It has been an absolute joy working for Constellation. It really is one of the most professional, well managed theatre companies I have had the opportunity to work for. Allison is a very welcoming and collaborative AD. From the start, she made me feel comfortable; like my ideas about the character mattered. Her genius, of course, is that she knows how to reign in the actor’s ideas so that it benefits the story telling and the production as a whole.
The cast is lovely. It’s all about relationships to me, and Ashley made creating the relationship between Claire and John very easy. He is a dream scene partner and an absolute prince. Our scenes also help shape the way I felt about Darius. Believe it or not, Jim and I don’t exchange a single line to each other! Pretty remarkable given that her need for revenge on him is at the core of the deceptions.
Tell us about your character, Claire. How did you work to develop her? What inspired you?
It took a while for me to a handle on Claire. Her hanging onto that much anger for Darius seemed diabolical to me. I don’t hold grudges; it’s a foreign sensation. Thoughts of Iago did flash through my head because of Claire’s own duplicity. But really, I didn’t know where to begin so I decided that rather than make early decisions and choices about the character, I would trust the playwright’s words and let the character develop itself. I didn’t want to worry about consistency or character arc. I just wanted to allow my
self to honestly respond to what I felt in each individual moment. After all, human beings are remarkable erratic and can vacillate between kindness and cruelty pretty easily.
What have you learned about her through the course of the run?
That someone can be utterly ruthless and likeable at the same time.
Do you have a favorite moment in the play?
Choosing is hard. There are so many moments I appreciate and enjoy. The Nagashime. The look on Ashley’s face when he sees the kimono dress. Megan’s art line. Mono no aware. The opening of the second act where I am making the pages to the pillow book; fire and water. And I know there are so many more.
What will you take with you of Claire? Will she stay with you?
I’m not sure how much. Claire and I are two very different people. We both might be driven, but we are motivated by very different things. It was a blast to play a villain though; if you can call Claire a villain.
What’s next on your agenda…where can we see you next?
I get a little short break, then I start rehearsals for The Wedding Dress in January, and then after that, I start rehearsals for Kwaidan in the spring. (both plays are at Spooky Action Theatre)
You’ve appeared in many Constellation productions – tell us a bit about your history with the company
To give you some back ground, I had either heard of or seen Allison and Constellation’s work for a while before auditioning. I first saw The Oresteia, followed by Crazyface. From then on I tried to see as many of the productions as possible. Basically since 2008, I have become a big fan and only missed three shows, with the exception of the year I was out of town with a college teaching gig in Lincoln, NE.
The first season I auditioned for was the 2009-2010 Season. My wife, Charlotte Akin, was cast in A Flea in Her Ear, then I closed the season with The Ramayana. That experience was a special one for me. It introduced me to many of the original company members and the joy that they had for the work, for Allison, and the passion for the mission of the theatre. At the close of it, there was a rumor of a remount, which I committed to right away. I followed that up with On the Razzle which I was lucky enough to be in with
Charlotte as well, and, as I said, the remount of the Ramayana in the 2011-2012 Season. Then in 2012-2013 Season I was asked to be in Zorro and Gilgamesh. Charlotte was in Gilgamesh as well. And now finally in 2013-2014 Season I’ve had the very fortunate opportunity to participate in 36 Views.
Great. Tell us a little about the experience of working on this show for Constellation– what was unique and different about it from other CTC productions.
Well the first thing I should say about Constellation is there is such a love, care, and joy to the process from start to finish on closing night. Whether it is working on a large production with tons of elements – epic in scale such as The Ramayana or Gilgamesh – (both shows had many, many moving parts), or something that is more wordy and “realistic” like 36 Views. The people behind the scenes and the whole production team really seem to support each other. There is such an excellence to what they bring and support, and that comes back to the actors. I am constantly amazed by that. I know it is not always the easiest thing to do.
Darius is described as unscrupulous; a sort of swinging bachelor, ladies man; insincere and cold hearted – – what do you think about him – what have discovered about him over the course of the play? Are all those things true about him?
You always love the character you play. I have a deep amount of love and respect for the steps he takes and, of course, “justify” each of them. I would say he calls himself a deeply fucked up individual and that could be a fair evaluation. But that is for me a very complex evaluation, as I see it. There are the good parts of him that the audience sees with Setsuko, but then there are the stories that others tell (that may or may not be true) and the actions that you see with Elizabeth Newman Orr (the character played by
Megan Dominy). There is a duplicity with Darius, no doubt. I would say that he is what the environment has made him. Very Darwinian. But again, there is his family, which I think is very important as well in the picture of the man: speaking of his father and sister, but no mention of his mother, and what I like to think are his ‘days in Seattle’. Setsuko is a “last chance” as it were to become more human, and unfortunately I would have to say that when that turns south, the money/businessman may recover, but not his heart. Particularly after those he has kept close – John and Claire - turn the tables on him. Once that takes place I would guess the doors are shut and one becomes even more cut throat and jaded.
How do you work – how did you develop this character?
The script is the key. Then the actors I am with on stages - their give and take and our connection to the action of the scene. Of course, the directors guidance is penultimate. I really try to personalize it as much as I can and make sure that every chance for a rounded character is there. Then I just try to tell the character’s truth and the truth of the moment. That is really important to the audience - if they see a lie – that is the worst thing you can do to them. The fun thing in Constellation shows is that sometimes the “truth” can be very big and epic but it can be quite human as well.
What kind of art do you like?
Me personally, I like work from the Impressionist (19th Century Paris) to Abstract Expressionism (post WWII) eras. I am a bit more of a fan of European and American work during those eras. I must admit the Asian artwork we cover in this play, that Darius has a love for, has opened up a whole love of
that work for me. Plus, how can you not see the beauty that is put on that stage via the projections?! But to be honest, the work that gets to me the most are the ones where I get a bit of help understanding. Once someone “enlightens’ me, the light goes off and another world opens up
What’s next on your agenda…where can we see you next?
Believe it or not, I just started rehearsals for a original work over at Theatre J in the last week of 36 Views production, called Our Suburb that runs in December and January. Then I finish things up this year with a remount of The Last Days of Judas Iscariot at Forum Theatre in the late spring/early summer.
Sue Jin Song explores the senses of 36 Views, the taste of plum wine and the artistry of Washington DCNovember 11, 2013 at 6:32 pm | Posted in Uncategorized | Leave a comment
Sue Jin Song is currently playing the role of Setsuko Hearn, Asian art PhD and enthusiast in 36 Views. We had a great conversation about her experience working on this play and with Constellation. Sue Jin has dedicated her performance to her friend Gaurav Gopalan, who introduced her to Constellation Theatre. Gopalan served as dramaturge for our production of The Ramayana. He passed away in 2011.
Sue Jin, this is your first role with Constellation – how has your experience been?
Marvelous. Fabulous all around. I loved working with Allison. “She is everything a director should be and rarely is.” She sets the tone for CTC and in rehearsals. She is very generous and open to sharing feedback from actors, and allows everyone to be part of the creative process. But she is so obviously in control – she’s got the reins in her hand. She chose a great cast who are all tremendously talented and generous. We look out for each other. Everyone came to table with a hundred ideas. Its been a fun, fun process, including rehearsal. I love rehearsing and can do table reads forever. I love Constellation!
I auditioned for this play years ago – there were many regional productions when it first came out. When I got the script this time I found it very smart and was concerned it might be too intellectual. I talked with Allison and Jim [Jorgensen] about bringing out the heart of the story. There is a great love story there and we wanted to pull the audience in emotionally. No one wanted anyone to be a bunch of talking heads. We were able to show the heart of the story. I liked the play and my character more as the process evolved.
I didn’t know much about Japanese art. We took a field trip to the Freer-Sackler. We had wonderful resource materials that Allison and A.J. brought us. I also wanted to see what plum wine (Umeshu) tastes like. The play is very sensual, and I wanted to explore those senses – what were tasting, seeing – it was important to understand those feelings.
You’ve made your acting life work in DC, New York and LA – what brought you here and how has the community been for you?
I was a professional in NY and LA – but I quit and came back here about seven years ago. I got in touch with an actor I’d done a show with and he encouraged me to finish a one woman show, Children of Madea, for Capital Fringe, – which I did and won Best of Fringe Award. My DC acting career grew from there. DC is a great place for theatre. I have had very different experiences here – working with artists who care about art [instead of money]. Still, its been a couple years since I’ve done a play and I didn’t realize how much she missed it. It has been such a positive experience and reignited a hunger. I will continue…if I can work with Allison and Natsu! (Natsu Onoda Power, who will direct her at Theatre J)
Guarev had raved about CTC; everything he said about it drew me to Constellation. He loved it, and now I understand. I love the company’s vision, and Allison is a very special person: it is such a treat thinking about art with a consummate artist who has such a reverence to art and artists. Allison has a strong vision about how artists serve the community and the community is lucky to have them here.
Yellow Face at Theatre J – starts rehearsals in December!
Tags: 36 Views, Allison Arkell Stockman, Constellation Theatre Company, Japanese
Ashley Ivey appeared in Constellation’s first production and has been an integral part of the company since then. He talked to us about his deep ties with Constellation, and his latest lauded turn in 36 Views.
1. Tell us about your history with CTC and as an associate artist.
I have been with Constellation since it’s beginning, in the first production, A Dream Play. My role as John in 36 Views is my 20th for Constellation!
Being a Constellation Associate Artist (CAA) means being a significant nut and bolt within the Constellation family. There is so much involved in making the theatre work – so anywhere I can help, set up, lend a hand: I’m there. As CAA’s we do it and do it gladly. It is about being part of family and keeping the family alive. Everyone takes part, from Board members to CAAs to volunteers. How wonderful to sit at table, doing a mailing, with Board members, Associate Artists, actors and volunteers – all these people helping out and pitching in.
There are just a handful of shows I have not performed in. Last year I was Allison’s AD in Taking Steps, which was an awesome and great experience. I was about to do Our Class at Theatre J and wanted to be on the other side, watching actor’s performances evolve and seeing what Allison does.
How did you meet Allison Stockman?
Allison directed a cabaret for the In Series and I was Stage Manager. She was working on the Save our Source campaign, as was I. ([the campaign to save the Source building…obviously and thankfully, they were successful!). She told me she was holding auditions for a theatre company she was forming and the first show would be A Dream Play. This is my favorite play of all time and I was floored that it would be Constellation’s first production. I asked for an audition and the rest is history!
3. Tell us about 36 Views and your character
36 Views a play about art, greed, authentic, ethics…or lack thereof! It is a very smart play, which I love. Not just in subject matter, but in the way it is written and presented. As we were preparing, we all discovered how easily the lines locked in our memory – the way Naomi writes is very clear and precise –and the clarity of her writing facilitated our getting these massive ideas in heads. We had such a joyful rehearsal process and were able to play and explore different ideas for each scene.
My character John – is very, very smart – almost to his detriment. He is one of those sweet souls that find joy in knowing things. Has a touch of naivety but is slowly beginning to see the world as it is and is beginning to accept that. He finds himself in an incredible set of circumstances, where he has to sink or swim. He chooses to swim, to do something for himself. He looks out for himself in the end. But he seizes the day without consciously knowing he’s doing it.
4. What kind of research did you do individually or as a cast?
We always do lots of wonderful table work. We dive into the text and ask a lot of questions. Allison and A.J. love to bring their research materials, in this case art books, full of wood block prints and ink paintings. I’d sit in the office during breaks and let the images wash over me.
I also read the only existing pillow-book in the world by Sei Shōnagon. 36 Views jumps off this fact – that there may be another pillow book in the world. It is filled with beautiful writing, in a very specific voice – singularly feminine and female and surprising. I just fell in love with Shōnagon. I continue to read pages from the book in my dressing room…it is this sliver of life is what inspires (my character) John to write.
5. What is next?
All Constellation shows!
Scapin – Gerronte – one of the fathers…my first father role played at Constellation!That will be followed by a role in Love of the Nightingale
To the future! Thanks Ashley.
Tags: 14th Street, 36 Views, Arts District, Bar di Bari, Bar Pilar, cherries, cocktails, Constellation Theatre Company, Japanese, M Cafe, martini, Policy, Posto, rice, Saint Ex, Teak Wood, Washington DC
Search for your truth on the Constellation Cocktail Adventure!
Adventure up and down 14th Street and taste a 36 Views inspired cocktail! at these participating restaurants!
by Naomi Iizuka
Directed by Allison Arkell Stockman
October 24 – November 24, 2013
Opening Night – Sunday, October 27 at 7:00 p
Pay-What-You-Can Previews October 24 & 25 at 8:30 pm.
Preview October 26 at 8:00 pm
An intricate, intelligent drama about the impossible search for the truth
Amid vibrant woodblock prints, luminous landscapes and evocative portraits, an ancient Japanese pillow book emerges – a diary of sorts consisting of poems, lists, and intimate observations. Six ambitious individuals engage in an erotic game of greed, love and mental hide and seek as they solve the mystery of its origins. What makes art valuable? Questions are posed about authenticity – not only in rare antiquities, but also in personal identity and matters of the heart.
36 Views was originally produced by the Public Theatre/ New York Shakespeare Festival in association with Berkeley Repertory Company and premiered at the Public in New York City in 2002. The New York Daily News painted it as, “A captivating portrait of the art world’s seamier side” while Backstage described it as “A shimmering puzzle palace steeped in the arcane lore of medieval Japanese literature.”
Born in Tokyo, playwright Naomi Iizuka has a multicultural background with a mother who is an American Latina and a father who is a Japanese banker. She grew up in Japan, Indonesia, the Netherlands and here in Washington, DC, where she attended National Cathedral School before going to college at Yale and earning her MFA at University of California at San Diego. Her work has been produced by the Guthrie Theater, Actors Theatre of Louisville, The Kennedy Center, Huntington Theatre Company, Portland Center Stage, The Next Wave Festival at Brooklyn Academy of Music, and Edinburgh International Festival, among others.
The title of 36 Views pays homage to a series of woodblock prints by nineteenth-century Japanese artist Katsushika Hokusai. First published for the New Year of 1831, Hokusai’s 36 Views of Mount Fuji was so popular that Hokusai created 10 more, so now there are in fact 46 prints in the 36 Views series. Iizuka wrote her play in 36 intersecting scenes that skip around in location, time and sometimes even theatrical form – short sections of the play touch on ancient Japanese poetry or are inspired by the kabuki theatre tradition. Like Mount Fuji, anything or anybody can be seen from an infinite number of perspectives.
The stellar cast of 36 Views is led by Jim Jorgensen as an unscrupulous art dealer. Jorgensen, a Constellation favorite, has been seen in Gilgamesh, Zorro, The Ramayana and On The Razzle. Sue Jin Song plays the leading lady, an East Asian literature PhD and expert on the Hiean era. Song has been seen locally at Studio Theatre and Arena Stage. Constellation Associate Artists Megan Dominy and Ashley Ivey are being joined by Tuyet Thi Pham and David Paglin to form an excellent ensemble.
On the creative team, Artistic Director Allison Arkell Stockman, Constellation Resident Designers Kendra Rai (Costume Design) and A.J. Guban (Scenic and Lighting Design) collaborate with Aaron Fisher (Projections Design) and Palmer Hefferan (Sound Designer) to bring this complex, tightly plotted play to life. It is the first time Constellation has incorporated projections. This script offers a remarkable opportunity to bring the visual art that the characters are so passionate about to the audience.
Constellation Theatre Company announces its 2013-2014 Season
by Naomi Iizuka
Directed by Allison Arkell Stockman
October 24 – November 24, 2013 Opening Night – Sunday, October 27 at 7 pm
An intricate, intelligent drama about the impossible search for the truth
Amid vibrant woodblock prints, luminous landscapes and evocative portraits, an ancient Japanese pillow book emerges – a diary of sorts consisting of poems, lists, and intimate observations. Six ambitious individuals engage in an erotic game of greed, love and mental hide and seek as they solve the mystery of its origins.
“A captivating portrait of the art world’s seamier side” – New York Daily News
“A shimmering puzzle palace steeped in the arcane lore of medieval Japanese literature” - Backstage
adapted from Molière
by Bill Irwin and Mark O’Donnell
Directed by Kathryn Chase Bryer
January 16 – February 16, 2014 Opening Night – Sunday, January 19 at 7 pm
Molière’s classic farce brilliantly updated for today and set to live music
The endlessly crafty servant Scapin and his dim-witted sidekick Sylvestre help their two young masters marry penniless beauties against both fathers’ wishes. Brimming with zany characters and improvisation, this physical comedy is an uproarious romp of hugely theatrical proportions.
“A vicarious lesson in the fine art of comic madness” – The New York Times
“A delightfully timeless farce” - Variety
by Timberlake Wertenbaker
Directed by Allison Arkell Stockman
April 24 – May 25, 2013 Opening Night – Sunday, April 27 at 7 pm
Ovid’s mythical tale of family loyalties, passionate desire & devastating betrayal
Against a backdrop of war, two sisters are separated by a marriage and a vast ocean. Ever curious about the world, the young Philomele bravely takes a voyage on the high seas in hopes of a reunion. While the stars may guide the ship’s course, danger is in the air and our heroine must harness her inner creativity to survive.
With Live Music by Helen Hayes Award Winner Tom Teasley
“With wit, economy, and a powerful theatricality [Wertenbaker] offers us a rich retelling of the Philomele story. Her play passionately demonstrates the violence that stems from enforced silence” - London critic
September 23, 2013, Washington, DC. Constellation Theatre Company is pleased to announce that it has received a grant from the Theatre Company Grants Program of the American Theatre Wing, founder of the Tony Awards. Since the initiation of the program in the mid 1950s, American Theatre Wing has distributed over $3 million dollars to emerging theatres.
The National Theatre Company Grants has awarded Constellation Theatre Company a $10,000 grant. A total of ten American theatre companies were awarded this grant, all of whom have “articulated a distinctive mission, cultivated an audience, and nurtured a community of artists in ways that strengthen and demonstrate the quality, diversity, and dynamism of American theatre.” (American Theatre Wing website).
Today we go straight to the heart of the Gilgamesh journey and talk to the King himself. Of Joel David Santner, The Washington Times wrote: “On stage for nearly one hundred per cent of the time, Joel David Santner creates a powerful, heroic, arrogant Gilgamesh. Full of himself, steeped in the knowledge that he’s actually part god, his Gilgamesh is capable of recalibrating and learning—particularly that most important of lessons whereby he’s able to pull back much of his overweening, arrogant pride, which the Greeks called hubris, the better to replace it with wisdom and understanding.”
Is this your first role as a King? Have you enjoyed the experience of stepping into the shoes of an ancient ruler?
Yes, this is my first role as a King. The closest I’ve got to this point is Hamlet, but he never quite made it to the throne!
The experience has been enjoyable, but also challenging, intimidating and insightful. Gilgamesh does not start off as a great guy so you need to toss out all the impulses to make him likable. That is hard to do, because you want the audience to come with you on the journey, and if you are too despicable they may not be there for you. That was the gamble and it was incredibly interesting to me as an actor. It was also very important to learn from his friendship with Enkidu, which humbles Gilgamesh. That needed to be a physical transformation as much as a mental one. It was fun to watch what Andreu created physically and find moments to mirror that movement, and to ground Gilgamesh as someone who is more connected with the earth than the heavens. King Gilgamesh ends the play as a ruler who is of the people – that idea was also appealing to me.
How did you prepare for this role – what sorts of inspiration did you find?
My way into the role was to prepare physically. Gilgamesh is described as “a bull of a man” and a “fierce warrior” so I had my work cut out for me…I am a runner and have a slight frame. I hired a trainer named Tim Bruffy who runs Atlas Fitness and we began a regiment that consisted of working out with him twice a week and then I did three to four days on my own. I also met with a nutritionist to manipulate my diet and take in the right amount and kinds of food. I ended up putting on 15 pounds. I’m a huge movie-goer so this also gave me a great excuse to go back and watch some epic movies like “300” and “Last of the Mohicans” – stories that have vast scopes. I watched a lot of Tom Hardy movies too, like the last “Batman,” “Warrior” and ”Bronson.” He’s not a huge guy either but he put on serious weight for those movies and gives really great physical performances. The way he moves is incredible, and I stole from him.
This is your first production with Constellation. Was this a different rehearsal experience than at some other theaters you’ve worked for?
It was incredibly collaborative and Allison is a very giving director. She liked to hear thoughts on the character and gave me quite a bit of room to play – all the while keenly observing. As the rehearsal process went on she would tighten and shape the performance and together we found an honest interpretation of the character. I enjoyed that process quite a bit. In terms of the company as a whole, they were also great collaborators. The story is very episodic and it’s really fun to go from scene to scene and get to play with a cast who have all created strong, memorable characters. That’s a lot of fun.
What I appreciate about the whole experience is seeing the cast and crew have fun. They enjoy each other and the work they are doing and that translates to the stage and performances. I think Constellation audiences have a great time at the shows because the cast and crew are having fun creating the stories, and that all stems from Allison’s enthusiasm to tell these epic tales.
What is next for you?
Next up I am directing some ten-minute plays for the Source Festival and will start the festival submission process for my feature film, “Bare Knuckle.” I will also perform in the Henry IV Reps at The Shakespeare Theatre.
Finally, two VERY important questions!
Are you going to keep the haircut?
As much as I’ve enjoyed the hair cut and having an excuse to change my appearance I will not be keeping it. It would be too expensive to maintain!
Have you tried the Gilgamesh drink at Matchbox? [editor's note: Matchbox is part of the Gilgamesh 14th St. Bar Crawl with custom made, Gilgamesh inspired cocktails available through the end of the run!)
I have and it's good and my girlfriend orders it every time we go to Matchbox!
Award winning costume designer Kendra Rai again brings her epic imagination and talent to Constellation for Gilgamesh. The Washington Post says, “ Kendra Rai contributes resplendent bright-hued costumes for the divine and mortal characters” and The Washingtonian writes “the costumes go a long way toward lending a mystical air to this interpretation of one of history’s oldest stories.” We talked with Kendra about her inspiration and her process of creating Mesopotamian inspired costumes for a modern audience.
1. Where did you look for inspiration for this production? How did you translate the ancient into a modern day ‘understanding’.
I actually got inspired watching HBO’s Game of Thrones – it is big & epic, medieval and artistic. But the costumes don’t really fit into a period. This is more and more common. Like in the series Rome the costumes are more like silhouettes, complete with sewing details that they didn’t have in time period. For Gilgamesh, we could have done real Mesopotamia. But the story is quick and fast and there are so many epic hero moments happening – it didn’t need to be set in that time period. In the
Mesopatamian age, most people were not clothed anyway! The kings and queens wore Yak fur and toga-esque skins.
In our costumes, the tassels represent the yak fur. My source material included carvings, Gilgamesh carvings, Mesopotamian jewelry, headpieces. The Queen’s headpiece, made by Josh Kelly, is probably most accurate. The printing used in costumes is from ancient woodblock techniques.
2. How did you work with Allison and the actors on Gilgamesh?
Allison and I are getting our collaboration down to a science. It is so comforting. I’m no longer the new kid at the table. When we start to work on a project now, I know what she wants to see and how to get her feeling comfortable.
Here is how we work
1. Research: I start with lots of images…research per character…narrow down from that…
2. I show Allison pencil drawings.
3. Allison approves the drawings – she can really tell from those where I’m going.
4. Sketches. I do these before meeting actors – I have 3 weeks from when they start rehearsal to when they start dress. Not a lot of time.
5. Get started making the costumes!
6. Meet actors and make any necessary changes… (confession: I might Facebook them to do some stealth research…to see if can they wear these clothes!).
3. Tell us about the women’s costumes – in particular Ishtar and the Woman of Red Sashes – they work as prop pieces as well as costumes, which is fantastic.
Woman of Red Sashes – I had seen some beautiful image of a woman who had rings all over body with red veils – she was turning in the picture. Emma (The Woman of Red Sashes) is completely dressed – open wide pants and wrap tops – she is covered up and quickly can get out of it. She has a belt of rings and rings around her shoulders. Emma is a dream performer – she automatically figures it out. She saw the rendering and knew how she wanted it to work – its was very collaborative. This is my husband’s favorite costume.
Ishtar - My inspiration was a metal dress at the Tony’s. Ishtar must look like the Goddess of War. The breastplate is molded leather and collar piece were made by Josh Kelly.
I wanted her to have Lion Feet. Ancient drawings of Ishtar have a lion feel. We bought white satin wolverine slippers for Halloween and put claws on and painted them for $30! (the Loubutin pumps retailed for about $1500)
The wings are [the Goddess] Iris wings. I discovered them in belly dancing and used something similar in the Green Bird. Nora is tiny – and she can use the wings to make herself tall and threatening.
4. What is/are your favorites? Ishtar. What would you wear to a nightclub? Well…if I were Emma Jaster…!!! My favorite is Ishtar without the wings.
(Kendra does an NPR show every Halloween and recommends for any costume: no wings!
5. What is next for you?
I do costumes for the George Washington ACA end of year showcase (which Joel was part of years ago ) One Jacobean and one Shakespeare. Then I’m costuming Cat in the Hat at Adventure Theatre.