to the music. At a certain cue in the action, the loop will end and the music will continue. The challenge is to make the loop sound like a natural part of the piece. I used this strategy for moments that didn’t lend themselves to strict choreography. For other moments, such as the DeLesseps’ ball, I worked with Cara Dolan to map out the sections of a piece in exact musical terms of bars and beats. I then wrote the music and she choreographed to it, with both of us making adjustments over the course of a few weeks of rehearsal. Music Director Sam Henderson taught the “O Mistress Mine” chorale to the cast and checked in periodically to ensure that the piece was in good shape.

 

The result of all of this extra planning, rehearsing, and choreography is a living, breathing score that is an integral part of the production in a way that pre-made music could never be. Thanks to the close collaboration of every person involved in Shakespeare in Love. I am proud to say that we have created a fine and fitting tribute to Theatre itself. I hope our audiences feel the same way!

 

Audio Examples

Will Shakespeare’s Theme (Writer’s Block)

Viola’s Theme (O Mistress Mine)

Will and Viola’s Love Theme

Wessex’s Theme (I Need a Dowry)

Burbage’s Theme (Peddlers of Bombast)

The Queen’s Fanfare

 

 

 

 

 

by Julian Wiles, Set Designer for Shakespeare in Love

 

The sets for Shakespeare in Love presented quite a challenge. The show has 28 scenes. Since the show started as a movie, it flows very much like a film, one scene moving into the next. That’s easier said than done when the scenery for Shakespeare in Love includes two theatres, a tavern, inside the Queen’s palace, a boat on the Thames, and Viola’s bedroom! Cody Rutledge and I actually went through three separate complete designs before we decided on the one you will see onstage.

 

Since the show is about one of the most famous writers in history, we wanted to literally put his writing front and center. This led us to making the basic set look like giant pieces of parchment paper with Shakespeare’s writing on it. For the writing, we used actual copies of lines from Shakespeare’s first folio.

 

The play opens with Shakespeare sitting at a simple desk struggling with writers block. Cody and I began to brainstorm on what Shakespeare might be doing at his desk as he struggled to write, and we decided he might be doodling and just scribbling ideas for plays. So when the audience arrives at the theatre, they will indeed see Shakespeare’s desk at center stage but floating magically behind his desk are fragments from his prolific pen in which he is trying out new phrases, plots, as well as, fun elements like his shopping list.  This whimsical look at Shakespeare’s wondrous imagination also says to the audience, this isn’t the stuffy Shakespeare you expect, this is going to be great fun.

 

And indeed it is. For in addition to the writing, there are sword fights, a grand ball, and of course at center, a wonderful romance. This is a romance that would inspire Shakespeare to create one of the greatest love stories of all time—Romeo and Juliet.

 

So how does a set design begin? In the case of Shakespeare in Love, it included a series of quick thumbnail sketches.

 

 

From these the ideas became more concrete, and designs began to be drafted. From these draftings, Cody built a half inch model. This model shows all the scenes and is painted just as the full set will be painted. The model also allows the directors and the actors to know what the set is going to look like and what elements they have to work with. As you will see in the model photo, you can’t do Romeo and Juliet without a balcony, so that was added as well.

 

 

From the model and the drafting (just like those an architect does) our scene shop went to work (starting back in January) to begin constructing the 28 scenes the show requires. Nicole Bianco, Chris Konstantinidis, Cody Rutledge, Dylan Rutemiller, Alison Frimmel, Allison Grady, our TheatreWings High School Apprentices and others have been hard at work constructing these elaborate sets—for everything you will see onstage was built in our scene shops in West Ashley. We’re hopeful all this hard work will give our audiences a show that is worthy of being the grand finale of our 40^th Anniversary Season.

 

 

 

 

 

 

 

By Evan Parry, Fight Choreographer, Associate Professor of Theatre at the College of Charleston

 

 

When Julian Wiles asked me to choreograph the sword fights for Shakespeare in Love, I jumped at the chance. Having acted, directed, or choreographed numerous productions of about half of Shakespeare’s plays, I relished the opportunity to stage fights which included among the combatants the great author himself, as well as some of the famous actors and writers of his time: Marlowe, Burbage, Alleyn, among others. The film Shakespeare in Love had affected me powerfully on its release, and still does when I watch it today. Being involved with this production, and with Charleston Stage, was an easy choice to make.

 

The issues with staging these sword fights are many. Of particular importance is the issue of safety. While swashbuckling sword fights often look like great fun (and they are) it is critical that they are staged safely. We began with daylong workshops in January and have been working on the swordplay in Shakespeare in Love for the last 3 months.

 

First off we wanted the fights to seem authentic and that meant having the right weaponry. The late sixteenth century was a period when people of some means wore the rapier for daily use. The rapier is a light, double-edged, pointed weapon, noted for its quickness and versatility. It is a weapon which could effectively both cut and thrust, which you will see in our fights. I had some rapiers available, but Mr. Wiles was interested in beginning to purchase swords (and two daggers) to form an armory of stage weapons. Also, what is called the “Big Fight” in Act 2 required a lot of people fighting, which meant many weapons.

 

While we knew we wanted some flashy swordplay, we also wanted to use the fights to help tell the story. Each of the three fights has a different story to tell. Shakespeare and Marlowe are chased by guards from Viola’s balcony in a comic encounter. Another fight combines a kind of keepaway chase for the manuscript of Romeo and Juliet, as well as a free-for-all between two acting troupes, using some slapstick as well as serious sword techniques. The last fight, between Shakespeare and his rival in love, Lord Wessex, however, is deadly serious… most of the time. Each of these fights tells a different story about different (and dynamic) characters.

 

Don’t miss your chance at seeing these sword fights on stage at the Historic Dock Street Theatre. Shakespeare in Love performances run April 6^th – April 29^th and ticket sales are available online by clicking here.