Mustard Seed Theatre Blog

THE BUZZ LIST

St. Louis' most influential people, organizations and ideas of 2013.
Story: Edited by Jennifer Dulin Wiley; Written by Katie Davis, Amy De La Hunt, Ryan Martin, Gwen Ragno, Christopher Reilly, Matt Sorrell and Jennifer Wells
Photos: Tuan Lee  

Deanna Jent
Playwright/Producer/Director/Professor of Theater,
Mustard Seed Theatre & Fontbonne University

“It’s like the theater princess dream come true,” Deanna Jent says of her play, “Falling,” which took a fairy tale journey from St. Louis to Off-Broadway late last year. Based on her real-life family experience with autism, the play’s original run at Mustard Seed Theatre was extended twice, allowing local producer Terry Schnuck to catch the very last performance and help catapult the play’s success in New York. The rest is theater history. Jent calls the remarkable experience “the result of many moments of grace and serendipity.” It seems grace is no stranger to the Fontbonne theater professor. Mustard Seed’s first production in 2007, “Remnant,” garnered six Kevin Kline nominations and instant acclaim, while her adaptations of “Pride and Prejudice,” “Till We Have Faces” and “Imaginary Jesus” have amply demonstrated her writing chops. “Jane Eyre,” directed by Jent, opens April 12. As for the future, Jent has plans to publish “Falling,” which will be produced in Brazil in 2014, and she’s already thinking about writing again. “I’ve always been writing things,” Jent says. “It’s the way I process the world and figure things out.” –CR 

 Watch this cool video!

From The Duck Variations, by David Mamet:

                  The mating of ducks is a private matter between the duck in question and his mate.

                  Yeah?

                  It is a thing which few White men have witnessed… And those who claim to have seen it… strangely do not wish to speak.

                  There are things we’re better off not to know.

                  If you don’t know, you never can be forced to tell.

                  They don’t got those beaks for nothing.

                  Nothing is for nothing.

                  Too true.

                  Everthing has got a purpose.

What I love about this play is how a discussion about ducks moves seamlessly into a discussion about life.   Two men talk about boats and pollution and nature and friendship; it’s everyday talk, but somehow more.

-Deanna Jent

It’s been a joy working with this trio of amazing actors.  St. Louis theatre patrons will recognize Bobby Miller from shows in a variety of other theatres (it’s his first time on our stage), while Mustard Seed Theatre fans will remember Peggy Billo from our inaugural production of Remnant and our staged reading of Mother Teresa is Dead. Both she and Richard Lewis were featured in our Tartuffe, and Richard has appeared in many other Mustard Seed shows (Measure for Measure, Fiddler on the Roof, Shadowlands and The Chosen, to name a few.)  Check out our website to see some pics of Richard and Peggy in previous roles.  Can't wait to add Bobby to our gallery!

Okay, I know I promised a middle part but being in the show means I haven't had as much time to write about the show.   Anyway, suffice it to say the the middle part is a mixed bag.
 
The good news is, the cast gets to know each other and we get more comfortable with one another.  This leads to a feeling of security for actors as we try new things for our characters.  Whether it's being able to let go and reveal ourselves in a dramatic emotional scene, or trying a goofy dance or a line change for a laugh - this is where the magic of discovery begins.
 
The bad news is, this is also where we have to learn our lines.  Just when you think you know what you are doing, you have to start doing it without the book in your hand.  Your comfortable, bedraggled, marked up script that has been your friend and constant companion this couple of weeks is being ripped from your trembling hands as you try to do your part(s) from memory!  It doesn't help that this is an adaptation and Deanna frequently comes in and says, "So I have some script changes tonight!"  But "tech week" starts tomorrow and she can't tweak the play too much more.  Anyway, we all take it with a laugh and just keep going.
 
Really, if you like black and white, order and structure - theatre isn't for you.  It's a big mess in the middle part but somehow it ALWAYS comes together.  Some plays are better than others, of course, but to a large extent actors just have to trust the Director and the Process.  I think that's the magic of theatre - a bunch of different people taking a leap of faith together - actors, directors, technical crew and the audience.  Tech week starts tomorrow!

Leslie Wobbe

by Deanna Jent

The power is out and no subways are running in NYC’s West Village, which means that my play FALLING has been “dark” all week. Everyone associated with the show is fine, and there was no damage to the theatre; like many people across the East coast, we wait for electricity to return and the flood waters to recede.

Meanwhile, here at Mustard Seed, we’re rehearsing my adaptation of IMAGINARY JESUS. It’s a joy to be in rehearsal with this group of amazing actors, designers and staff, but this week we hit the “middle part” I referred to in an earlier blog – that point where it really IS work. With 17 actors playing 48 characters moving between 23 different locations, rehearsal now often resembles football practice more than a theatrical endeavor!

But through it all, we continue to play! The journey from the page (hilariously written by Matt Mikalatos) to the stage is an adventure. So far we’ve discovered a couple of new characters (Don’t worry Matt – you’ll love them!) and learned that the actor who needs to say “Apocrypha” can’t make his mouth actually say “Apocrypha” (he’s getting closer – we had “Apocryphia” last night, which is, perhaps, the fear of saying “Apocrypha”?).

So the actors are learning their words, I’m figuring out how to tell the story clearly through action and staging, the lights are being focused, costumes are being built, and the set will be painted on Monday. Sound design and prop design continues, and the Stage Management team diligently organizes and takes care of us all! Creating theatre is an amazingly collaborative process – which is why I love it!

Oh – and two performances are already sold out, with two others nearly sold. Take a look at your calendars and make your reservations now – it’s a great family show for Thanksgiving weekend!

by Leslie Wobbe
 
As the Associate Artistic Director of MST I have the pleasure of maintaining the mailing lists, laying out programs and posters, working on grants and wrangling budgets-all of which I genuinely enjoy.  As you can imagine "creatives" frequently don't "do" details and numbers so I love that my obsessive side has an outlet in something I love.  On occasion, though, I get to don my own creative hat as an actor and I thought I'd write down some of my thoughts about being a part of the creative process-or at least THIS creative process of Imaginary Jesus. 
 
AUDITIONS:  Whew!  More complicated than it looks.  MST frequently throws out rules about gender and race in the casting process and this show particularly lends itself to ignoring traditional roles and looks.  But it is still a fine art to find talents that you think will blend and support one another.  Thank God that's Deanna's job!
 
READ THROUGH:  Exciting, anticipatory and a little awkward.  Some of the actors have worked together before.  Some have never met.  Some haven't met but know each other by reputation. Some are married to each other.  Anyway, it's a mixed bag.  But as we read the script together and find the funny bits and the serious bits we begin to see a big picture. Hazy, but there.
 
BEGINNING:  Work.  In the beginning we are all literally stumbling around.  MST is fortunate to rehearse where we perform so we have pieces of the set and even some props.  Many companies do not have this luxury and must work with tape on the floor, a ground plan and their imagination.  Having the set in place means we have more time to navigate cat-walks, moving triangles, entrances and exits.
 
In Deanna's style the first thing we do is "block" the show.  (For novices that means she tells us where our bodies should be moving in and out of scenes on and off stage.) This is just a framework.  It won't be exactly the same in performance but pretty close.  Believe it or not, it is work.  A lot of waiting for your turn, stopping and starting, and writing in the margins of your script.  This is also where we begin the bonding process as a cast.  Gathering at the coffee pot, actor's exercises (who knew counting to three could require so much concentration!) and trying to get to know each other.  It reminds me of preschoolers at the sand table.  We play next to each other and occasionally notice each other's toys, but we don't play TOGETHER yet.  It can be pretty disjointed because all of us may not be at rehearsal at the same time - in an effort to minimize waiting around - and scenes may not be blocked in the order they appear in the show.
 
So that is where we are now.  It's Friday and we have the night off tonight to let some things sink in.  Then we begin again tomorrow afternoon to put things together as much as possible.  Stay tuned for the MIDDLE portion of the process!

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A Look Back

  • Caught in the Act
  • Huff and Puff
  • Future Christmas
  • Rock Star Fantasy
  • Surrender
  • Marble Collection
  • Sanders Family Singers

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