Coming off of a highlight season such as Pygmalion Theatre Company had last year is no easy task. Aside the sold-out sequel to the popular Sister Dottie series, a remarkable (and Arty nominated) performance from Lady Day, and the returning season closer of Sordid Lives, PYG has probably had the hardest season to follow-up on above all other theatre companies. But like everyone else they pushed on and deemed to top last year's success, opening with a curious but powerful choice.
--- The Coming Ice Age tackles the subject of elderly age with humorous warmth and striking reality, delving into the ideals of whether to find solidarity in staying put or peruse the need to expand and grow in life. Viewing life through the eyes of an older man forced to vacate his longtime home for senior living, and his wife of many years who brought on the upcoming changes. We got a chance to chat with playwright Elaine Jarvik, director Larry West, and the leading actor David Phillips about the play opening tonight and the work they've each put into bringing it to life, plus their thoughts on local theatre.
Elaine
Jarvik, David Phillips & Larry
West
http://www.pygmalionproductions.org/
Gavin:
Hey everyone. First off, tell us a bit about yourselves.
Elaine:
The essence of who I am is a cross between the husband and wife in The Coming Ice Age. I’m fearful and sentimental, like Roger.
But, like Francie, I hope they play hip-hop at my funeral. I’ve
been a newspaper reporter for forty years, first in Connecticut and then
at the Deseret News. I began writing plays in 2002, and was lucky
enough a couple years later to study with J.T. Rogers and Mike
Dorrell at Salt Lake Acting Company. Last spring I completed Plan-B’s Playwriting Lab taught by Tobin Atkinson. In 2008, my ten-minute play Dead Right was produced at the 32nd Humana Festival of New
American Plays in Louisville, Kentucky. Another of my ten-minute plays
is a finalist this year. Dead Right was about why con-TENT is
more important than CON-tent, so this boring recitation of my
accomplishments is making me laugh.
David:
My name is David Phillips I have been performing on Utah stages for
over the last twenty years. Before that I acted in California from high
school and community theatre. I am retired and spend a great deal of
time writing plays. I have finished five to date, none published or
performed. Four romantic comedies and one drama.
Larry:
I'm a "Narth Utah" kid who fell in love with theatre in high school
and never looked back. Theatre has been really good to me — its taken me
all over the place. I've directed in Utah, Idaho, Texas, Pennsylvania, Oregon, North Carolina, Indiana, Minnesota, New York, California... and Mongolia. I've taught theatre at a bunch of
universities and currently my day job is as a political consultant... it's all theatre.
Gavin:
What inspired all you to take an interest in theater?
Larry:
I did a lot of singing as a kid, then moved into theatre...
realized that it was a great way to hook up with girls... and
never looked back. I realized early on that I was a good, solid
actor, but not brilliant and discovered that I loved the process of
making things happen. I became a director.
David:
I started acting in theatre in grade school then high school and in
college. I might never have done it but at twelve my sister was born
and I had to figure out a way to regain the spotlight at
home.
Elaine:
I used to read plays as a teenager, but was too shy to act so I was
an assistant prop manager instead. Then several decades went by and
the other assistant proper manager contacted me out of the blue and
said he was now writing plays. That sounds like fun, I thought. Eight
years later I still think that playwriting is painful and
exhilarating.
Gavin:
Elaine, how did the idea come about for The Coming Ice
Age?
Elaine:
I started writing it when I was at the Humana
Festival in the spring of 2008, sort of as a prequel to Dead
Right. Like most playwrights, I’m drawn to writing about what I
struggle to figure out: in this case how not to get frozen by a fear
of change, how to let go of the things, both physical and metaphorical,
that I no longer need to lug around.
Gavin:
What was the writing process like for you, both in looking at these
topics from a humorous prospective, and developing the characters
along the way?
Elaine:
The writing process... Did I already mention the word painful? I whine
a lot to my daughter and friends. Because the play
deals with some heavy topics. Grieving, mortality, moving from a
family home. I knew I had to make it light-hearted and, hopefully,
funny. I’ve drawn on many years of newspaper interviewing, most
recently a series on aging I co-wrote with Lois Collins of the
Deseret News. For the past several years I’ve also worked with the
Senior Theatre Project (Jayne Luke, Justin Ivie, Ron Frederickson,
Steve Phillips, Christy Summerhays), and those visits to senior
residences and senior centers also show up in this work.
Gavin:
Larry, how did you join up with Pygmalion and eventually took on
directing the play?
Larry:
I've been a huge fan of Pygmalion for years. I've known Fran and
Barb for years, my wife, Betsy worked with them and on many occasions
I presented myself as a director. I'm a white, middle-aged, straight
director... which didn't quite feather into their mission
statement, "Plays For And About Women." I think I just wore them
down, plus I have a history/love for new plays — I've been a Sundance
Theatre Lab reader for a long time — and they asked me to help them
develop The CIA. So, a year ago we did a reading, then a second
reading and finally moved into full production mode.
Gavin:
How much of a challenge has it been for you adapting the play and
putting it together for full production?
Larry:
Elaine writes terrific dialog and wonderful characters. Since she
hasn't done a lot of theatre, my job is to take these brilliant
characters and their words and shape them into a piece of theatre
that has movement and dimension... or maybe dementia. Working
on a new play is unlike anything in the theatre. I've done a lot of
Shakespeare and it's not uncommon to have audience members with
scripts in hand, following along during a performance. They know the
play — they can quote the dialogue and sometimes do in tandem with the
actors. I like to imagine the first production of Hamlet when
it all unfolded to a virgin audience — the anticipation, the surprise,
the absolute newness of it must have been magical. So it is with
this new play... there will be no audience members with scripts in
hand, and with the exception of a precious few who may have read the
script, the story and characters will present themselves new and
uncluttered. That's big stuff!
Gavin:
David, what was it about this particular play that caught your eye
to audition for it?
David:
First of all the age. The older one gets the fewer roles there are.
Secondly I would say I loved what the play says about how little
control seniors have over what happens to them. Thirdly I have always
wanted to act in a “first time production”. I’ve always wanted
to see how a play is approached for its first run. I have had the
privilege in my career to act in seven Pulitzer Prize winning plays
but so far this first time production is just as exciting.
Gavin:
How was the audition process like for you and what was it like
getting the part?
David:
It was a difficult audition because I had never worked for this
company before and because I had a limited time to study the script.
Usually if I plan to audition I will study the script for months
before setting foot in the audition.
Gavin:
What has it been like fitting into the lead role, and what
challenges have you met in bringing out the character and perfecting
your performance?
David:
I’m lucky because I’m working with a great director and an
outstanding cast. When you have those two things going for you it is
not as difficult. It is a challenge to keep the on stage energy at a
high lever. I walk five miles six sometimes or seven days a week. I
take care of what I eat. It is much like training for a fight. You
will never win if you’re not trained to go the distance.
Gavin:
How has your interactions between each other been while bringing
this play to life?
Larry:
This is a dream cast — smart, funny, hard-working and pretty much the
right ages for these amazing characters. I've spend a lot of time in
university theatre and so I've cast a lot of younger actors as older
characters. It's fine, it works, audiences are usually good with it.
However, there is a life-experience that is sometimes missing. With
this cast of mature--note that I didn't say "older" — actors there's a
wealth of life experience and lots of great stories. We share some
common ground, we know the same movies and songs... it's great
fun.
David: I
love each of the three women I work with. They all have unique
personalities. As I get to know each one of them and feel of their
timing and their spirit I am able to use my character to their
rhythm.
Gavin:
Going into opening night, what are your overall thoughts on the
production?
Elaine:
This production is better than anything I ever imagined in my head —
thanks to director Larry West, four amazing actors, lighting designer
Cory Thorell, and sound designer Troy Klee.
David:
There are so many questions that really remain unanswered until the
play has been given the life only an audience can give it. It’s
like working on a painting for a long time. Then turning it around to
be viewed by others. The artist knows his own feelings but has no
idea how it will be viewed.
Larry:
We are so ready to see how this plays to an audience.
Gavin:
Moving state-wide, what are your thoughts on local theater, both
good and bad?
Larry:
Theatre has always managed to endure... good times, bad time,
boom or bust. Theatre even managed to survive the invention of film
and TV. I think local theatre is strong. There are new companies
that are looking to make a mark and I think it's healthy and
encouraging... it also keeps the older, established theatres on
their toes.
David:
I believe local theater in this state can offer to each individual a
lifetime of fulfillment. There are a broad range of productions that
are being put out there for the public. From north to south it’s
alive and vibrant.
Gavin:
Is there anything you believe could be done to improve on it or make
it more prominent?
David:
No new ideas here. Just keep hiring local and give the people that
want to perform a chance. Some theaters think they have to cast from
out of state and I think that is a mistake.
Larry:
I think that theatres should never underestimate their audience... our local audience is bright, educated and eager to take some
chances... they want new exciting stuff. I think they're tired of
seeing the same old plays over and over. Thinking that theatres play
it way to safe. I love that most of the theatres in the area are
invested in developing new scripts... I'm just always wanting
more.
Gavin:
What's your take on the push to bring “Broadway to Utah” and the
steps being taken so far?
Larry:
I love what Broadway in Utah does for the local theatre community.
They raise the bar, they keep us up-to-date, they provide quality
theatre... and I strongly believe that "a rising tide
lifts all boats."
David:
This state would support Broadway shows. I think in the long run it
would benefit everyone.
Gavin:
What can we expect from all of you over the rest of the year and
going into next?
Elaine:
I am currently working on three connected one-act plays, and a
full-length about a woman who falls to pieces because her neighbor
builds a fake-stone wall between their properties.
David:
After this play ends I will be busy writing again. I hope to get a
play produced in the near future.
Larry:
I'm always on the lookout for directing jobs... looking at a new
play about Ava Gardner.
Gavin:
Aside from the obvious, is there anything you'd like to promote or
plug?
David:
Nothing to promote here… but thank you very much for letting me
voice my thoughts.
Follow Gavin's Underground: |