November 9th, 10th and
11th of 1989 are days
the world will not soon forget. I know that I will never forget
them. Those particular November nights I was performing Rum-Tum-Tugger
in the smash hit musical Cats . . . or, more accurately, Katz
. . . for I was performing in one of Europe's most lucrative
theatres: DIE OPERETTENHAUS in Hamburg, Germany (at the time
the most expensive theatrical ticket in the world).
I was new to the company and production, although
Katz/Hamburg had been playing successfully for several years. While
I began the tedious process of learning German, I was onstage nightly
performing T.S. Elliot's text "auf deutch" having memorized
the text phonetically. This experience, in and of itself, was as
culturally fascinating as it was artistically challenging. Little
did I realize how those early days in November of 1989 would change
my perception of theatre and of the world in which we live.
Once the oppressive Berlin Wall had been reduced to
rubble, a steady stream of "Easterners" came pouring into
Hamburg-a prosperous international port city situated on the Elbe
river. Soon the Operettenhaus was besieged with a new crop of actor/singer/dancers
all set on landing a role in Andrew Lloyd Webber's mega-hit. By
mid 1990 our company of Cats was far and away the most multi-cultural
in the world-boasting performers from nearly 20 different countries
including former East Germany, Poland and the Soviet Union.
Bonifide Eastern Block "Stars" happily joined
the chorus of our company in order to study and perform with Americans.
English became the agreed on language of choice-for nearly all communication-though
our performances (of course), continued in German. As Germany was
stretched in new and challenging ways (monetarily and culturally),
in order to reunite, my perceptions and appreciation of all individuals
was similarly expanded. Our cultures intermingled to such an extent
that it wasn't uncommon to hear three or four languages spoken within
a single conversation. The theatre had brought us together and allowed
us an unprecedented opportunity for exchange of thought, culture
and ideas.
When my two year "stint" was completed,
I left the "Katz-House" a different person. I was touched
my new methodologies, theatrical philosophies, a variety of technical
approaches to the voice, language and movement-to artist's various
lifestyles and life ambitions, work ethics and approaches to the
crafts and art of acting, singing and dance that were distinctively
non-American-and finally to a way of viewing art and theatre in
a larger, more important context. I had grown immeasurably in my
understanding of the world, its performers and people-an understanding
that continues to affect nearly every facet of my life and teaching.
* * * * *
Russia may have
contributed more to world theatrical thought than any single country
in the last five-hundred years. C. Stanislavski's feast of ideas
still offers us ample food for thought/practice. In 1997, when I
was chosen to direct a production The Fantasticks for the Russian
State Theatre Koleso (and Russian Tour), I was honored and apprehensive.
I chose to cast the production non-traditionally both in regard
to gender and race. This choice was questioned by our over-seas
advisors. At the time much of Russia had never seen an American
musical, and, as importantly, most of the cities scheduled on our
tour had near-zero contact with racial minorities.
It seemed to me, however, that any meaningful cultural
exchange should exchange the truth of art and culture, not an idea
of a culture. I opted to leave the casting in place. The resulting
response was overwhelming. The weeks we spent touring theatres and
universities proved that theatre can indeed bridge the gaps of tradition,
culture, language, gender and race. I was proud of the artistry
displayed in our production, but, also, of what the production represented-a
reflection of who we are culturally and who we will continue to
become.
* * * * *
Fall semester of '99
I taught in the most unique of situations - on shipboard of The
SS Universe Explorer as I journeyed around the world. I was afforded
this unusual experience through the internationally renowned Semester
at Sea Program sponsored by the Institute for Shipboard Education
& the University of Pittsburgh (ports of call included Hong
Kong, Ho Chi Minh City, Istanbul & Casablanca). This experience
further opened my eyes and senses to the ever fascinating world
of theatre. Indeed, this experience broadened my scope of artistic
and teaching experiences - experiences that continue to inform my
artistry and my teaching.
* * * * *
These types of multicultural experiences have helped
me become a well-rounded artist and teacher. The theatre is changing-and
must continue to change in order to grow. Part of this change includes
non-traditional race/gender casting. This positive, necessary progress
over the past two decades has only now begun to enlighten audiences,
remove traditional racial/gender boundaries and revitalize repertory
in chronic need of new ideas and approaches. I applaud and embrace
this growth in casting and in production.
Finally, it is important that we expand our idea of
American theatrical repertoire to include writings which reflect
broader cultural diversity and a greater emphasis on issues that
effect women. This process has indeed begun, but we need to do more.
Playwrights must be encouraged write-theatres and educational institutions
must be willing to produce an ever-expanding repertoire of plays
in order to educate audiences to the extraordinary range of theatrical
possibilities. If diversity is the defining characteristic of the
emerging 21st century . . . let us, as theatrical artists, show
the way.
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