Raconteur Theatre Company

This week, while watching a rehearsal for Ghosts it struck me what a difference a translation can make. I first read Ghosts in college and was embarrassed to admit I didn’t understand it at all. The dialogue (and therefore the plot) was confusing to me. I found a strong dislike for the characters.

Lanford Wilson’s translation of Ghosts is true to the original intent, but it is more conversational. All of those outdated references and themes I found so confusing are made relevant. Although, I was already very familiar with the story I found I was being drawn into the character’s lives in a new way.

It seems for Ghosts, Lanford Wilson’s translation has provided much-needed insights which invite empathy. The same characters I found so distasteful before became pitiable and human. These are people we all understand. So often we see remakes (of any type) as second-rate, rarely can you say that a new version of an older classic is a worthwhile. This is a powerful script, which pays great tribute to Ibsen.

-Molly

So, when we started this little endeavor we call Raconteur Theatre, we made it a point that we didn’t want to become an incestuous, inbred theatre group. Of course there’d be a core group of people who we worked with, and we (the board) would be involved in some way with every production, but we wanted to make sure that A) we didn’t just use the same group of actors in show after show, and B) we didn’t lock ourselves in a theatrical box and only do work with Raconteur from here on out.

Well, Tricia put us on track for the first part of that equation with her casting for Ghosts (as she explains here). And the rest of us are working towards the rest of it as well. Jill auditioned for Bread & Circus Theatre Company, and will be in their February show (more on that later), and I recently took a role in Rosebriar Shakespeare’s production of King Lear.

What role, do you ask? Why, that of Edmund the Bastard. I tend to get cast as the “foil” character a lot. I’m not quite sure why, but that seems to be my lot in life. We’re only one week into rehearsals, but it’s going well so far. I look forward to moving away from contemporary drama and digging back into my Shakespearean roots (the first show I ever did in Columbus was Hamlet, with Rosebriar).

Of course, while being involved with Lear, I still have responsibilities to Raconteur. I’m the Props Designer for Ghosts, and I’ll be doing the program and running the house as well. It’s a fun and intense juggling job, but if we didn’t like challenges, why would be doing theatre?

-Aaron

I spent a good part of the summer worrying about casting Henrik Ibsen’s Ghosts. It features one of the greatest roles written for a woman, Mrs. Helen Alving.  By “greatest” I mean challenging, complex, on stage almost the entire show and responsible for the play’s success.  Who would be capable, available and interested in acting this role - or any of the others in the play for that matter - for a brand new theatre company that offers minuscule monetary compensation and a short track record of success?

Not knowing what else I could do, I decided to place my faith in God, the Universe or perhaps Dionysus himself to take care of that which was beyond my control.  I focused on my part: reading the script, researching Ibsen, and sending emails to every actor I know to invite them to audition.  I am grateful to say that tactic worked.  I now have a dream cast in whom I have complete confidence to bring Ghosts to life.

The cast of Raconteur Theatre’s production of Henrik Ibsen’s Ghosts translated by Lanford Wilson is:

• Regina: Sarah Willis
• Engstrand: Richard Wilson
• Mrs. Helen Alving: Carolyn Harding
• Reverend Manders:Stephen Woosley
• Oswald: Brennan Hunter

Our next show, Ghosts, deals with long held secrets, family legacies, and how people either accept or try to change the circumstances of their life. It also happens that the opening weekend of Ghosts coincides with the Columbus Walk For Autism, which is put on by Autism Speaks.

Raconteur Theatre has dedicated itself to being not just a “community theatre” but being a theatre that is part of the community. To this end, we are going to try to assist Autism Speaks in their mission. At all performances of Ghosts, we will have a donation jar at the box office and concession stand, with 100% of all donations going to Autism Speaks. Additionally, you can make a donation to Autism Speaks through the following donation site. (It doesn’t matter which name you click to make the donation through.)

This marks only the first step in Raconteur’s giving back to the community. All future productions will have a tip jar available, with the proceeds going to charity. The charity will be determined by the Board of Directors on a per-show basis, but we will make every effort to keep our audiences well-informed.

Excited to be able to give back to the community,
Aaron

(In the interests of full disclosure, we have a personal stake in this charity. One of my children has autism, which is what drew me to this particular charity.)

I must admit on the eve of the 1^st Rehearsal, I’m really looking forward to moving into production. It’s been a long few weeks leading up to this. We had such a short amount of time after the Flex Series ended and our projected Audition Date, that we had much to do and little time to do it. We’ve been through a series of mishaps: pushing back of the production calendar, loss of one and then two of the actors originally cast, and even a change in performance dates.

Somehow, as is always the case, it all works out. It’s been a real experience for me, as Raconteur has never had a Producer in the past. During the Flex Series, the entire Board of Directors co-produced the production. After the show, we realized that there really needed to be one person that everyone could go to if there were any problems.

It’s been a fun transition for me coming from stage managing to a position where I still get to experience the overall view of the production and organize various parts of the process but without the daily commitment of rehearsals. At the same time, it’s a position we’re definitely still figuring out. My duties started out pretty basic and continue to grow as we move forward. Originally, I was only responsible for the production calendar, following up on deadlines and dealing with any difficulties that could arise from the process. Since the original discussion, I have also taken on production team/actor/copyright/rental contracts and the hiring of individuals to the production. It’s such a cool thing to see everyone come together from their various backgrounds and talents, and I can’t wait to meet the cast that’s going to bring Ghosts to life.

Excited for the future,
Suellen Kasiara
Producer, Ghosts