This continues our piece on The New Theatre Project – find Part One here.
We caught up with a few members of The New Theatre Project before a rehearsal for 'The Spring Awakening Project': Keith Paul Medelis, Artistic Director; Matt Anderson, who plays Hansy Rilow in the show and doubles as choreographer; and Mandee Forrester, who plays Wendla.The conversation evidenced many of the signs of a long-lasting infatuation with the theatre: Enthusiasm. Energy. Curiosity. Fearlessness.
And a surprising lack of naivety. The ensemble’s age-range spans 18 to 24 years.
We asked Artistic Director Keith Paul Medelis what motivated him to launch this new project. He cites Michael Rohd as a source for inspiration. Rohd is a theatre artist, educator, author, and the artistic director of Sojourn Theatre in Portland, Oregon. Rohd’s book, ‘Theatre for Community, Conflict and Dialog’ helped shape Medelis’ approach to the New Theatre Project, which is highly collaborative, non-hierarchical and emphasizes connectivity with a shared community experience.
It’s a complex concept, but Medelis smiled and summed it up by suggesting, ‘it’s all about stirring up issues in the community … and having a discussion about that.’
'The Spring Awakening Project' is modeled on this approach, exploring the emotional DMZ that separates puberty and adulthood. He freely admits that, beyond the earliest (horrible) English translation of the 1891 Frank Wedekin script, he really didn’t know what the show would look like until it was cast. That’s because the non-hierarchical approach to developing the script literally involved the entire company. He added that it totally influenced his casting decisions. ‘I was looking for artists more than just actors.’
Matt Anderson described how the rehearsal process began with games and exercises that required cast members to learn about each other, build respect and trust. ‘It helps a lot with the ensemble work, because you can share your opinions respectfully, and build on each others’, and not feel like you’re being unfairly represented.’
Mandee Forrester nodded. ‘From day one there’s been a lot of journaling … and sharing our personal stories with the cast … it just created a really great space for us in which we could share those stories, and our creative lives, and ideas in regards to the show . And because we knew these things about each other it all felt pretty organic.’
She also found herself devouring every translation of the play she could find. And since she’s fluent in German, the language of the original play, she has definite opinions about which translations are best.
Keith asked the ensemble to reflect on the moment they first realized they were no longer children. The cast contributed memories, poetry, journal entries and even original music. All of these inputs informed the script, the development of which has been the ongoing work of Jason Sebacher, Playwright-in-Residence.
Ultimately, of course, someone has to say what stays and what goes – and as director, Medelis has the final word. He admits, however, that Sebacher ultimately convinced him to drop an original plot point from the play that Medelis himself wanted to keep. He ultimately agreed to the cut, however, because there was so much more to the story. ‘We just didn’t need it any more.’
So go check it out. A new version of a very old play. Developed in a new way. Performed by a new ensemble. Produced by The New Theatre Project.
‘The Spring Awakening Project’ will preview at Performance Network’s Second Stage Theatre with two pay-what-you-can preview performances – Friday, June 18 and Saturday, June 19 at 2 p.m. For additional showtimes and locations, visit the TNTP website.
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