 Imagine you are lost and alone in the forest. You have never been here before and you cannot see to find your way out. You don’t know if anyone knows you are missing or if they will be able to find you. It has been hours since you last ate or drank water; your resources are limited. You don’t know if it is night or day, and it is beginning to freeze. What do you do? Do you stay where you are and wait for help to come, or do you risk moving through the unknown without sight?
These are the choices the characters of The Blind are forced to contemplate. In an extraordinarily dark forest, eight sightless individuals sit in wait for their caretaker’s return. Near them lies a body. Abandoned in the wilderness, they are forced to reckon with the unknown. Written by Symbolist playwright Maurice Maeterlinck in 1890, The Blind remains a timely contemplation on hope and despair, and where we turn when our intuition and reason are engulfed by darkness. As a part of the 2017 Capital Fringe Festival, The Wheel Theatre Company presents a new, ensemble-driven adaptation of this suspenseful classic, adapted and directed by Jack Read. Maurice Maeterlinck was one of the most prominent figures in the early Symbolist movement. His plays favored abstract representations of humanity, rather than clearly-drawn characters. The characters in The Blind are nameless, with only simplest qualities defined (“the one who prays,” for example). We have chosen to portray these characters utilizing neutral masks built for the performers. The neutral mask denotes a state of presence, of existing in and of the moment, and create a sense of unity. This is our core approach to the world of The Blind, and the mission of The Wheel – a united ensemble, where every element is as crucial as the rest. Sound is key to The Blind. Without sight, Maeterlinck’s characters must determine their way by describing what they hear: the sound of the forest at night, waves crashing onto rocky cliffs, a clock chiming twelve, footsteps in the distance. For The Blind, The Wheel has built an immersive soundscape to transport audiences into the forest along with the cast. This production features music from Two Gospel Keys. Many thanks to Document Records for allowing us to feature these phenomenal artists. The Blind also features an original composition by Seattle based musician, Jackson Floyd. On our website, thewheeltheatre.org, you can get a sneak peek at the music that inspired The Blind on our Spotify playlist. You can catch The Blind: Thursday, July 6 at 10:00 PM Friday, July 14 at 5:15 PM Sunday, July 16 at 12:00 PM Thursday, July 20 at 5:45 PM Friday, July 21 at 6:15 PM Saturday, July 22 at 9:30 PM Eastman Studio Theatre - Gallaudet University 800 Florida Avenue NE Washington, DC, 20002 For tickets and information visit: https://www.capitalfringe.org/events/1067-the-blind This production is presented as a part of the 2017 Capital Fringe Festival, a program of the Washington, DC non-profit Capital Fringe.
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 Maurice is beginning to take shape (literally)! With just under 3 weeks until we open, we are thrilled with Maurice’s progress from just a cardboard cutout to almost full fledge dog! Here’s what we’ve been up to. After the papier-mâché step, I let Maurice’s head dry for 48 hours. Because the puppet is going to be an active member of our ensemble, I wanted to make sure the head stayed as strong as possible. To reinforce it, and to begin to add our furry texture, I began the painstaking process of tightly wrapping Maurice with a dark twine. Each strip was cut to perfectly fit along one side of the head, so that there would be an equal seam. All in all, this process took days and caused one or two (or 5) hot glue burns on my leg. It was worth it though, as I am thrilled with how scruffy he is beginning to look. When he was covered, I wanted to make sure he retained his dog shape. I built up the brow line to allow his eyes to have a more sunken effect. I then struggled artistically for a few days about Maurice’s nose. I made 3 or 4 mockup noses in various materials, but nothing was feel right, so for now, I am allowing the twine that is wound up in his snout area to represent a nose. Maurice then got a coat of paint to cover up any holes or glue strands From face, we then moved to body! I did the same technic of balling up newspaper and wrapping it in masking tape to form the shape of he body. Because it is going to be covered by fabric though, I did not papier-mâché, though I realized my fabric is quite sheer, so I painted him brown. To be honest, the body alone reminds me of a prop Thanksgiving turkey- which is rather endearing. After measuring the fabric, I attached one side to the head and tada! This is where I am leaving you today- an unpainted, but rather dog-like puppet has arrived. In tonight’s rehearsal, Maurice is going to make his debut. I am going to be working with Brooke, our puppet op, on the mechanics of puppetry. I have been preparing all sorts of dog videos that we will watch to study the head and body movements. Because of Maurice’s role, one of the most important lessons is how dogs smell- they truly lead with their nose- so we will be looking at that! More updates soon… Woof! Elizabeth Floyd Managing Director, Co-Founder, Wannabe Props Wonder Woman This weekend was a big weekend for me and Maurice as we moved into step two of creating our dog puppet for The Blind. As I said last post, because I was trying to keep his head pretty lightweight, I used paper mache to create the even surface for his face, which will make step three so much easier.
I started by inserting the rod that is going to control his head. The rod I acquired is too long for the puppeteer, but I am going to wait to trim. This is primarily because I wanted to use it as a way to prop up Maurice as he dries. You can see my fancy setup in the pictures above. You'll notice that as I was laying the strips of newspaper, I wasn't too fussed about clearing air bubbles of removing excess paste from the base. I know most of is will dry off and because I am covering the head in a different material in step 3, the extra bumps don't matter. The main focus was just to create a solid base to continue building off of. After I finished, I stuck Maurice in a flower pot on my porch to dry and I began setting up for the next step, which you will learn all about in the next blog. The most exciting thing is that his nose and eyes I ordered finally arrived....and they are the wrong size. I can make the eyes work, but the nose is proving to be a bigger issue. There, I am back to the drawing board! Until next time, Elizabeth  Welcome to the first installment of our new blog series, Behind The Wheel, where we hope to give you insight into how we create the little pieces that make up the world you see on stage. Today, on World Puppetry Day, we are thrilled to introduce you to our newest member of The Wheel, Maurice. This summer, we are presenting a new adaptation of Maurice Maeterlinck’s The Blind written by The Wheel’s Jack Read. This captivating show features a limited set and virtually no props, but does include my favorite element - a dog. As the Managing Director and Props Maestro (as I call myself), I have been strategizing, sketching and beginning to build our little Maurice. I have been taking a lot of inspiration from Handspring’s puppets for the 2003 National Theatre adaptation of Phillip Pullman’s His Dark Materials. I am fascinated by how Handspring implemented fabrics to help bring these characters to life. Additionally, I have been researching traditional Russian marionette work to help build the mechanics of our puppet, something I looked at extensively in college and was thrilled to jump back into. Maurice is going to be a two-rod puppet - one that controls his head and one that stabilizes his body. Because we want to make Maurice fit into the world of this play, I am going use natural element s- leaves, sticks and natural fibers - and natural colors, particularly greens and browns, to build his body and create character. Creating Maurice Step 1: Building the Head Because I want to keep his head rather lightweight, I am going to build his head using papier-mâché. I cut out his head out of cardboard and used balled up newspaper and masking tape to mold the details for his face. The next step will be to paint the rod that will control his head and insert before applying papier mâché. In my next post, I’ll show you what Maurice will look like at that point and together, we’ll start building character using our natural elements. Thanks for jumping Behind The Wheel with me! Elizabeth Managing Director, Co-Founder & self-acclaimed Props Maestro  Maurice is beginning to take shape!
Several years ago, a friend sent me a copy of Finegan Kruckemeyer's At Sea, Staring Up. I read it that evening and loved it instantly. Here was a play carrying not a trace of cynicism, one clearly grown out of the playwright's love for people and all the things that make them messy and beautiful. Its unusual structure reflected its characters' poetically irregular journeys. I knew that this was a play I had to direct. Sure enough, here we are.
The five individuals that comprise At Sea, Staring Up are separated by significant earthly distances, all searching for something the nature of which is totally unknown to them. Our stage is a map these actors have charted together. Their stories are not separate paths, but one, connected by empathy and imagination. It has been my great honor to collaborate with this cast. For two months, I have been their sole fortunate witness; sadly, they are no longer mine, but yours. Thank you for joining the final leg of our journey, one made by an ensemble bound by trust and love. - Jack Read, Director A quick, final note: in the original text, Sylvia Wist and Caleb Prosser were written to be Australian. For the North American Premiere, Mr. Kruckemeyer has graciously allowed us to relocate their nationality to America. Thank you, Fin.  Name: Nick Duckworth
Hometown: Aurora, CO Role: Caleb Prosser When you are not acting, what do you do?: During the day, I'm a Project Manager. I also like to cook (mostly because I like to eat), hang out with friends, travel, and sleep. What is your theatrical background?: I studied acting in college, but then hung it up for a few years while I pursued other professional interests. When I landed in DC for work a few years ago, I realized there was a really robust and diverse theatre scene, so I jumped back in. I've been lucky enough to be involved in a few productions, readings, workshops, films, and TV shows in that time. Why did you want to be part of At Sea, Staring Up?: The show is beautifully written. It doesn't shy away from magical elements and poetic language and, in that way, it's sort of fantastical and ambitious; yet it also allows a lot of space for the characters to come through in a relatable, down-to-earth sense. In what ways do you relate to your character?: Caleb is someone who wants to see the best in everything, though beneath the surface he understands a lot more about reality than he's given credit for. I understand that need to believe that things are generally good or can at least be better. What’s the biggest challenge about taking on this role?: Other people don't see Caleb as a sophisticated person, when in fact there's much more to him than he lets on. The challenge is portraying his optimistic and ostensibly oblivious nature, but just as importantly his less obvious side, which is both more realistic and aware than people expect him to be. What has been your favorite part about working with The Wheel?: The entire process has been collaborative and open, and I feel like it has really given a lot room for everyone involved to be creative with their approach. It makes me feel like I have some ownership of the project--that I'm more than just a part of it.  Name: Adrian
Hometown: Miami, FL Role: Noah When you are not acting, what do you do? I enjoy writing things down, I also bartend. What is your theatrical background? I ended up stumbling into Georgetown’s new(ish) theatre studies program when I first started college in 2010, so I don’t have all too much of one yet! That said, I have a fair amount of experience in the realms of devised/adapted performances— though I’ve been trying to gravitate away from that a bit as of late. Why did you want to be part of At Sea, Staring Up? I love magical realism. I also love productions that cast me (nervous laughter). But jokes aside, the language in this play is beautiful (really though, read it!) It weaves together all these personal stories into something that feels inevitably universal, and I think that’s a pretty neat feeling. And needless to say, the opportunity to work on cool new work, with cool new people, is always welcome (and always cool.) In what ways do you relate to your character? I definitely feel for Noah— I may not have had someone so close to me pass (er, fly) away, but I have felt heartbreak, and I’ve definitely felt like a rug was swept from under me (did I use that correctly?), and I have felt some weird love pains before. I feel like those are all in some way at least tangentially analogous to how Noah might feel. I also like to believe that Noah and I use the words “cool” and “neat” to the same degree. Plants are alright too. What’s the biggest challenge about taking on this role? Noah is a sort of emotional acrobat during the events of the play, and it feels like I’d never be able to do justice to how he’s feeling (despite my above answer,) haha! Though, part of me feels like nothing trumps the immediate risks of a foreign accent in our presently turbulent political atmosphere. What has been your favorite part about working with The Wheel? Working with beautiful people who really care about their craft, and the work they’re doing, and more importantly, about other people. Rehearsals have been a welcome refuge from days of too much work and whatever “Safe” “Tracking” is supposed to be.  Meet the Cast of At Sea, Staring Up: Elizabeth Gillespie as Elise Dabelstein Name: Elizabeth Gillespie Hometown: Madison, AL Role: Elise When you are not acting, what do you do? I teach music at two elementary schools What is your theatrical background? I have done mostly musicals beginning at around 12 years old and never looked back. I love telling stories and helping people see different sides of stories through characters. Why did you want to be part of At Sea, Staring Up? I was looking to branch out from doing only musical theater and I saw the audition notice. The character descriptions looked interesting so I auditioned and the rest is history! In what ways do you relate to your character? I think I relate most to her motherhood, which is probably not the answer that makes a whole lot of sense since I am not a mother myself. But I have always felt very maternal and having worked with young children in many different capacities I understand the connections that can be formed between child and caregiver. What’s the biggest challenge about taking on this role? Probably the accent. I speak some German but I've never had to speak English in a German dialect before which has been surprisingly different! What has been your favorite part about working with The Wheel? It has been a great and supportive group. Even in the beginning rehearsals have always been a safe place to experiment and play. I love that.  Name: Elizabeth Ung
Hometown: Ellicott City, Maryland (and my birthplace of Torrance, California) Role: Sylvia When you are not acting, what do you do? I'm currently attending my last year at the University of Maryland, Baltimore County for my undergraduate degree in Theatre Studies. In my spare time, I can be seen creating art in some form or another: music, sketching, writing, among many other things. What is your theatrical background? I've been studying theatre ever since I started college. I like to consider myself a well-rounded theatre-artist, exploring the contemporary and enjoying the classics. My main interests are acting/performance, costume design, and playwriting, with a little bit of directing and dramaturgy. At UMBC, I have had experience in devised/ensemble theatre, which I believe is a great tool for approaching any kind of theatre-making in a collaborative way. Why did you want to be part of At Sea, Staring Up? The poetic language is beautiful. I've never read any of Kruckemeyer's plays before, so this was refreshing among other contemporary writers. But his way of blending the narratives with dialogue is seamless and somehow just draws you into each of the character's journey. In what ways do you relate to your character? Like Sylvia, I feel like I'm always jumping around to different locations and people (I commute to many places everyday and basically live in my car, haha!). Throughout the play, she is also quite an observer. I consider myself one as well, listening and watching even life's tiny, fleeting moments. What’s the biggest challenge about taking on this role? Tackling the narratives throughout her scenes is probably the most challenging thing. On the surface, it seems like she is this typical story-teller to the audience. But she has certain opinions and attitudes in each scene, even when she is not a direct part of it. Finding the very context is the hard part, I suppose. What has been your favorite part about working with The Wheel? I believe everyone is around the same age, so it's great working with people born in your generation, haha. There is also a personal value that is held highly and respected among us all, which I can appreciate especially in times like these, as life is getting more complicated and tougher than it was before. What do you hope audiences take away from At Sea, Staring Up? Honestly at this point, I'm not sure. But, I hope that they can see the details of the language, poetry, and characters that we all have put into this story.  Name: Elizabeth Floyd
Hometown: Nashville, TN Role: Emma The Greek When you are not acting, what do you do? I am the Managing Director and Co-Founder of The Wheel as well as the Social Media & Digital Coordinator for Capital Concerts, so I stay busy! What is your theatrical background? I got my degree in Theatre Studies from Elon University. While there, I studied abroad at the London Dramatic Academy in England. I am also the author of the thesis, “Staging History through Shakespeare’s Henriad,” which I recently presented at The American Shakespeare Center’s Blackfriars Conference and have worked at some of the top theatres in the area including The American Shakespeare Center, The Kennedy Center, Arena Stage and Center Stage. Why did you want to be part of At Sea, Staring Up? When Jack Read first lent me the script to read back in February, I was completely floored with how moving and beautiful Finegan’s language is. I knew from the moment I read Emma’s first line that I had to bring this character to life. I am honored to be telling her story. In what ways do you relate to your character? Like Emma, I grew up the middle girl between two brothers. Because of this, I feel like I completely understand her relationship with her brothers and can see a lot of myself in the way she interacts with them. Also, Emma is this incredibly strong women who is fiercely independent and in that regard she is a lot of what I aspire to be. What’s the biggest challenge about taking on this role? When you see the play, you’ll understand why, but Emma spends a lot of time on her own- completely alone. It has been a huge and wonderful challenge for me to explore this isolation when you don’t have scene partners to play off of. What has been your favorite part about working with The Wheel? I am completely in love with this cast. My fellow actors are some of the most gracious and talented people and I am honored to be sharing the stage with them! What do you hope audiences take away from At Sea, Staring Up? You know, what I love most about this play is that it teaches you that it is okay to not know who you are or what you want out of life. You are allowed to be curious, you are allowed to be challenged, you are allowed to be sad and angry and afraid. All of these emotions are valid and necessary to help you grow and I feel like At Sea, Staring Up shows this is a brilliant way! |
AuthorThe Wheel Theatre Blog is written by Artistic Director, Jack Read, and Managing Director, Elizabeth Floyd. Archives
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