It seems that Katherine M. Carter, the director of the Queens Players’ adorable version of “A Midsummer Night’s Dream,” remembered that the important word in the play’s title is “dream.”
Thus, she not only has a dreamy set draped in white linens and softly lit by Lisa Hufnagel, but has costume designer Jeni Ahlfeld dress the cast in pajamas and white ankle socks; Bottom and his men appear in scarlet onesies.
The playfulness is further enhanced by having Snug the Joiner (Timothy Williams) a very tall bloke, carry around a teddy bear. Snug even has a little matching mane made for Teddy when he plays the lion in Pyramus and Thisbe.
The morning is greeted by the songs of birds — kudos to sound designer Jillian Marie Walker. The Bard would have approved.
“A Midsummer Night’s Dream” is one of Shakespeare’s dopier comedies. Though it has a couple of authoritarian male figures, namely Theseus, duke of Athens (Brandon Hillen), and Egeus, father of Hermia (Charles Baker), it has none of the discordance or “slut horror” of a work like “Much Ado About Nothing.” Keeping with the title, it’s 99 percent moonlight and fluff.
The plot is this, sort of: It’s close to the duke’s wedding to Hippolyta, played by the charming Heidi Zenz, but he’s beseeched by Egeus, whose diminutive daughter Hermia (Angelica Duncan) wants to marry Lysander (Joe Mullen), the man she loves, and not Demetrius (James Parenti), the man her father wants for her. The Duke warns Hermia that the penalty for such disobedience is death or being sent to a nunnery. In the meantime, Demetrius is being aggressively wooed — nowadays one might say stalked — by the lovestruck Helena (a wide-eyed Katie Braden), who he doesn’t care for in the least.
On another plain of existence, the fairy king Oberon (Randy Warsaw, in slinky purple silk and guyliner) and his queen, Titania (Tiffany D. Turner, proud and dignified till she wakes up in love with the transmogrified Bottom), aren’t getting along because he wants her to release her page to his service. She doesn’t want to.
Because of her stubbornness, Oberon sends his servant Puck (a Goth and impish Ahlfeld), to bewitch Titania with a love potion so she falls in love with the first ugly thing she sees upon awakening from her nap. Puck also mistakenly bewitches Lysander, because (s)he mistakes him for scornful Demetrius. And Bottom (an appropriately scenery-chewing Chris Kateff) and his men (Andrew Ash, Timothy J. Cox, Charlotte Layne Dunn, Miriam Mintz, and Williams) are putting on a play based on Pyramus and Thisbe, a more tragic tale of bad timing and misunderstanding, for the Duke’s wedding.
All this is an excuse for the cast to not only show their acting chops but gambol about the little whitewashed stage like babies. The rehearsals for the play-within-a-play are only matched in hilarity by the near-brawl between Hermia and Helena after both Lysander and Demetrius are bewitched into falling in love with the latter.
Duncan plays Hermia, who thinks she’s being dissed because she’s short, like a wet cat with the evening crazies. (“How low am I, thou painted maypole?” she screeches at Helena. “Speak! How low am I? I am not yet so low but that my nails can reach unto thine eyes!”)
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Parenti and Mullen play the boys as wonderfully disdainful, pugnacious and lovesick. Also good are Titania’s servant fairies (Sarah King and Trish Phelps), who think nothing of waiting on a man with the head of jackass. Perhaps they think this is normal for mortals?
This most delightful and inventive “Midsummer” will be running through Jan. 3 (they skip Christmas) at the Secret Theatre. They call it the Secret Theatre because it’s a few blocks from the Citicorp building, and hidden behind a loading bay, but they’ll have a sandwich board outside on the street. It’s a summery joy, perfect for a winter’s evening.
If You Go
A Midsummer Night’s Dream
When: Dec. 16-19, Jan. 1-3 at 8 p.m., Dec. 19 and 20 at 3:30 p.m.
Cost: $15 general admission, $10 students
Where: The Secret Theatre, 44-02 23rd St., Long Island City
Contact: 718-392-0722
Web site:secrettheatre.com
Thursday, December 17, 2009
Saturday, December 12, 2009
Greg Cicchino on Midsummer
Greg Cicchino, Director of AS YOU LIKE IT at the Secret Theatre, posted his thoughts on MIDSUMMER on his blog, I wanted to share them with you.
"I then had the pleasure of seeing Katherine Carter’s production of A Midsummer Night’s Dream in the smaller space. It was very smart and quick. They cut it down to fewer than two hours, so it was over before you knew it. Her concept was that it was in fact, all a dream, so everyone was in colorful pajamas on a stark white space, which made for a very striking contrast. There was also some great text work, which is of course an important point for me as well. Congratulations cast."
Thanks Greg! We are looking forward to seeing his production of ROMEO and JULIET this Winter.
"I then had the pleasure of seeing Katherine Carter’s production of A Midsummer Night’s Dream in the smaller space. It was very smart and quick. They cut it down to fewer than two hours, so it was over before you knew it. Her concept was that it was in fact, all a dream, so everyone was in colorful pajamas on a stark white space, which made for a very striking contrast. There was also some great text work, which is of course an important point for me as well. Congratulations cast."
Thanks Greg! We are looking forward to seeing his production of ROMEO and JULIET this Winter.
"A Midsummer Night's Dream" delightfully playful
A Review by Willow Belden
Queens Chronical
With pajama-clad actors, a cloud-like white set and whimsical sound cues, the Queens Players’ production of “A Midsummer Night’s Dream” definitely emphasizes the night and the dream aspects of the play.
Their rendition of Shakespeare’s beloved comedy, running at the Secret Theatre through Jan. 3, is crisp, playful and wonderfully imaginative. The acting is sharp, the punch lines are delivered perfectly and the production moves along at an energetic clip.
You’re sure to leave the theater smiling after taking in the tale of frustrated lovers, mischievous fairies, amateur actors and love potions wrongly administered.
Each set of characters — the Athenian elite, the forest fairies and the lay people rehearsing a production of “Pyramus and Thisbe” — wears a distinct style of pajamas, making it easy to distinguish the groups and adding delightful comic effect.
The four principal lovers — Hermia and Lysander, Helena and Demetrius — are clad in bright pink and green garb. Oberon and Titania, the fairy king and queen, along with their entourage, shimmer in sleek satin.
The prize for best fashion goes to the troupe of half-witted laypeople, though, or “mechanicals” as they’re called. The amateur thespians sport bright red “onesies” throughout the show, the kind of pajamas you wore when you were 2. Brilliant costume choice.
The mechanicals also put forward some of the best acting in the production. Chris Kateff steals the show as Bottom, the verbose, self-important weaver who plays Pyramus in the play within the play and famously ends up with a donkey’s head. Kateff’s transformation to asshood is a delight to watch.
Andrew Ash, who chews innocently on the sleeve of his onesie as Flute the bellows mender, and Timothy Williams, who gingerly steps into the role of the lion while glumly clutching a teddy bear, are also particularly entertaining.
Three of the four Athenian lovers are aptly portrayed. Angelica Duncan is an adorably pixie-like Hermia. Katie Braden captures the desperately jealous Helena with fitting intensity. And Joe Mullen is a charmer as Lysander.
James Parenti is the weak link, beaming through scenes in which a look of outrage would be more fitting.
Jeni Ahlfeld deserves mention for her portrayal of Puck, the fairy messenger, a role she plays with nymph-like agility and appropriately devious grins.
If the acting and costumes aren’t enough to draw you to “Midsummer,” know that the production also includes a ukulele and armor made of a cardboard apple crate.
All told, it’s an excellent feel-good production and the perfect way to warm up a cold winter evening.
‘A Midsummer Night’s Dream’
When: Select dates through Jan. 3.
Where: The Secret Theatre 44-02 23rd St., L.I.C.
(718) 392-0304
Ticket price: $15
Queens Chronical
With pajama-clad actors, a cloud-like white set and whimsical sound cues, the Queens Players’ production of “A Midsummer Night’s Dream” definitely emphasizes the night and the dream aspects of the play.
Their rendition of Shakespeare’s beloved comedy, running at the Secret Theatre through Jan. 3, is crisp, playful and wonderfully imaginative. The acting is sharp, the punch lines are delivered perfectly and the production moves along at an energetic clip.
You’re sure to leave the theater smiling after taking in the tale of frustrated lovers, mischievous fairies, amateur actors and love potions wrongly administered.
Each set of characters — the Athenian elite, the forest fairies and the lay people rehearsing a production of “Pyramus and Thisbe” — wears a distinct style of pajamas, making it easy to distinguish the groups and adding delightful comic effect.
The four principal lovers — Hermia and Lysander, Helena and Demetrius — are clad in bright pink and green garb. Oberon and Titania, the fairy king and queen, along with their entourage, shimmer in sleek satin.
The prize for best fashion goes to the troupe of half-witted laypeople, though, or “mechanicals” as they’re called. The amateur thespians sport bright red “onesies” throughout the show, the kind of pajamas you wore when you were 2. Brilliant costume choice.
The mechanicals also put forward some of the best acting in the production. Chris Kateff steals the show as Bottom, the verbose, self-important weaver who plays Pyramus in the play within the play and famously ends up with a donkey’s head. Kateff’s transformation to asshood is a delight to watch.
Andrew Ash, who chews innocently on the sleeve of his onesie as Flute the bellows mender, and Timothy Williams, who gingerly steps into the role of the lion while glumly clutching a teddy bear, are also particularly entertaining.
Three of the four Athenian lovers are aptly portrayed. Angelica Duncan is an adorably pixie-like Hermia. Katie Braden captures the desperately jealous Helena with fitting intensity. And Joe Mullen is a charmer as Lysander.
James Parenti is the weak link, beaming through scenes in which a look of outrage would be more fitting.
Jeni Ahlfeld deserves mention for her portrayal of Puck, the fairy messenger, a role she plays with nymph-like agility and appropriately devious grins.
If the acting and costumes aren’t enough to draw you to “Midsummer,” know that the production also includes a ukulele and armor made of a cardboard apple crate.
All told, it’s an excellent feel-good production and the perfect way to warm up a cold winter evening.
‘A Midsummer Night’s Dream’
When: Select dates through Jan. 3.
Where: The Secret Theatre 44-02 23rd St., L.I.C.
(718) 392-0304
Ticket price: $15
Monday, December 7, 2009
DirectorFest 2009
With Midsummer up and running my attention has turned towards Directorfest 2009.
I am co-production managers with Peggy Samuels this year-and having two heads in better than one. Together we are organizing 4 30minute plays that will be put together in one night of theatre. Each show has its own set, lights, costumes, sound, cast, director, and stage manager. There are a lot of personalties in the room-good but overwhelming at times when we are brainstorming.
We began tech on Saturday morning at 8am-yes the Saturday after Midsummer opened-and will be in tech/dress through the opening on Thursday December 10th. Since I have been doing the prep work Peggy will be taking the lead during the actual tech (save for the 3 days I am here). Her stage manager background is immensely helpful in this situation, as well as her experience with Directorfest.
I have to say, while I love working on this show both production managing and working at the Drama League is a big undertaking this week. With everything together I will be working 150 hours this week alone. Insanity! But that is why I am in theatre yes? To work hard and tell stories.
Also tonight is the big ART/NY holiday party-I am going to pop in during our dinner break at the theatre. Should be a lovely time.
So far no more reviews for Midsummer have come out yet, but we know there are 2 or 3 more cooking somewhere.
Happy Monday!
I am co-production managers with Peggy Samuels this year-and having two heads in better than one. Together we are organizing 4 30minute plays that will be put together in one night of theatre. Each show has its own set, lights, costumes, sound, cast, director, and stage manager. There are a lot of personalties in the room-good but overwhelming at times when we are brainstorming.
We began tech on Saturday morning at 8am-yes the Saturday after Midsummer opened-and will be in tech/dress through the opening on Thursday December 10th. Since I have been doing the prep work Peggy will be taking the lead during the actual tech (save for the 3 days I am here). Her stage manager background is immensely helpful in this situation, as well as her experience with Directorfest.
I have to say, while I love working on this show both production managing and working at the Drama League is a big undertaking this week. With everything together I will be working 150 hours this week alone. Insanity! But that is why I am in theatre yes? To work hard and tell stories.
Also tonight is the big ART/NY holiday party-I am going to pop in during our dinner break at the theatre. Should be a lovely time.
So far no more reviews for Midsummer have come out yet, but we know there are 2 or 3 more cooking somewhere.
Happy Monday!
Sunday, December 6, 2009
BlogCritics Review of A Midsummer Night's Dream
The first review for A Midsummer Night's Dream came out this afternoon. Check it out!
Theater Review (NYC): A Midsummer Night's Dream
Author: Hannah Marie Ellison — Published: Dec 06, 2009
It’s easy to throw A Midsummer Night’s Dream out of balance – there are the pairs of moon-crossed lovers, then there are those rude mechanicals. Often the lovers are in such perfect sync with their out-of-whack, juice-of-the-flower induced crisscrossing that Nick Bottom and his pals seem superfluous. Or contrariwise, the preparation and performance of “The most lamentable comedy and most cruel death of Pyramus and Thisbe” can be so delightful that the romantic mix-ups pale in comparison. So it is a pleasure to report that Katherine M. Carter's dream inspired production, which opened Thursday night at The Secret Theatre in Long Island City, is an adorable delight all around, thanks to a brisk pace, enchanting music and solid performances from an enthusiastic cast.
For those who don't know, Midsummer is Shakespeare's magical classic comedy that involves two pairs of lovers who, after facing a romantic dilemma, flee into the woods only to become the playthings of a group of fairies who are having their own romantic challenges. There is a royal wedding with entertainment by an inept troupe of would-be actors who also fall prey to the fairy antics while rehearsing in the woods. Much confusion ensues with magic and mistaken identities before the air is cleared and things wrap up with a hilarious play within a play (which in this production is quite hilarious indeed).
Unlike some of the Bard's plays, Midsummer's setting is pretty malleable. I have seen productions set in everything from medieval castles to unknown planets without compromising the text. From the moment I walked into the Secret Theatre for last nights' performance, I was instantly swept away in director Carter's world. She has chosen to set her entire piece in a dream, with a stage that is white as snow and bare, save for two blocks and a few pieces of fabric hanging from the ceiling, representing columns. Her company of actors are dressed in colorful and very comfortable looking pajamas (I was a little jealous). It’s welcoming, relaxing and yes, dreamlike. The original music, composed by sound designer Jillian Marie Walker, adds to the magic and wonder and the lighting design by Lisa Hufnagel perfectly captures the mood of the piece.
It is a very playful environment that Carter has created and she has directed her actors to play and boy, do they ever. Carter has gathered together a fantastic ensemble cast. Both Tiffany D. Turner and Randy Warsaw excel as the fairy royals Titania and Oberon, as does the vivacious Jeni Ahlfeld (who also designed the lovely pajama costumes) as Oberon's servant Puck. The four lovers in this play can often be generic and hard to tell apart, but this Hermia (Angelica Duncan), Demetrius (James Parenti), Lysander (Joe Mullen) and Helena (Katie Braden) all have great moments with strong individual personalities and they are also very, very funny as well.
Then there are the mechanicals. As led by Chris Kateff’s gloriously ridiculous Bottom, they are anything but common folk. All of them – Timothy J. Cox as the hapless director Peter Quince, Andrew Ash as Flute, Charlotte Layne Dunn as Starveling, Miriam Mintz as Snout and Timothy Williams as Snug (complete with tiny bear companion) – under- and over-play beautifully, making their appearances seem too few, and too brief. Rounding out the ensemble is Charles Baker, who does fine work as Hermia's stubborn father, Egeus, as do Brandon Hillen and Heidi Zenz as Theseus and Hippolyta respectively. Sarah King (who sings wonderfully in the production, like a young Joni Mitchell) and Trish Phelps also provide able support in their brief roles as Peaseblossom and Cobweb.
A Midsummer Night’s Dream runs at The Secret Theatre until January 3rd. For information on tickets, please visit. www.secrettheatre.com
Theater Review (NYC): A Midsummer Night's Dream
Author: Hannah Marie Ellison — Published: Dec 06, 2009
It’s easy to throw A Midsummer Night’s Dream out of balance – there are the pairs of moon-crossed lovers, then there are those rude mechanicals. Often the lovers are in such perfect sync with their out-of-whack, juice-of-the-flower induced crisscrossing that Nick Bottom and his pals seem superfluous. Or contrariwise, the preparation and performance of “The most lamentable comedy and most cruel death of Pyramus and Thisbe” can be so delightful that the romantic mix-ups pale in comparison. So it is a pleasure to report that Katherine M. Carter's dream inspired production, which opened Thursday night at The Secret Theatre in Long Island City, is an adorable delight all around, thanks to a brisk pace, enchanting music and solid performances from an enthusiastic cast.
For those who don't know, Midsummer is Shakespeare's magical classic comedy that involves two pairs of lovers who, after facing a romantic dilemma, flee into the woods only to become the playthings of a group of fairies who are having their own romantic challenges. There is a royal wedding with entertainment by an inept troupe of would-be actors who also fall prey to the fairy antics while rehearsing in the woods. Much confusion ensues with magic and mistaken identities before the air is cleared and things wrap up with a hilarious play within a play (which in this production is quite hilarious indeed).
Unlike some of the Bard's plays, Midsummer's setting is pretty malleable. I have seen productions set in everything from medieval castles to unknown planets without compromising the text. From the moment I walked into the Secret Theatre for last nights' performance, I was instantly swept away in director Carter's world. She has chosen to set her entire piece in a dream, with a stage that is white as snow and bare, save for two blocks and a few pieces of fabric hanging from the ceiling, representing columns. Her company of actors are dressed in colorful and very comfortable looking pajamas (I was a little jealous). It’s welcoming, relaxing and yes, dreamlike. The original music, composed by sound designer Jillian Marie Walker, adds to the magic and wonder and the lighting design by Lisa Hufnagel perfectly captures the mood of the piece.
It is a very playful environment that Carter has created and she has directed her actors to play and boy, do they ever. Carter has gathered together a fantastic ensemble cast. Both Tiffany D. Turner and Randy Warsaw excel as the fairy royals Titania and Oberon, as does the vivacious Jeni Ahlfeld (who also designed the lovely pajama costumes) as Oberon's servant Puck. The four lovers in this play can often be generic and hard to tell apart, but this Hermia (Angelica Duncan), Demetrius (James Parenti), Lysander (Joe Mullen) and Helena (Katie Braden) all have great moments with strong individual personalities and they are also very, very funny as well.
Then there are the mechanicals. As led by Chris Kateff’s gloriously ridiculous Bottom, they are anything but common folk. All of them – Timothy J. Cox as the hapless director Peter Quince, Andrew Ash as Flute, Charlotte Layne Dunn as Starveling, Miriam Mintz as Snout and Timothy Williams as Snug (complete with tiny bear companion) – under- and over-play beautifully, making their appearances seem too few, and too brief. Rounding out the ensemble is Charles Baker, who does fine work as Hermia's stubborn father, Egeus, as do Brandon Hillen and Heidi Zenz as Theseus and Hippolyta respectively. Sarah King (who sings wonderfully in the production, like a young Joni Mitchell) and Trish Phelps also provide able support in their brief roles as Peaseblossom and Cobweb.
A Midsummer Night’s Dream runs at The Secret Theatre until January 3rd. For information on tickets, please visit. www.secrettheatre.com
Sunday, November 29, 2009
Midsummer Tech
After two wonderful days Midsummer has completed their tech rehearsals.
Both days we got out at 6:00pm-4 hours early!!
All of the designers were amazingly on top of their game, Griffin kept the whole thing running, and I was a director.
I special thank you to the entire production team and cast who make the tech the smoothest I could ask for.
Even though we got out early everyone is still wiped. We completed a cue to cue on Saturday and 2 full runs today.
Monday, Tuesday, and Wednesday we have full dress/previews-there are a few audience members who cannot make the run of the show and will be joining us. On Tuesday my good friend Krystal Phelps will be taking photos.
Currently Richard (the artistic director) and Alexis are working hard with me in order to spruce up the lobby of the smaller theatre. Since the bigger secret opened its important to me that the black box get a face lift as well, we wouldn't want our public to look at us as the ugly child.
If you haven't been to our midsummer website I highly recommended you do it-
Tim Cox did an amazing job!
We look forward to seeing you on Thursday!
Katherine
Both days we got out at 6:00pm-4 hours early!!
All of the designers were amazingly on top of their game, Griffin kept the whole thing running, and I was a director.
I special thank you to the entire production team and cast who make the tech the smoothest I could ask for.
Even though we got out early everyone is still wiped. We completed a cue to cue on Saturday and 2 full runs today.
Monday, Tuesday, and Wednesday we have full dress/previews-there are a few audience members who cannot make the run of the show and will be joining us. On Tuesday my good friend Krystal Phelps will be taking photos.
Currently Richard (the artistic director) and Alexis are working hard with me in order to spruce up the lobby of the smaller theatre. Since the bigger secret opened its important to me that the black box get a face lift as well, we wouldn't want our public to look at us as the ugly child.
If you haven't been to our midsummer website I highly recommended you do it-
Tim Cox did an amazing job!
We look forward to seeing you on Thursday!
Katherine
Wednesday, November 25, 2009
Interview with Hannah
Spotlight on Katherine M. Carter, Director of The Secret Theatre's Upcoming A Midsummer Night's Dream
Author: Hannah Marie Ellison — Published: Nov 23, 2009
The Queens Players, who work out of the Secret Theatre in Long Island City, are back with yet another classical work for the stage. This time it's William Shakespeare’s much loved comedy/fantasy A Midsummer Night's Dream, which opens on December 3rd.
From the press release: Follow four young lovers into a colorful and mysterious forest where fairies Titania and Oberon rule, where a band of “rude mechanicals”, led by the hilarious Bottom, rehearse a play and where love is put to the test by the mischievous Puck. In the end, will the lovers end up with their correct mate? Will the mechanicals make it to their performance before the Duke? Is Titania doomed to love an ass?
You may be thinking to yourself, "Another production of Midsummer"? I certainly thought that at first. But something about director Katherine M. Carter's production is drawing me in.
Perhaps it's Carter herself, her enthusiasm and passion for her work.
A graduate of Marymount Manhattan College, where she earned a BFA in Acting and a BA in Directing, her enthusiasm and passion for the work have kept Carter extremely busy. She has directed and assistant directed productions with both the Hangar Theatre and the American Globe Theatre and has even served as a directing intern on the Tony award winning Billy Elliott: The Musical.
Actor Timothy J. Cox, who plays Peter Quince in the upcoming production of Midsummer, has said, "Katherine is just one of those bright, shining talents. I look at her and I know that she's going to work forever."
Although very busy bringing Midsummer to life, Ms. Carter was gracious enough to take a few minutes to answer some questions for Blogcritics.
Could you please give us a bit of background about yourself? How did you get involved in the theatre? Have you always wanted to direct?
I'm a Midwestern girl, born and raised in Michigan. I am the oldest of three siblings with two younger brothers. I started in theater in the 6th grade when my crush wanted to do theater and I wanted to hang out with him. From then onwards, I acted in everything. From 9th to 12th grade, I performed in over 60 productions. My senior year of high school, I directed my first production, a stage version of Clue.
After that I was aware that directing was a path I could take. During college I earned my BFA in Acting and a BA in Directing, and I would say that junior year was when the transformation took full effect. Between junior and senior year, I was a member of the Hangar Lab Company, saw that directing was really where I wanted to be and from then on it was a done deal.
The short answer to that question is: No, I didn't always want to direct, but sometimes you have to be honest enough to say "I'm a good actress and singer, but I am a much better storyteller from the outside." On top of that I have too many control issues to be an actor (laughs).
How did you become aware of The Secret Theatre and why did you want to become involved as a director with the company?
A lovely actress, Elspeth Turner, was in their production of Macbeth last spring. We were working on a production of The Odd Couple together at the time and she invited me to see her work. After Macbeth, I met Richard Mazda, the Artistic Director of The Queens Players, and we exchanged information.
I wanted to direct at this particular theater because there was so much potential with the space and the actors, I wanted to tap into it and see what I could do. As directors we are always looking for places where our skills could be of use, and since I had just come off of directing Twelfth Night, I knew my Shakespeare experience would fit right in with the company. Richard and I talked, he invited me to direct Midsummer, and that was that.
With so many productions of Shakespeare, especially A Midsummer Nights' Dream, going up every year, what made you want to direct this show, in the winter of all times?
Ah, the age old "why Midsummer" question. Very good. To tackle the Midsummer in winter question for me is simple – why should I let a shows' title dictate when it gets performed? Would you only do The Winter's Tale in winter? Or Summer and Smoke in the Summer? The seasons are ever changing and what is lovely about theater is that you enter a world away from the outside and are transported somewhere new. It's not what's happening outside that matters, but the story that is being told inside which counts.
For the show itself, I have always loved Midsummer. This production is a personal thank you to past theatre teachers who made me read the play over and over and perform in it. So many of us storytellers take this show on every year, but for me, it is about finding something new and interesting with a tried and true text. It is also a director "must do," as I say. Almost every director has done their version of Midsummer at least once, if not more, and this is my first go at it.
What is it about this play that speaks to you? What do you hope an audience will take away from your approach to the production?
The story speaks to me as a director. I love the variations of emotions, the levels of being in love, and the pure, almost farce-like comedy. As a director, when you see a good story, you want to tell it in your own voice. Midsummer has always been that way for me. I want the audience to laugh out loud and have a jolly good evening of theater.
For each audience member who sits in that theatre, the experience will be different: some will laugh at the mechanicals, some will feel for Helena, and others will dislike Puck for meddling. It's all subjective. For me, it's about communicating the story. If the audience leaves understanding the story, hopefully on a new level, and has fun, then I'm happy.
I was delighted to read that you have worked with a Shakespeare giant, John Basil at the American Globe Theatre in Manhattan. How did you become involved with the company? Have your collaborations with him and the Globe helped shape you as a director? If so, how?
John Basil has had a huge impact on me as an artist. He is a wonderful mentor and friend. Both he and his lovely and talented wife Liz are friends and supporters of my work.
John took over the fourth year of the BFA acting program my senior year of college. We got to know each other in class, and about a month in, I asked him if I could work on his next show at the American Globe. Well, that happened to be Henry V and I was one of the two associate directors working on it. John was a great teacher both in class and in rehearsals.
After Henry V, there was a director opening in the Globe's 10-Minute Play Competition. John offered me a spot and the piece was well received. To say the least, John and I spent a lot of time in the same rehearsal room. My directing style is under the direct influence of John. He gave me a great set of tools to attack any text, and a renewed love of Shakespeare. I look forward to working with AGT on many more productions.
What's next for you?
More directing. I have a few things in the works. Coming up at the end of January, I will be directing a reading of a new play, The Rose Gardener by Sarah Ashley Bischoff at The Tank. I've been keeping the spring open for some new plays and musicals. This fall and winter have been a complete blur, since September I have worked on almost ten shows, so the spring is more of a blank canvas at this time. You can always check out my website my website for the latest and greatest.
A Midsummer Night's Dream opens on December 3rd and runs until January 3rd. For information on the production, please visit The Secret Theatre's website (www.secrettheatre.com).
Author: Hannah Marie Ellison — Published: Nov 23, 2009
The Queens Players, who work out of the Secret Theatre in Long Island City, are back with yet another classical work for the stage. This time it's William Shakespeare’s much loved comedy/fantasy A Midsummer Night's Dream, which opens on December 3rd.
From the press release: Follow four young lovers into a colorful and mysterious forest where fairies Titania and Oberon rule, where a band of “rude mechanicals”, led by the hilarious Bottom, rehearse a play and where love is put to the test by the mischievous Puck. In the end, will the lovers end up with their correct mate? Will the mechanicals make it to their performance before the Duke? Is Titania doomed to love an ass?
You may be thinking to yourself, "Another production of Midsummer"? I certainly thought that at first. But something about director Katherine M. Carter's production is drawing me in.
Perhaps it's Carter herself, her enthusiasm and passion for her work.
A graduate of Marymount Manhattan College, where she earned a BFA in Acting and a BA in Directing, her enthusiasm and passion for the work have kept Carter extremely busy. She has directed and assistant directed productions with both the Hangar Theatre and the American Globe Theatre and has even served as a directing intern on the Tony award winning Billy Elliott: The Musical.
Actor Timothy J. Cox, who plays Peter Quince in the upcoming production of Midsummer, has said, "Katherine is just one of those bright, shining talents. I look at her and I know that she's going to work forever."
Although very busy bringing Midsummer to life, Ms. Carter was gracious enough to take a few minutes to answer some questions for Blogcritics.
Could you please give us a bit of background about yourself? How did you get involved in the theatre? Have you always wanted to direct?
I'm a Midwestern girl, born and raised in Michigan. I am the oldest of three siblings with two younger brothers. I started in theater in the 6th grade when my crush wanted to do theater and I wanted to hang out with him. From then onwards, I acted in everything. From 9th to 12th grade, I performed in over 60 productions. My senior year of high school, I directed my first production, a stage version of Clue.
After that I was aware that directing was a path I could take. During college I earned my BFA in Acting and a BA in Directing, and I would say that junior year was when the transformation took full effect. Between junior and senior year, I was a member of the Hangar Lab Company, saw that directing was really where I wanted to be and from then on it was a done deal.
The short answer to that question is: No, I didn't always want to direct, but sometimes you have to be honest enough to say "I'm a good actress and singer, but I am a much better storyteller from the outside." On top of that I have too many control issues to be an actor (laughs).
How did you become aware of The Secret Theatre and why did you want to become involved as a director with the company?
A lovely actress, Elspeth Turner, was in their production of Macbeth last spring. We were working on a production of The Odd Couple together at the time and she invited me to see her work. After Macbeth, I met Richard Mazda, the Artistic Director of The Queens Players, and we exchanged information.
I wanted to direct at this particular theater because there was so much potential with the space and the actors, I wanted to tap into it and see what I could do. As directors we are always looking for places where our skills could be of use, and since I had just come off of directing Twelfth Night, I knew my Shakespeare experience would fit right in with the company. Richard and I talked, he invited me to direct Midsummer, and that was that.
With so many productions of Shakespeare, especially A Midsummer Nights' Dream, going up every year, what made you want to direct this show, in the winter of all times?
Ah, the age old "why Midsummer" question. Very good. To tackle the Midsummer in winter question for me is simple – why should I let a shows' title dictate when it gets performed? Would you only do The Winter's Tale in winter? Or Summer and Smoke in the Summer? The seasons are ever changing and what is lovely about theater is that you enter a world away from the outside and are transported somewhere new. It's not what's happening outside that matters, but the story that is being told inside which counts.
For the show itself, I have always loved Midsummer. This production is a personal thank you to past theatre teachers who made me read the play over and over and perform in it. So many of us storytellers take this show on every year, but for me, it is about finding something new and interesting with a tried and true text. It is also a director "must do," as I say. Almost every director has done their version of Midsummer at least once, if not more, and this is my first go at it.
What is it about this play that speaks to you? What do you hope an audience will take away from your approach to the production?
The story speaks to me as a director. I love the variations of emotions, the levels of being in love, and the pure, almost farce-like comedy. As a director, when you see a good story, you want to tell it in your own voice. Midsummer has always been that way for me. I want the audience to laugh out loud and have a jolly good evening of theater.
For each audience member who sits in that theatre, the experience will be different: some will laugh at the mechanicals, some will feel for Helena, and others will dislike Puck for meddling. It's all subjective. For me, it's about communicating the story. If the audience leaves understanding the story, hopefully on a new level, and has fun, then I'm happy.
I was delighted to read that you have worked with a Shakespeare giant, John Basil at the American Globe Theatre in Manhattan. How did you become involved with the company? Have your collaborations with him and the Globe helped shape you as a director? If so, how?
John Basil has had a huge impact on me as an artist. He is a wonderful mentor and friend. Both he and his lovely and talented wife Liz are friends and supporters of my work.
John took over the fourth year of the BFA acting program my senior year of college. We got to know each other in class, and about a month in, I asked him if I could work on his next show at the American Globe. Well, that happened to be Henry V and I was one of the two associate directors working on it. John was a great teacher both in class and in rehearsals.
After Henry V, there was a director opening in the Globe's 10-Minute Play Competition. John offered me a spot and the piece was well received. To say the least, John and I spent a lot of time in the same rehearsal room. My directing style is under the direct influence of John. He gave me a great set of tools to attack any text, and a renewed love of Shakespeare. I look forward to working with AGT on many more productions.
What's next for you?
More directing. I have a few things in the works. Coming up at the end of January, I will be directing a reading of a new play, The Rose Gardener by Sarah Ashley Bischoff at The Tank. I've been keeping the spring open for some new plays and musicals. This fall and winter have been a complete blur, since September I have worked on almost ten shows, so the spring is more of a blank canvas at this time. You can always check out my website my website for the latest and greatest.
A Midsummer Night's Dream opens on December 3rd and runs until January 3rd. For information on the production, please visit The Secret Theatre's website (www.secrettheatre.com).
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