Friends,

I wanted to tell you a little bit about our amazing Saturday, June 15, 2013!

The Church of the Village, a historically progressive New York church rooted in the west village,  hosts a food outreach program called Hope for Our Neighbors in Need.  The program is composed of a weekly soup kitchen and food pantry.  Last year, this small, wonderfully resourceful soup kitchen received a significant upgrade: a full industrial kitchen.  This enables the program to make more food, better food, and ultimately serve more people.  (There could be upwards of 200 hungry people there each Saturday, and they can now have seconds). Around this time, the program decided to re-brand the former "soup kitchen" as a "Community Meal"--encouraging church members, volunteers, and local community members to join the lunch every Saturday...neighbors sitting down with some of our other neighbors; promoting community building and eating a good meal no matter what your income, health, ethnicity or religion.  Sounds like a pretty inspiring mission to me!  

So many thanks to Hope for Our Neighbors in Need for welcoming us into your kitchen to help NYC fight food insecurity, introducing us to some amazing new friends, and inspiring us to further our mission of community building while breaking bread in the theatre world.

Keep checking in to see where Hunger and Thirst Theatre Collective volunteers next!

With thanks,
Emily

The When:  Last March, approximately 7pm.  The Where: Pattie Lynn’s living room.  The What: Eating LOTS of vodka soaked gummy bears- oh and reading Chekov’s Ivanov. 

On this particularly significant evening, Miss Pattie Lynn had assembled a motley crew to commune and read through a new cutting of Ivanov, which HTTC had just decided to produce as their first show.  I was thoroughly enjoying myself- and the free flowing vodka- listening to the text as it sprang to life through the actors’ voices.  About halfway through the evening all of a sudden one of the lines floating through the air struck me and said “I am an amazing song lyric.  Build a melody around me.  I am simple but profound and rhythmic.” After that I put the vodka down and listened even more carefully to the rest of play.  I heard more and more lines that were also perfectly crafted song lyrics.  I knew I wanted to do something with them, but what?  I wasn’t exactly sure.  So, during the goodbyes portion of the evening, I mentioned to Pattie that the play had inspired me and that I’d like to write some music based on it.  Or something like that.  Pattie agreed to talk the possibility over with the other members of HTTC and get back to me. 

Now what made me think I was up to the task of composing music for a play?  I have no idea.  I have performed as a singer-songwriter here and there, but up until this point my songs have all been highly autobiographical.  Except for a moving piece about Killer Whales I wrote in the third grade after being especially touched by Free Willy (I mean who wasn’t??) songwriting for me has mainly been a way to work through the ups and downs and- let’s be honest- boy problems I’ve been having.  Could I write a song- many songs completely based on 19th century text?

Fast-forward a few weeks, Pattie gets back to me and yes HTTC has incredibly graciously and supportively agreed to let me try and incorporate some music into Ivanov.  Only question- where to begin?  I decided to go back to what inspired me in the first place- the text.  Curling up on the couch one afternoon re-reading the script, Anna’s line “He says that he doesn’t love me, only in the evenings…” literally shot across the page and hit me deep in the chest.  I had to put the script down.   The words immediately attached themselves to a melody.  I grabbed my guitar and Anna’s song just sort of fell out of me.

Now I wish I could say the rest of the music also just poured out of me and it was a beautiful, easy, short process.  It hasn’t been.  But it has been creative, inspiring, challenging and collaborative.  Things really took off when Pattie, Emily, Brian and I all began to meet for music rehearsals.   There was a beautiful exchanging of ideas and sounds.  For example, Emily came up with the brilliant line “deliver me” which so simply and fully describes Ivanov’s overarching theme.  I elaborated on the line, set the words to a melody and then Brian took that melody and expanded it into an amazing three-part a cappella harmony.

We are still fine-tuning the music, but overall I have to say I am so excited to share what we have come up with.  I also am personally amazed at the musical journey I have been on from Free Willy to now.  I hope you all come and are blown away by this powerful and amusing story told by this incredibly talented cast.  And I hope as the play unfolds, the music you hear supports your journey through the story, reflecting back some of your favorite themes and lines of text. 

See you all in October!

-Natalie

In the early days of the rehearsal process, character analysis and research are integral to forming the creative world of the play. For this play, I've gone all out. I've watched a Woody Allen Chekhov parody to pick up on subtle humor, I've made a character playlist (Pattie Lynn and I have this in common), I've written out what each character has said about my character Sasha ("Phantasmagoric" might just be my favorite), read and compared various translations...but the one thing I have discovered in the early research phase of the process that has helped the most comes directly from Anton Chekhov himself. 

IVANOV was Chekhov's first play, commissioned by the owner of the Korsh Theatre in Moscow and it was written in 10 days. While the first performance was successful, Chekhov was disgusted by the production. He then sat down, made significant revisions to the play, and then wrote a lengthy letter to his publisher friend venting about it all. And it's a treasure trove of information for the actor.

Hey Anton, thanks for laying the Super Objective right out there for me.

Some of the best rehearsals I've had are for new works when the playwright gets to sit in on the table read, and the curious cat in me gets to ask a bunch of questions that normally would either end up unanswered or sourced from my imagination. So, I ask the most detailed questions then, because the person who wrote what I'm supposed to say and do is thankfully sitting across from me. However, with classic plays, you never get to go through that sort of collaborative process. You can't go, "Hey, umm Mr. Shakespeare, does Juliet really love Romeo?" 

And it doesn't help that Chekhov's plays are like solving the New York Times' Sunday crossword puzzles - they are full of covert clues with definite answers that you have to dig and mine for all the objectives and emotions for the play to come together. And that's the total beauty of his plays! It's what is not said exactly, but what lies underneath that unfinished sentence or pause between actions. It is frustrating initially though, and sometimes I wish I just could sit down with Anton and a cup of coffee (or in his case, probably vodka) and ask a couple questions. 

But finding this one letter of Chekhov's has settled so many of those initial questions for me, creating a strong foundation for the world of the play and particularly for Sasha. I can sort of have this conversation with Chekhov that I'd always dreamed of and move on to embodying her on my feet more quickly. This personal letter is so unlike the formal voice in his plays - it is so frank and fresh, that it has inspired that sort of rhythm for my Sasha. The letter is also so detailed that it has become the keystone to go back to if I start questioning the reasons for Sasha's devotion to Ivanov, or I begin to judge Ivanov's own insistence on boredom. My favorite section is when Chekhov, failing to describe the play's characters in words, draws this:
    ~~~~~~
          \    ~~~~~~
            \  /      \      ~~~~~~
             \/        \    /      \  ~~~~~~
                        \  /        \/
                         \/

My fingers ache, and so I'll conclude....this type of research is priceless to character development. And to have it in Chekhov's own words is gold. 

As an ensemble, we not only have Chekhov's play to use as a communal vocabulary, but we also have these delicious insights to help create a detailed and emotionally honest world of the play. 
 
Dear Past Anton, 
 
Thanks for the help. 

Love, 
Future Actress Britannie.

"Ivanov!  Are you kidding?  My goodness, of all the plays in the world, this is what your theater company has decided to open with!" 

I think these are the exact words I used when Emily told me that this is the play HTTC had selected.  Not having a degree in performance or anything related to theater may be the reason.  However, an effort on my part has been made to learn all I can about the work my own children pursue.  My feelings were based primarily on the other Chekov work I already knew about .... mainly The Three Sisters (of which I have very much of an opinion)  and a little about The Cherry Orchard.   So, I got a copy of Ivanov and went at it. 

The more I read the more perplexed I became. What is so great about this play?  I actually could not stand the characters and I'm not sure I can now.  I also learned that HTTC was presenting this as a comedy!  My Gosh! I didn't see it.  I would definitely have to read the play again!  I didn't want to read that play again!  For heaven's sake!

I expressed my feelings to Emily and discussed the play with her.  Emily's sister had to listen to me rant and rave as well as my own siblings.  But it gets worse, anybody that would give me the time of day I would talk to about this play.  I even made a deal with a friend that I would read Fifty Shades of Grey if they would read Ivanov and then discuss it with me.  Everybody but Lisa (Emily's sister) shared my opinion that Ivanov was just a whining  play about a bunch of men not getting their way.

One day I was continuing the discussion with Emily on the phone and she said to me, "Mama, if it evokes this much emotion from you it must have meant something."  Well, it took a lot of thought and consideration but I finally came to the conclusion that maybe there was something to that.  Was it that I just didn't want them to open a new theater company with that play or what? 

Since that time I have decided to agree with the theory that Chekov's work has stood the test of time.  This play could easily have been set in today's time anywhere in the world.  I am actually visualizing a rendition of Ivanov in south west Georgia.  It could be done, I'm sure! What's more, it would probably be a great comedy! 

Apparently, I don't know anything because a prominent classical theater company in New York has also decided to open with Ivanov in October.  This is just another example of my lack of knowledge with plays.  I probably will not attend that production but I don't have to because I have kept up with HTTC and all the work they have done.  There is no doubt in my mind this will be the BEST Ivanov ever!  All the emotion that has been evoked from this brief study will guide me through the production.  Perhaps my views will change.  Regardless, of how I view the characters I will love every minute of the play.  I can't wait! 

A Mother’s Blog
The title of this blog was my first reaction after reading Anton Chekhov’s Ivanov.  I imagined Anna walking around in the evening singing, “Where Have All the Cowboys Gone”.  In particular, singing “Why don’t you stay the evening” at the top of her lungs!

My daughter is Patricia Lynn, the director of HTTC’s production of Ivanov. Her interpretation is that Ivanov is a comedy.  A comedy?!? Really? My God…what a group of characters!  My character descriptions would be:

Ivanov: Woe is me!
Anna: Sometimes love just ain’t enough
Lvov:  My middle name is “Holier than thou”

I must be missing something. So I read it again. I actually bought the Monarch Notes and read them, followed by reading the play a third, fourth and fifth time, as well as highlighting key scenes. And I called on those old skills I never reallyused when doing assigned reading and writing papers back in high school and college.  I needed to read the play not as I saw the characters, but as they would be portrayed on stage.  

More importantly, I needed to pay better attention to those characters in the background - the Count, the mix of personalities that the Lebedyev family bring to the stage, the sad but sweet Martha.  I found that as I read it the third, fourth and fifth time, I didn’t pay as much attention to Ivanov, Anna or Lvov.  I slowed down when reading the card game and related it to some of the crazy card games my family has had.  I chuckled at the thought of someone shouting “Fetch some jam!  Gooseberry or something!”--a line I missed the first couple of reads. I imagined the character reentering with the jam not as one would expect.  My favorite aunt would do something like that.  With that, I started feeling better about the play.  It is about life and we all have a little of Ivanov, Anna and Lvov in us.

I have the advantage of knowing some of the fine actors who will be playing these roles.  I have met many in person, socialized a bit with several, and have been marveled by all of their acting in numerous productions.  My conclusion: I’m sorry, Ivanov, Anna, and Lvov. I judged you too quickly and too harshly.  I have sympathy for Ivanov because like all of us at times, life is not the way we imagined. I hope he found some happiness while in the company of the other characters who are charmingly fun and entertaining.  My feelings toward Anna are bittersweet.  We all have known and loved someone like Anna. I take comfort in knowing that Ivanov truly loved her, but will let you come to your own conclusions about that. As with Ivanov, we all have a little Lvov in us. He is young and in love, so we need to give him a break as well. And I like to think that a few years after the play ends, Lvov did finally become a cowboy.

So do you agree? Does Ivanov need a few more cowboys? Comment and let us know! 

I learned the other day that starvation is not a huge problem in New York City, but that food insecurity surely is.  This is to say that there are thousands of people in our city that don't know where their next meal is coming from.  Thanks to organizations such as the New York City Coalition Against Hunger and the Food Bank and countless others, people in NY are not starving, as is true in other places.  However, food insecurity is abundant in our community.
'Food security according to the Life Sciences Research Office definition means access to enough food for an active, healthy life. It includes at a minimum (a) the ready availability of nutritionally adequate and safe foods and (b) an assured ability to acquire acceptable foods in socially acceptable ways (e.g., without resorting to emergency food supplies, scavenging, stealing, or other coping strategies). Food insecurity exists whenever the availability of nutritionally adequate and safe foods or the ability to acquire acceptable foods in socially acceptable ways is limited or uncertain.'  (http://www.nap.edu).

Even as 'starving artists' we usually know where our next meal is coming from, even if it's a peanut butter sandwich or spaghetti for the thousandth time!  By organizing food drives at our productions and volunteering at local soup kitchens and giving our time and energies and gifts to serve people in our community who are really hungry and thirsty, we hope to aid the efforts in our city to end food insecurity.  Every little bit helps.  Stay tuned for more ways you can get involved with our food drives and volunteer opportunities throughout the Ivanov process.

In the meantime, have a look:
New York City Coalition Against Hunger http://www.nyccah.org/
Food Bank of NYC  http://www.foodbanknyc.org/

Thanks for reading,
Emily