During a recent production of Goodnight Moon, our young mouse had more trouble with the tape dispenser than the script said she should.
How the scene is SUPPOSED to happen:
Account by Amanda Card-McCoy (the above mentioned mouse):
So, the normal routine is that Rona Carter gives me the tape dispenser, I grab the tape, stretch it out so that I get as long a piece as possible, and then repeat until Bobby Wyckoff calls me over. I usually have three really long strips, and when I run to Bobby they flap behind me in the breeze like streamers. Then I wrap Bobby's arm and my face in the tape.
This one particular time, when Rona handed me the tape dispenser, I grabbed on, pulled the tape as hard as I could, and a piece about an inch long ripped off, leaving the end of the tape lost on the roll. I put my little postage stamp sized piece of tape on the table, and proceeded to try to find the end of the tape. As I desperately searched for the invisible end of the tape, I started sinking closer and closer to the ground.
At this point, Sam Whited starts chuckling in the wings.
Then - finally! victoriously! - I find the end of the tape, breathe a sigh of relief, and give the tape a good tug.
Only to have another postage stamp sized piece of tape rip off.
At this point, Sam Whited starts laughing in the wings.
Then Bobby calls me over. He has been so wrapped up in his tissue paper that he has no clue that any of this has happened.
Until, that is, I grab my two little postage stamp sized pieces of tape and run over.
At this point, Bobby starts laughing on the stage. Then I start laughing on the stage. Then Sam Whited starts dying in the wings.
Trying to cover, I scream, "You're getting tissue paper on me!" and Bobby responds, through tears of laughter, "You're getting tissue paper on your own self!"
Aaaaaaand scene.
Tuesday, March 15, 2011
Monday, January 10, 2011
Interview with Scot about Jason and the Golden Fleece
Jason’s story is an ancient one. 
Apollonius of Rhodes first recorded his adventures in the epic poem Argonautica, written in Alexandria in the late 3rd century BC. In the following interview, Scot Copeland, NCT Producing Director, discusses what attracted him to this version of Jason and the Golden Fleece.
The story of Jason and the Golden Fleece is an ancient one. What excites you about sharing this classic story with NCT audiences?
It really should not be surprising that primitive struggles find great resonance with young audiences, because their daily struggle to grow up is fairly primal -- particularly in adolescence. Whether Greek myth (The Odyssey), Celtic (Sir Gawain and the Green Knight) or even Hindu (The Ramayana), some of our most satisfying artistic connections with this age group have been the drum-pounding tales of powerfully motivated, flawed heroes struggling to find themselves in the face of all-powerful, hostile forces aligned against them. Such tales are extraordinary metaphors for adolescence itself.
Out of all the mythological stories to pull from, what specifically drew you to Jason and the Golden Fleece?
It’s an archetypical hero myth: man goes on a terrible quest to find or avenge his father and, instead, discovers himself. I was interested in exploring that in classic form as a companion piece to our production of Bud, Not Buddy earlier in the season, as that story is a contemporary piece that strums those same chords. Jason and the Golden Fleece further intrigues me because, within this tale, we see the faint beginnings of the arrogance and obsession that students will encounter again later when they study the tragic destruction of Medea.
Jason and his crew have some pretty epic adventures. Are there particular moments you are looking forward to exploring on stage?
The Argonauts encounter any number of supernatural forces and occurrences, and I’m looking forward to some exciting experiments in the rehearsal hall in how to fully realize those moments theatrically. And, of course, I think there is great potential for subtle-but-significant fireworks in the development of Jason and Medea’s early relationship.
Apollonius of Rhodes first recorded his adventures in the epic poem Argonautica, written in Alexandria in the late 3rd century BC. In the following interview, Scot Copeland, NCT Producing Director, discusses what attracted him to this version of Jason and the Golden Fleece.
The story of Jason and the Golden Fleece is an ancient one. What excites you about sharing this classic story with NCT audiences?
It really should not be surprising that primitive struggles find great resonance with young audiences, because their daily struggle to grow up is fairly primal -- particularly in adolescence. Whether Greek myth (The Odyssey), Celtic (Sir Gawain and the Green Knight) or even Hindu (The Ramayana), some of our most satisfying artistic connections with this age group have been the drum-pounding tales of powerfully motivated, flawed heroes struggling to find themselves in the face of all-powerful, hostile forces aligned against them. Such tales are extraordinary metaphors for adolescence itself.
Out of all the mythological stories to pull from, what specifically drew you to Jason and the Golden Fleece?
It’s an archetypical hero myth: man goes on a terrible quest to find or avenge his father and, instead, discovers himself. I was interested in exploring that in classic form as a companion piece to our production of Bud, Not Buddy earlier in the season, as that story is a contemporary piece that strums those same chords. Jason and the Golden Fleece further intrigues me because, within this tale, we see the faint beginnings of the arrogance and obsession that students will encounter again later when they study the tragic destruction of Medea.
Jason and his crew have some pretty epic adventures. Are there particular moments you are looking forward to exploring on stage?The Argonauts encounter any number of supernatural forces and occurrences, and I’m looking forward to some exciting experiments in the rehearsal hall in how to fully realize those moments theatrically. And, of course, I think there is great potential for subtle-but-significant fireworks in the development of Jason and Medea’s early relationship.
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