Raconteur Theatre Company

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

“Jacob Adler said that unless you give the audience something that makes them bigger - better - do not act… [Acting should] open up the vastness in you as a human being, to understand your place more than you do - not to be led by the Bible or anything else but the truth of modern life as given to you by certain genius-authors in the theatre who can make you into something tremendous”  -Stella Adler, Stella Adler on Ibsen, Strindberg and Chekov

As soon as I agreed to direct Henrik Ibsen’s Ghosts, I realized I was terrified.  Sure, I have directing experience but how do you compare a middle school production of Aesop’s (Oh So Slightly Updated) Fables with a play written by “genius-author” Henrik Ibsen,  the father modern theatre?  The opportunity to direct Ghosts is certainly a privilege but I questioned whether I’d be able to live up to such great responsibility.

Well, the question has yet to be answered but I’m gaining confidence.  And the confidence is not coming so much from belief in my directorial skills but rather from discovering first hand the brilliance of Henrik Ibsen’s playwriting.  I read and reread the script and discover new, wonderful insights each time - each character and plot twist has so many layers.  I’ve read several essays that expound upon the near perfection of Ibsen’s dramatic form and “ah ha!” lights go on in my head like fireworks.

 I am being reminded that a director’s job is not to hatch the perfect “concept” and cram the play into her perception of what it should be.  Rather, by staying intimately in tune with the script, the text and the subtext, the play will lead me and in turn lead the actors.  This is the path that will lead us to creating theatre that “gives the audience something that makes them bigger.”  I’m a little less afraid of Ghosts now.  In fact, Ghosts inspires me.  

 -Tricia Jones
Director, Ghosts
Running October 9 - 25, 2008 in Columbus, OH.  Details at http://raconteurtheatre.com

It’s amazing to see something emerge from what was previously nothing. I still remember my amazement during our first rehearsal for Roulette. We were in Jill & Andrew’s living room (generously made available to us for the duration of the rehearsal process) but instead of “just talking” about starting a theatre company, we were audaciously being a theatre company. Actors stood with scripts in hand, our stage manager sat ready to take notes and I was giving direction. We were all diving in with complete faith that our efforts in this improvised rehearsal space would evolve into a finished piece of theatre that would be worthy of an audience, legitimate enough to charge for tickets and meaningful enough to truly speak to people.

It’s true that nothing comes from nothing. In this case, Raconteur Theatre and its debut production came from the sustained outpouring of heart, soul and really hard work. I was exhausted by directing, co-producing, marketing, selling ads, writing to donors, telephoning theatre critics and doing a million other things required to start a theatre company. But it was worth it. I was SO PROUD of After the Afterglow. I felt like we lived up to our vision of producing the best show possible. My feelings were confirmed by the countless positive comments I received from friends, family and strangers who came to see the show.