Christy Gallo
I can’t talk about new scripts and not talk about Sarah Kane. The first Sarah Kane script I read was called “4.48 Psychosis” and I found it at McKay’s in the summer of 2009. I picked it up after flipping through the pages and becoming mesmerized by her unique writing. I became insatiable for her writing and read all her works within 4 months. But before I launch into talking about “CRAVE”, I’ll give you a tiny history of Sarah Kane.
She has often been called the Sylvia Plath of British theatre. Her first script — “BLASTED” — was met with wild controversy in 1995. Critics howled but contemporary playwrights, such as Martin Crimp and Mark Ravenhill, praised her. She fearlessly portrayed the brutalities of war (also cannibalism and rape) through the eyes of a soldier and journalist. She went on to write “Phaedra’s Love”, “Cleansed”, “CRAVE” and “4.48 Psychosis” before taking her life. She died in 1999 at the young age of 29.
Ok. Now to talk about “CRAVE”. The tricky thing about it is there’s no plot, traditionally speaking. She includes absolutely zero stage direction and allows the entire production to stimulate the imagination. The cast consists of 4 characters – A, B, C and M. And much like Debbie Tucker Green’s works, there is a lot of intentional overlapping of dialogue. Hearing it spoken or experiencing it performed, it’s easy to imagine all four characters merging into one person but seen from different angles and expressing various aspects of emotion.
It’s a 60-ish page script that explores the expressions and experiences of the human heart. She depicts longing, ache, anger and desire with absolute abandon. The words and the rhythm of them received full attention in her writing; everything else was purposely ambiguous.
One of the beautiful things to me about this piece, outside of the language, is the ability for it to be so effected by theatrical elements. Staging and lighting would have a great impact on the experience. To change one cast member could easily change the language of each line. This show has been compared to the feel of poetry readings, chamber quartets and vocal paintings.
This show is so different from Kane’s other works that when it was first produced, she had it presented under a pseudonym — Marie Kelvedon. With “CRAVE” she was expressing uninhibited, raw emotion in contrast to the violent, uncomfortable situations she became so notorious for in her previous works.
Thoughts? Does this sound too intense? Or exciting?
Robbye Lewis
Christy has asked me for some of my thoughts on ETC’s future from the perspective of Board President. I have got to say that the possibilities are endless.
First let’s take a look at what we have in place right now: 1) three incredibly hard-working, creative and determined producing partners; 2) an ever-growing pool of trained theatrical artists eager for a place to practice their craft; 3) a black-box theatre that despite it’s second-floor (handicap inaccessible) location provides a low-cost and flexible space in which to create; 4) dedicated supporters (both on and off stage) who want to do everything they can to make viable, professional theatre a reality in Chattanooga; 5) a five-year production history that encompasses classical, modern, original and improvisational works not produced anywhere else in our region, all of highest quality. All of this has been done on a shoestring budget while sharing any profits with all of the artists involved.
Now, what is our dream for the future? It began with Garry Posey. He envisioned an ensemble of professionals working together to create vibrant, courageous and dynamic theatre enriching the cultural life of Chattanooga. As more and more of us have gotten involved, we have adopted his dream and made it ours. Last year ETC became a nonprofit organization. This has enabled us to seek financial support from sources previously not available to us. The newly created Board of Directors has formed committees to help in financial management, audience development, marketing/PR, fundraising, governance and production. By bringing in support in all of these areas, we can anticipate that our creative team will be relieved of many responsibilities and able to devote more of their time to their artistic work.
One of the most important jobs of any nonprofit board is fundraising. There are many sources of revenue for a non-profit theatre: ticket sales (of course), concessions, donations, public and private grants, contract work (performances commissioned by others), solicitations by phone or mail, and special events fundraisers. We are overjoyed that we just were awarded our first grant from the Community Foundation of Greater Chattanooga: a capital funds grant to purchase much needed audio-visual equipment. Our busy producing partners have already spearheaded such fundraisers as the spring and fall yard sales and the Cabaret this January. The Board of Directors will continue these efforts and add to them over time.
The most important thing that all supporters can do for ETC is to bring people to see the wonderful productions. Talk about the theatre to your friends. Offer to attend shows with them. Send emails. Post information on Facebook. Increasing the numbers and diversity of our audience is the single most effective way to see that ETC continues to grow and prosper. We have a jewel sitting at the St. Andrews Center in Highland Park. It is up to those of us who love ETC to polish that jewel and display it to others.
What does the future hold? In the near future we hope to form an ensemble to be a core creative group, paid for their work and able to make ETC a first priority. Although we appreciate our current theatre space, we know that eventually we will need to relocate, hopefully to a location that will draw in the burgeoning tourist trade in Chattanooga. We would like to have an education director with lots of theatre opportunities for the youth in our community, both as performers and audience. Dare we hope? We would like a full-time staff that can devote ALL of their creative efforts to ETC. We want to become the place where new playwrights can premiere their work, a theatre with an internship program where young artists learn and grow, a destination theatre that draws audience from Nashville, Birmingham, Atlanta and beyond, an award-winning theatre that serves as a model to other mid-sized cities. Is this an unattainable dream? Hardly. We can do it! YES WE CAN!!!!
PATP at ETC
By ETC | April 9, 2012
Garry Posey
Three things are necessary for theatre, as I teach my students at Chattanooga state and am constantly stating. Those three things include a story, an audience and actors. Beyond that, everything else is icing. So it is with great honor and pride that we get to host the Chattanooga State Professional Actor Training Program’s capstone productions.
The capstone productions of the PATP, include shows that are specifically chosen to highlight the talent and abilities of each student graduating from the two-year program. Most years, the PATP will produce three fully staged modern plays back-to-back in the theatre at Chattanooga State. The difference this year — presenting at ETC — more fulfills the mission of PATP in creating an army of autonomous actors- artists capable of “four-walling” a production with limited budgets, in found spaces, calling on working together as a truly creative ensemble.
Since ETC was founded on the principles of a group of like-minded artists working within their means to produce quality theatre, it really seemed like an obvious partnership that would benefit both ETC and the PATP’s students. As a PATP instructor, I am constantly recruiting talent from our student body in the way of performers, stage managers and designers. As the Production Coordinator of the capstone performances, I want each cast to create their plays in an environment much like they will be faced with when they graduate from the program.
ETC also provides a more intimate performance space — the need for audience configuration, the ability to create, hang and focus their own lighting plot, as well as separating them from the educational environment (ie: taking them out of their comfort zone and forcing them to behave differently as artists). From designing the sets and costumes to engaging in their own version of marketing, eblasts and social network promotions, these students really do encounter many of the real-world challenges theatres like ETC face on a daily basis.
The partnership between ETC and the PATP has been growing ever since we co-produced the first summer theatre festival in 2007. We share props and costumes, scenic pieces, staff and most of all actors. Beyond my involvement with the program as a faculty member, the partnership between ETC and PATP runs much deeper. Hosting the capstone productions at ETC we hope is going to be a viable option for the success of both programs.
This year’s graduating class offers the following three productions:
BESIDE YOURSELF by Nick Hall
Directed by Garry Lee Posey
Featuring: Eric “Red” Wyatt, Emily Dixon, Darelle Barney and Heather Van Metre
The ultimate mistaken identity comedy! Four actors each play two parts twins. Some married, some single, all amusingly characterized are at a motel for a study of human behavior. What a study! It takes only one twin wanting an extra marital fling to set off a hilarious chain reaction. Not only is there predictable, farcical confusion but also a stunning surprise.
“Takes the mistaken identity ploy, gives it an imaginative contemporary twist and puts it to delightful use. . . . Uncommonly enjoyable.” Miami Herald.
“Delightfully funny. But outside of the laughs, and there are many, the play also says a lot about human behavior. Beside Yourself is one of the finest ever presented in dinner theatre.” Hollywood Sun Tattler.
“Hilarious, a fun filled, lightweight romp.” Miami Sun Sentinel.
THESE SHINING LIVES by Melanie Marnich
Directed by: Jeff Parker
Featuring: Fiona Battersby, Daniel Pound, Ryne Williams, Morgan Price, Jackie Fields, and Sonibert Wood.
The play chronicles the strength and determination of women considered expendable in their day, exploring their true story and its continued resonance. Catherine and her friends are dying, it’s true; but theirs is a story of survival in its most transcendent sense, as they refuse to allow the company that stole their health to kill their spirits—or endanger the lives of those who come after them.
ALL THIS AND THE MOONLIGHT by Charles R. Johnson
Directed by Sherry Landrum
Featuring: Damon Buxton, Trey Jackson, Morgan Robbins, Hannah Wilson and Tiffany Bulloch.
A delightful, romantic comedy about a photographer named Ned who has the peculiar habit of comparing the unique girl he’s dating with his old girlfriend, Ellie. In fact, his memory of her becomes so vivid, she actually accompanies him on the dates, comments on the girls, and Ned goes home with his memories. His friend Rick sees the problem right away. Ned is still in love with Ellie. The only way to exorcise Ellie from Ned’s love life is to set up a meeting between the two. Ned already has the reunion planned. But will Ellie be there? And if she is, what will happen? A play reminiscent of the sophisticated comedies of thirties and forties, All This and Moonlight will have you thinking back to your first true love.
Christy Gallo
I found this script during a very big week in my life. I had spent about 12 weeks studying theatre in London and was about to return home to the states when I realized I hadn’t done the amazingly logical thing and visited the Samuel French bookstore. Hastily, I did just that. I had started doing my own in-depth research on modern British theatre and was looking for something that would continue the journey. I didn’t really know what I was looking for, just something that was… something. The minute I picked up AN OAK TREE by Tim Crouch, I knew I had found it. I knew it was going to mess with my mind in that “I-gotta-see-this-show-in-action” kind of way.
The cast consists of 2 actors: the Hypnotist and the Father. The Father, however, is meant to be played by a different actor (or even actress, as I’ve read in different accounts) every single night. AND the role of Father cannot be played by anyone who has read or seen the play. Holy crap. Did you read that part? The lucky actor (or unlucky, depending on one’s personal definition) that plays Father cannot know what is going on in the story. Intense. Imagine being in a play that you’ve never read and never seen… until it’s go-time. And this is where other elements come in to play.
Among the Author Notes, Crouch outlines the stage as having “8 chairs, stacked at the sides of the stage. One piano stool in the middle. Two handheld microphones and an onstage sound-system and speakers.”
The Father gets a wireless receiver so that the Hypnotist can speak to and instruct the Father without the audience hearing. The Hypnotist guides the one-act along and uses many different means to get the Father character through the script. Crouch gives some suggestions on how to accomplish this — such as script pages on a clipboard or the Hypnotist feeding lines to the Father, but generally he encourages the use of imagination.
We watch the story unfold in 8 scenes — the Father’s 12-year-old daughter was killed by a car that was driven by the Hypnotist. Kind of an intense story but it’s provided with such comic relief that it feels extra jarring. And it also sounds a little convoluted, ya? But that information is given by page 3 of the script. Which means: it gets better.
The Father has approached the Hypnotist because he wants answers regarding the accident. So the Hypnotist hypnotizes (quite appropriate) the Father and they examine the events leading up to and the aftermath of the accident, sometimes testing the Father’s hypnosis in fantastical ways. Both characters start exploring their own different versions of loss and guilt, an emotional contrast I absolutely loved reading. Also, I thought Crouch’s writing was emotionally accessible for most people, which would put the actor playing Father at ease a little.
The remarkable thing about this script, however, is not the plot. It’s how Crouch chose to challenge his actors and the method he chose to explore a plot. He truly tapped into the imagination — our ability to see things as we want to and how quickly we can transform just about anything.
So what do you think? Does this sound like a piece you’d like to see? Would it scare you to be in it?
Garry Posey
Most of the plays that I choose to direct can fall into a couple of categories. One category (and this seems to be more prevalent these days) is that of the play that I am revisiting. Either I was in the play or perhaps I directed or worked on it previously in my career. I would also loop into this category the plays that I have studied that were introduced to me in college or graduate school.
The second category of plays, and possibly why I find it so hard to answer the questions “What five shows would you direct right now if you were given the opportunity?” (not that I get asked that question a lot, but for the sake of this blog entry, lets assume I do), are those plays that I happen upon strolling through bookstores or being captivated by an interesting pitch in a catalog or when someone says “here, read this!” and I do. These are those rare finds like SWEET NOTHING IN MY EAR (coming up later this season) and FALSETTOS. When I happened across the libretto of FALSETTOS at McKay’s several years ago, all I knew about it was that there was a Keith Haring print on the cover. I knew Keith Haring was a gay artist from the Southwest because one of the theatre faculty at Ole Miss had introduced me to his work. I picked it up, didn’t bother really to read anything on the cover, tossed it into my bag and threw it up on my shelf.
Needing a short musical to produce, skimming through catalogs, I came across the title IN TROUSERS (the first unofficial part of the FALSETTOS trilogy of Marvin play), recognized it, searched Amazon for the recording and then read the libretto in one night, and although it was the first part of the trilogy, was actually located at the end of the libretto). After I finished that, listened to it, I went back and read FALSETTOS and then promptly ordered that soundtrack, too. As I immersed myself in the whimsicality of the music, I found a story of a man deeply misunderstood not only by those around him, but by himself as well. Sure, stories involving homosexuals trying to fit in and function in society appeal greatly to me, but FALSETTOS were something even deeper. At the time, I didn’t realize the psychological import of this character on me personally. When I discovered it, I just knew it was a story I wanted to tell someday.
I got the opportunity to produce IN TROUSERS while I was in graduate school. It still stands as one the most challenging pieces of theatre I have attempted to produce and direct. Finn’s merger of operatic style of continuous music and the musical theatre style of forwarding dramatic is the perfect merger of two forms. His filter, through which he sees the world, is so accessible and interesting to me. After IN TROUSERS, it became a mission to see the rest of it onstage. The libretto found its way back onto my shelf, where it rested for almost seven years. Brainstorming musicals with Jeff Parker (in what he might describe a vainglorious moment) he suggested FALSETTOS. I agreed as a possibility, went home and listened to it again, got excited about, sold the idea and boom! The dream was to become a reality.
ETC’s production of FALSETTOS sits at the top of a number shows of which I am most proud. As I get more confident in my abilities, I am finding that one, I am not patient and two that I need to be patient. Through the process of creating FALSETTOS, I discovered what exactly it was about the piece that I identified so long ago. I am a person seeking to be understood by everyone as well as myself…but it goes deeper than that. What I didn’t realize in reading a libretto or listening to a soundtrack is that there is another element in this story that is just as powerful, and just as personal. Everyone DOES understand Marvin, they forgive Marvin, they love Marvin, they are patient with Marvin. My therapist (and this is an interesting thing since many shows this year deal in psychological evaluations of people) said to me in one of sessions, “we create our own conflict.” I think this is what FALSETTOS is really all about, and that really hit home for me as an artist creating this.
A teacher of mine in undergrad, my mentor actually (we coincidentally share the same birthday) said that every experience should teach you a lesson. He would end every post show talk-back discussion and every one-on-one student feedback sessions with the question “so what did you learn?” I stopped asking myself that question after all is said and done; now I pose that question to myself constantly throughout my process. In undergrad, my responses were always calculated or manipulated into what I thought he wanted to hear - I can’t really pull that kind of behavior on myself. Asking the the question forces me to really connect with the material. Trusting my instincts (a lesson learned from asking the question) and being secure in my technique allows me to be patient with my process and let what is “inside” of me guide me through telling the story.
There’s a line from the LARAMIE PROJECT (a play which I have directed five times now and I am still making new discoveries) that rings in my head whenever I start to direct something: “I will trust that you will say it right. You must do your best to say it correct.”
John Thomas Cecil
This is not the first time that I have taken part in remounting a show. But of all the shows I have helped remount… well, of all the shows I’ve ever been part of period, this is my all time favorite show. My absolute proudest show to date.
When we first chose this show, I wasn’t familiar with it. This is not unusual as I do not have a lot of musical theatre background. However, as soon as I heard the music, I was sold. It is that incredible! We had to do this musical… for several reasons:
First reason, I believe that song is an extension of speech. When emotions are so overwhelming and words by themselves aren’t enough anymore, a person can’t help but feel compelled to sing. (One of the reasons I randomly break out into song) This musical is just that; an extension of speech. And to top it off, these characters are singing about real things; the nitty gritty of the world. We get to hear true inner thoughts that aren’t glorified or white-washed. It’s real life, but in musical form. It’s something that doesn’t happen all that often on the stage when it comes to musicals.
Second reason, as a gay man growing up in the south, I didn’t see a lot of positive light shed on gay people. In fact, there was no light on homosexuals at all. Believe me. I looked! So, to be able to do a role that is unapologetic for their sexuality and has no shame… it was a dream come true. I felt it necessary to do this musical because no one else in Chattanooga, TN would produce it based on subject matter alone. And that’s a real shame.
Now, all of the above is great and all but I’m sure you’re asking yourself, “Why remount the show?” Well, the Southeastern Theatre Conference (SETC), the largest theatre conference in the states, is being held in Chattanooga this year and we wanted to showcase the local talent that we have. In fact after one performance, an ETC patron said the show was “a celebration of talent!” Now, as a performer, this is always wonderful feedback to get! But it means so much more to the producing side. It validates the choices that were made in casting, reaffirms that Chattanooga DOES have local quality talent and assures me that there is a place and audience in Chattanooga for the type of theatre I am interested in providing and/or being a part of. In turn, I want everyone at SETC to know what Chattanooga has to offer in terms of professional quality theatre.
Thankfully, all of our actors were available for the remount. However, our original accompanist, John Tunstall, was unable to join us. So our one hurdle and, in my opinion a huge frickin’ hurdle, was finding a new accompanist. This caused me great distress to say the least. We had very good chemistry with John and had a very solid show. Replacing him seemed impossible. Thankfully it wasn’t.
The heavens smiled down on us and gave us Jason Whitehead. We had someone willing and available AND had played the show previously to boot! I set up to have a music rehearsal with him so we could figure out tempos and transitions before the brush up rehearsals… We could have run the show that night. Plugging him in was so painless, He blew me away with his skill and musicianship. We are very blessed to have him. We have been very blessed to work with John and Jason! Just more evidence of the talent Chattanooga has.
Last night we had our first brush up rehearsal! So much fun! And arguably another unnecessary rehearsal as everyone stepped right back into the show as if we had just performed last weekend!
I know I don’t speak just for myself when I say I am so excited to remount Falsettos! I hope you’re excited too!
Thanks for reading!
John Thomas Cecil
Christy Gallo
We started with a simple concept, a simple passion and the puzzle of combining the two. We wanted to create a piece of theatre that gave awareness and a voice to the homeless community in our area, and accomplish it honestly and respectfully. Sounds pretty straightforward, right? With only 16 rehearsals and 5 very brave actors, we began our process. Through many improvised scenes, homework assignments and research, we finally found our story after only 8 rehearsals. “Have a Seat” was finally becoming a script.
JTC: I have to say that original pieces have always scared the crap out of me. Call me co-dependent but, as an actor, I adore a finished script that I am able to sink my teeth into. So as a director, it’s even more frightening because I wasn’t sure what was going to be accomplished each rehearsal. I knew we needed to develop the script and the characters but we found that focusing on what we wanted the show to accomplish would start us in the right direction.
CG: I was the exact opposite. I had experienced writing original pieces twice before as an actor, so the opportunity to be part of that process as a director absolutely thrilled me. With that past experience, I knew we needed to have very structured and focused rehearsals if we wanted a single, cohesive piece. We allowed the stories to develop out of the improv exercises we did during rehearsal, but we always had rehearsal activities ready to help facilitate that process.
JTC: What was amazing to me was almost everything we improvised in rehearsal became part of the final script. This eased my anxieties as a neurotic director. So now, with the creating and solidifying of the script finished, we could focus on creating the world the action would take place in. Christy and I really wanted the audience to experience theatre in a new and different way.
CG: Once we had the finalized script, we had 8 more rehearsals to block it, refine it and transform the space for the show. We knew we wanted the characters to be without a conventional “backstage”. The homeless often have the feeling of no where to go, and we wanted to give our actors that same experience. We also wanted to give a similar feeling to the audience.
JTC: We really wanted the audience to be in the middle of all the action. Oftentimes, people ignore the homeless or give enough money to be rid of them and then put them out of sight and mind. We established our set and audience seating in such a way that the audience couldn’t do that to the actors.
CG: We wanted the audience to feel ignored and invisible while surrounded by all of the action, just like the homeless often do, to be out of the audience-comfort-zone and in the middle of an experience.
JTC: It is our honest attempt at giving a whole/complete voice to the otherwise silent or unheard homeless community. We felt the holiday season was the perfect time to do this, too, since it is a time of reflection, charity and of humanity.
CG: And I really feel like we accomplished it. The feedback we’ve gotten has been so confirming of the message we tried to send; we really did want to produce a piece of theatre that would inspire change. It’s amazing to me what we’ve accomplished in just 4 short weeks.
JTC: I know, it blows my mind! But I couldn’t be prouder of what we have created as an ensemble. Our actors are passionate about their work and the community we wanted to serve in this project and we are just so blessed.
CG: I couldn’t ask for a better production as my first original piece as a director, or for a more committed cast. I’ve been so impressed with the quality they’ve continued to give us, regardless of how exhausting this process has been. They each invested so much to this process, becoming their own dramaturges, endlessly contributing content and character depth. They’ve been so dynamic!
Don’t miss the final weekend of this inspiring theatre piece!!
December 16 | 7:30
December 17 | 2:00
December 18 | 6:30
Casey Keelen
For the past month and a half, I have been submerged in a monochromatic world. Directing The Giver has been a very grey experience, literally. The lack of color that is called for in the script and the lack of color that I surrounded my actors with is a metaphor for a lack of individuality.
As color begins to appear, it is because Jonas, the main character, is finally starting to come into his own and find his individuality. In our society, we claim to celebrate our differences, yet we are taught and shown by the media and Hollywood that there is a “perfect” image. There has been so much hoop-la over models that are too thin and the message that it sends out to kids, particularly girls. If we as a society claim to celebrate our differences, then we don’t do a very good job of showing that. The effect that the media has on body image is sad. Yes, as a society we should strive to be healthy individuals, but we shouldn’t have to starve ourselves to feel like we fit in. This show portrays a town that strives to create “sameness”.
There is absolutely no individualism until Jonas meets the Giver and she gives him the information necessary to step out of his life. The play to me represents the type of world we would live in if we lost all of our personality traits. Yes, there would be no pain or loss, but there would also be no happiness. You can’t have one without the other. The show also shows someone who takes a chance, because of something they believe and end up breaking out of a negative situation. Ultimately, I loved directing this show and giving it my own twist.
Casey Keelen
Garry Posey
Sometimes, while sitting at my favorite restaurants alone or driving from here to there, I like to sit back and reminisce about all that ETC has accomplished in the last 4+ years since we produced our first show. And it is quite a bit. Since the website continues to get hit daily by new playwrights, theatre companies, theatre artists and new patrons, and since our twitter feed is becoming becoming more and more popular, I thought I would simply list a history of the shows we have produced since the summer of 2007. SO here goes:
2007:
ANGELS IN AMERICA: Millennium Approaches
by Tony Kushner; Directed by Garry Lee Posey
(Co-Produced with Chatt State Repertory Theatre and Ripple Theatre)
OBLIVION POSTPONED
by Ron Nyswnaer; Directed by Sherry Landrum
(Co-Produced with Chatt State Repertory Theatre and Ripple Theatre)
MR MARMALADE
by Noah Haidle; Directed by Garry Lee Posey
(Co-Produced with Chatt State Repertory Theatre and Ripple Theatre)
DOG SEES GOD
by Bert V Royal; Directed by Garry Lee Posey
(Co-Produced with Chatt State Repertory Theatre and Ripple Theatre)
SONGS FOR A NEW WORLD
Music and Lyrics by Jason Robert Brown Directed by Garry Lee Posey
2008
THE LARAMIE PROJECT
By Moises Kaufman and the Tectonic Theatre Project; Directed by Garry Lee Posey
(introduces John Thomas Cecil to ETC as an actor and ETC moves into its current home base at the the St Andrews Center)
Youth Theatre Double Bill
ARKANSAW BEAR by Aurand Harris and THIS IS NOT A PIPE DREAM by Barry Kornhauser
Directed by Garry Lee Posey
A Staged Reading of A REKINDLED FLAME
by Garry Lee Posey; Directed by Garry Lee Posey
2009:
A Staged Reading of THE MADELINE PLAYS
by Denise Laughlin Stewart; Directed by Garry Lee Posey
THE ARKANSAW BEAR
by Aurand Harris; Directed by Garry Lee Posey
A Staged Reading of DUST
by Rob Smith; Directed by Garry Lee Posey
(Christy Gallo’s first role with ETC)
LOVE LETTERS
by A.R. Gurney; Directed by Garry Lee Posey
A Staged Reading of a DIFFERENT TIME
by Peter Macklin; Directed by Garry Lee Posey
A WOMAN CALLED TRUTH
by Sandra Fenichel-Ascher; Directed by Garry Lee Posey
A Staged Reading of THE LAND OF ROYAL BLOOD
by Garry Lee Posey; Directed by Garry Lee Posey
SHORT ATTENTION SPAN THEATRE FESTIVAL #1
Featuring the short plays of Derek Van Barham, Rob Smith, Garry Lee Posey, and Marco Ramirez and John E. Bromels; Directed by Garry Lee Posey
(marks Christy Gallo’s introduction as a Producing Partner)
HAMLET
by William Shakespeare; Directed by Garry Lee Posey
THE LARAMIE PROJECT
by Moises Kaufman and the Tectonic Theatre Project; Directed by Garry Lee Posey
Youth Theatre Tour: A WOMAN CALLED TRUTH
by Sandra Fenichel-Ascher; Directed by Jessie Knowles
2010:
THE DEADLIES
An original ensemble piece written by ETC; Directed by Garry Lee Posey
(Christy, JTC and Garry make the producing partnership official)
THIS IS NOT A PIPE DREAM
by Barry Kornhauser; Directed by Garry Lee Posey
DELIRIUM OF INTERPRETATIONS
by Fiona Templeton; Directed by Garry Lee Posey
MIXED MEDIA
An ETC original featuring the writings of Derek Van Barham, Peter Macklin, Anthony Garcia-Copian, and Rob Smith as well as original works of art created by Cat Collier, Thomas Spake, Matthew Dutton, Chandra Morgan and Joe Helseth; Directed by Garry Lee Posey
columbinus
by the United States Theatre Project; Directed by Garry Lee Posey
AMUSE BOUCHE part one
featuring the plays of Garry Lee Posey, Marco Ramirez and Derek Van Barham; Directed by Garry Lee Posey
SHORT ATTENTION SPAN THEATRE FESTIVAL #2
featuring the plays of Sherry Landrum, Martin Blank, Jason Aaron Goldberg, Garry Lee Posey, Alex Broun, Doug Brooks, J Stephen Brantley and Nancy Gall-Clayton; Directed by Casey Keelen and Timothy James
ROMEO AND JULIET
by William Shakespeare; Directed by Garry Lee Posey with choreography by Ann Law
A Staged reading of OUT: a release so long desired
by Garry Lee Posey; Directed by Garry Lee Posey
ENDGAME
by Samuel Beckett; Directed by Garry Lee Posey
A Staged Reading of LA LLORONA: THREE TALES (commissioned by the Latino Arts Project)
by Garry Lee Posey; Directed by Brenda Schwab
FURRY TALES WITH A TWIST
by Jennifer Hikock Defratis; Directed by Casey Keelen
A SILENT CHRISTMAS
an ETC original Directed by Garry Lee Posey and Music Direction by John Thomas Cecil
2011:
AMUSE BOUCHE part 2
Featuring the plays of Doug Brook, J. Stephen Brantley, and Nancy Gall-Clayton
Directed by Seth Wilson
THE THREEPENNY OPERA
book and lyrics by Bertolt Brecht and music by Kurt Weill
Directed by Garry Lee Posey, Music Direction by John Thomas Cecil and Choreography by Angela Sweet
GHOSTS
by Henrik Ibsen; Directed by Seth Wilson
STONING MARY
by Debbie Tucker Green; Directed by John Thomas Cecil
MY CHILDREN! MY AFRICA!
by Athol Fugard; Directed by Brenda Schwab
SHORT ATTENTION SPAN THEATRE FESTIVAL #3
featuring the short plays of J. Stephen Brantley, Trace Crawford, John C. Davenport, John A. Donnelly, Nancy Gall-Clayton, Mark Harvey Levine, Garry Lee Posey, John Weagly and Michael Weems; Directed by Casey Keelen
AMUSE BOUCHE part 3
featuring the short plays of Trace Crawford, John C. Davenport, Garry Lee Posey Directed by Casey Keelen
LA LLORONA: THREE TALES
by Garry Lee Posey; Directed by Brenda Schwab
THE COMEDY OF ERRORS
by William Shakespeare; Directed by Garry Lee Posey
LUNCH MONEY
another ETC original written by the cast; Directed by Garry Lee Posey
THE LARAMIE PROJECT (tour)
By Moises Kaufman and the Tectonic Theatre Project; Directed by Garry Lee Posey
I CAN’T THINK STRAIGHT
including the writings of Martin Blank, Garry Lee Posey, Rex Knowles, J. Clark, Alison Fradkin, J. Stephen Brantley, and others; Directed by Garry Lee Posey
THE GIVER
adapted by Eric Coble from the award winning novel by Lois Lowry; Directed by Casey Keelen
HAVE A SEAT
another ETC original written by members of the cast and others; Directed by John Thomas Cecil and Christy Gallo
I don’t know if you were able to do the math as you read through that list, but that is around 36 plays produced in less than 5 years of producing theatre. Of those 36 plays produced, 14 have been world premiers, 8 have been geared towards youth and family and 5 have been original ETC creations. And added to that list is another 7 staged readings. If you care to comment, remark on how many of that list you have had the opportunity to see. We love doing theatre and we love that you all have allowed us to do as much we have in as this little bit of time!
Garry Posey
It would seem that 2011 is the year for changes with ETC. We updated the website, we added a summer theatre camp, we toured a show to Michigan, and we now blog.
If I can speak for the three of us, I would simply say that this is a bit of a scary thing. Once we went live with the website, it was I who championed the idea of a blog, so on the verge of the deadline for our first blog to be written (lest we consider ourselves too busy to manage a blog), I guess it will be I that takes the first plunge to share with our ever growing populous what is on our mind.
I’ll first start by saying each day brings with it a new discovery of what ETC is doing for people in our communities (locally, artistically and worldwide). And that statement was not intended, though it cleverly does, tie in with our “theme” for the season: enriching our community.
I got off the phone this afternoon with Martin Blank, a DC based playwright and Artistic Director for the American Ensemble Theatre, and felt a smug sense of pride. In our most recent production, I CAN’T THINK STRAIGHT, ETC premiered an original piece written by Martin. When I sent the call for scripts out back in early summer, Martin emailed me saying he had an idea for a play that he had wanted to write for several years and our upcoming production about the coming out experience was just the impetus and inspiration he needed to write this story that he had been kicking around in his head.
What he sent us was what he planned on ultimately becoming a full length play, titled COUNT ON ME. When I read a script, the first thing I notice are the theatrical conventions used by the playwright, then I look at the story. I was half a page into Martin’s script when i realized that this was both appealing to my tastes and directly in line with the kind of theatre ETC thrives on producing- plays that tell stories utilizing unique theatrical conventions.
Martin was able to make it to Chattanooga to see the premier of his new play and his experience was overwhelmingly positive. Not only did he enjoy the production and applauded the values, the honesty in acting and the direction, he liked the entire performance and his visit with ETC inspired him to want to finish the script, as well as confirmed his belief in the small professional theatres and our contributions to the livelihood of our craft. While in town, Producing Partners Christy and John Thomas went out to dinner with Martin and picked his brain on fundraising, his 20+ year experience in business and other things.
Getting off the phone with Martin helped me realize that even though STRAIGHT was not a box office success, maybe it had a different purpose in our season. Had we not done it, we would not have gotten the opportunity to impress a playwright and create a relationship, that the sky’s the limit on what this relationship could do for each of us. We met some new patrons thanks to our partnership with Tennessee Valley Pride and the Chattanooga Pride Week festivities, and I might not have written what might one day turn into a one man show about my coming out process.
So while ETC has been faring very well financially this year, its important for me and us to step back and look at the things we are doing for other people and artists. I believe that being an artist is a privilege granted to special people, and our gratitude for being allowed this privilege is in sharing it with other people. I teach, I believe and I always say that in order for theatre to exist, we need equal parts of three things: story, actors, and audience. At ETC, our goal is to treat each of those things as if they are the most sacred things in the world; when we do that what we achieve is something magical. And I charge the 14 people who read this blog to let us know if we ever drop the ball.