Cowan Palace: Embracing The Mirror, Part One: Ashley, Plain and Tall

In part one of this two-part blog (featuring Marissa and Ashley’s tall tales) Ashley considers the height hype.

“You’re like that book. Sarah, Plain and Tall? But, like, it’s you. Ashley, Plain and Tall!”

I let his words linger in the air like they were bubbles about to pop. I forced the look on my face to go from “shocked and hurt” to “playfully shocked and hurt.” This was not exactly the sentiment I was looking for from the guy I kind of had a crush on after a performance.

I had just finished playing my first “romantic lead.” Sure. It was a ten minute play directed by my classmates for a student run production. But it was the first time I got to do a stage kiss! And wear something that didn’t resemble a bag! Plus, I didn’t have to cover my face in old age makeup (fun fact: old age makeup is still pretty much the only makeup style I feel like I can “do” well) or cover my hair with baby powder and gray hairspray. Ah, college. The actor I was paired with was slightly shorter than I was so I had been costumed in a modest heel but since I barely noticed, I didn’t think anyone in the audience would care.

And, duh, I knew I was tall. By that point (at age 18), I had already been told that I couldn’t convincingly play a high school student and that I was really more of a Nurse and/or Mrs. Capulet than a Juliet. At 5’9’’ I also knew I was ineligible to ever become a Disney princess (as they do not allow their ladies to be over 5’8’’) so my dreams of playing Belle fell short (ohhh, punny, huh?).

But let’s get back to my crush! Why was “tall” now synonymous with “plain”?! That hardly seemed fair. I went home and listened to a Coldplay mix CD trying to make sense of it all.

I continued college scoring great roles meant for older actresses and when I graduated, I moved to New York and began auditioning. I’ll never forget getting a callback for a role in a short play and being the tallest person in the room. The scene I was reading for was for the role of “daughter” and the actors playing my mother, father, and brother were all several inches smaller than I was. I was the only actor that managed to get a laugh out of the audition panel but sadly, I never heard from them again.

After that, I packed flats to every audition. And tried to practice hairstyles that could maybe make me appear a little shorter (yuck, I hate admitting that). When I reached out to my tall theatre friends, I loved hearing the stories they encountered in their theatrical pursuits because it meant I was not alone. Colleen Egan told me, “I had to wear flats once while my male counterpart was put in lifts because the director was so distracted by our height difference.” Which I find so fascinating! Why are we so uncomfortable with a woman being taller than the guy she’s with?

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Luckily for me, when I found myself in San Francisco with a role in “Tony ‘n Tina’s Wedding”, my perception of height and my relation to it completely changed. Suddenly, I was in a show surrounded by beautiful Amazons. I was no longer the tallest one in the play! Yes, for the most part, our male counterparts were shorter. Sometimes, much shorter. But we learned to embrace it and play it up. We wore ridiculously tall high heels and made our hair as big as possible. When we had to kiss our fictional boyfriends, we thought it was hilarious and usually, the audience did, too.

I reached out to some of my past castmates in TNT regarding being tall in the theatre and they had these gems to share:

Mariah Castle (who was our original Tina) said, “I do remember being worried that audiences wouldn’t believe the casting when I was paired with a Tony who was significantly shorter than me. But it always seemed to turn out fine. I actually loved being paired with one short Tony in particular because he was such a strong performer. He owned his role and the room, so I felt proud to perform opposite him and pretend to be his “wife” for a night.”

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Sarah Rose Kistner added, “There were also some pretty ridiculous pairings (in terms of height) in TNT that I definitely worried about looking legit. I would have to tell myself little stories like “Okay, maybe Dom is just seriously into tall chicks!” or “Maybe Dom is just seriously into chicks… any chicks.” In the end, I don’t know if any of those relationships appeared authentic, but they at least appeared funny. I will say that my height probably helped me get cast as Amazon Hippolyta in Impact’s 80’s version of Midsummer Night’s Dream, where I was paired with a tragically, tiny Theseus. I think the dramatic height difference added a certain amount of inherent physical comedy. I did always have a sense that, if I were to continue with my acting career, I’d probably have an easier time being tall on film than on stage.”

Lastly, the lovely Stephanie Renee Wozniak left us with this wonderful wisdom:

“Okay, Tall Girl Theatre problems:

1. ALWAYS being in the back row in musical theatre productions. No matter how well you know the steps, you’re gonna have to be in the back because you’re a giant. And forget about partner dancing! If it’s a show where there’s a bunch of partner work, well, then congratulations! You’ll be playing a dude!
2. Playing dudes! I’ve literally played more male roles than female roles. Which it totally cool because some of the best roles out there are for men. I mean I got to play Hamlet so what am I complaining about?
3. NEVER playing the ingenue because the leading men are too short. Which is okay because the sassy best friend has all the best lines anyway.
4. Playing ALL of the adult roles from the time you’re 12. I played M’Lynne in Steel Mags when I was 23. My roommate was Shelby. And we rocked it.

Yes, there are challenges with being an Amazon actress, but on the other had, these long legs have been solely responsible for getting me cast in several productions. Incidentally, come see me in Sweet Charity this Spring at Hillbarn!”

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Obviously, I’m quite proud to have shared a stage with those women. Being around other tall actresses and performing the show for years made my height feel “normal”, sometimes humorous, and something I should absolutely stop apologizing for.

Now when I get to an audition, I still pack flats if I’m wearing heels and I still consider my hair (I have no problem cutting bangs into my look hours before if I think it’ll help get a part) but I’ve stopped thinking so much about being taller than many of the actors around me – I’ve convinced myself that I just have more height to store talent.

Things never went anywhere with that college crush. But I did get cast in a romantic lead with my now husband who is also taller than me! So things worked out okay there! No Coldplay mixes were needed. And lastly, “tall” is not synonymous with “plain” so I’d greatly appreciate it if you could all call me, “Ashley, Tall and Excited By Froyo” from here on out. Until tomorrow, my friends! I look forward to continuing this discussion with Marissa!

Theater Around The Bay: INTO THE WOODS- A Prologue

Starting next week, Theater Pub will be running a three-part commentary panel doing a retrospective on Stephen Sondheim and James Lapine’s INTO THE WOODS, featuring the thoughts of Bay Area theater makers Stuart Bousel, Brian Katz, Marissa Skudlarek, Oren Stevens, Corinne Proctor, and Nick Trengove, each of whom have their own special connection to the seminal Broadway musical. To whet your appetite, we’re running a review (taboo for us, we know, but this is special) of the new film version of the show, from New York based actor/dancer Tommy Stefanek (who, by the way, in 2000 originated the role of Hugo in the very first production of THE EXILED, back in Tucson). Tommy caught an advance screening of the film on Sunday, this is his response. Oh, and *#*SPOILERS*#*. 

Okay, here are my thoughts about Into The Woods and some comments about tonight because it is not often that after seeing an amazing movie I get to hear Rob Marshall, Meryl Streep, Tracey Ullman, Christine Baranski, Emily Blunt and Anna Kendrick talk about the experience of making the film.

So, if you are a fan of the musical Into the Woods I am pretty sure that you will LOVE this movie. The film had me at the edge of my seat from beginning to end. And yes, there are some things that I didn’t like and some numbers that I missed, but overall I thought the movie was fantastic.

And as they brought up in the Q&A they were able to do many things in the film that you can’t do on stage. For example, how they filmed ‘Steps of the Palace’ was brilliant! All the special effects made you feel the magic so much more! I mean you really get to go into the woods.

Huge stands outs are the kids: Jack (Daniel Huttlestone) and Little Red (Lilla Crawford). They knocked it out of the park. Meryl is even better than you are thinking she will be. And I loved Anna as Cinderella, Emily as the Baker’s Wife, Tracey as Jack’s Mom and Christine Baranski was fantastic as the stepmother. Oh, and the 2 Princes (Chris Pine, Billy Magnussen) singing “Agony” will be a laugh out loud moment for you. We were ‪#‎DYING‬. And yes, both Princes DELIVER. ‪#‎sweetbabyjesus‬

Now, Johnny Depp’s costume is the worst thing in the film. And maybe the second worst thing for me was the fact that I just wanted him to play the wolf but he was playing Johnny Depp as ‘The Wolf’ and I was just like ‪#‎overit‬. But again I am being very picky.

The Baker (James Corden) didn’t connect for me but he had awesome moments and somebody else might really like him so I will leave it at that. I just wanted him to play it more like Chip Zien, the original Baker, but that’s probably just me.

The thing that I mentioned to my partner after the film was that I just feel the original material is so perfect, every lyric, every verse – it is structured so perfectly. And when you trim (which you HAVE to do for film) you lose some of the depth. So, some of the moments near the end don’t have the impact that you need because you had to short change some of the earlier scenes.

And then some of the more “violent” moments were lessened or rather done off screen and I thought that was a poor choice. I think the dark tones of Act 2 really build when you see the Steward hit Jack’s Mom over the head which kills her. The stakes are raised immediately in that unexpectedly violent action and you need to see it. In the film they cheapen the whole moment so it isn’t as dark but I think you need the darkness…

But let me be clear I am being picky right now because the film is that good. We all remember what a piece of shit Les Mis was and this brings us right back to the Chicago days. If you’re a theater person (or not), this movie should be at the top of your list this holiday season and I think you will really love it.

Working Title: Only the Best

Will Leschber embarks on the fools errand of putting together a best of list when the year hasn’t yet come to a close. Enjoy…

This time of year falls to looking back. We see the year as a whole and take time to reflect and collect our best and worst moments of the year. Shortly, most media outlets will be flooded with their respective “best of 2013” lists. Since there are never enough of those out there in the blogospheres and various media tiers, I figured I’d provide a short list here as well. For brevity’s sake, today’s list shall be limited to a top 3. Top selections of film and theatre as seen my me.

This year in film has been strong. Or at least the latter half has been, but that’s always the case. The highlights remind me of how transportive great film can be. By no means does a mere top 3 list encompass the entirety of quality film entries this year AND this isn’t necessarily the order or my final top 3 BUT they are some favorites that best fit the focus here. Meaning, not simply were they some of the years best, but they optimized the best aspects of what the film medium can achieve.

After all that ado here we go…from the top down

#1 Gravity: Alfonso Cuaron’s film was a monumental success on many fronts. From a technical stand point (editing, cinematography, score, sound design, visual effects) the film offered innovation and excellence. Also the uncommon storytelling was executed expertly. It features Sandra Bullock’s best performance to date. And if that was enough, the film was a giant financial success. Gravity shows the power of the film medium by placing us out in orbit with our astronauts and relentlessly pushing us through their spectacular struggles.

#2 12 Years a Slave: Based upon Solomon Northup’s 1853 autobiography, 12 Years tells the harrowing journey of a free black man who is abducted and sold into slavery. Narratives of this kind bring the story stakes to the highest level. However, it is director Steve McQueen who elevates the story above the mere biographic details by shining a light into variant corners of our humanity and collective past. It also features one of the best performances of the year. Chiwetel Ejiofor who plays our lead, Solomon, is simply superb. 12 Years a Slave shows the power of film by making this 150 year old story emotionally immediate and terribly accessible through its even lens. It’s a hard watch but there are few better out there this year.

And now for something completely different…

#3 Frozen: This latest entry into the Disney animation cannon reminds us how good animated fairy tales can be. This may seem light fare compared to the other two on this list but, I tell you, not a single frame is wasted in this re-imagining of the Hans Christian Anderson tale, The Snow Queen. The wonderfully rich and deep color pallet is stunning to look at. The songs co-written by Robert Lopez and Kristen Anderson-Lopez, of Book of Mormon and Avenue Q fame, rival the best in Disney’s back catalog. While playing with the familiar tropes that we love about these animated tales, Frozen also turns the true-love morality story on its ear and provides something fresh after all these years. The voice cast is chosen upon ability and character fit instead of star power. In short, Frozen is supremely satisfying. It feels like the best of good old-fashioned animated musicals. I’m not ashamed to say I saw it twice.

The best pieces of theatre that I was privy to this year range from the regional/professional to the personal independent. These stories would fundamentally change in another medium which only speaks to their power as theatre.

#1 Terminus, The Magic Theatre

This play closed the season last spring at The Magic Theatre. Boy, what a finale. Irish playwright Mark O’Rowe weaves a tale of intersecting lives on a dark Dublin night. Singing serial killers, love sick demons and other unconventional characters populate this play that is told in a series of rhymed monologues. With only three actors, a charcoal rocky raked stage, and minimal lights, Terminus relies upon it’s acting and it’s writing. Both of which are stellar. It’s a hard play to wrap ones head around with its violence and lyric poetic language, but when all the theatrical pieces work this well together it makes for potent theatre.

#2 Underneath the Lintel, ACT

Beginning with one small act of mystery, the return of a 113 year past due library book, this one man show opens up to the universal and the sublime. Lintel concerns itself with human endurance, trials through suffering and small decisions, maybe even not our own, that affect our lives in monumental ways. The play excels in this theatrical setting mainly because of its singular performer, David Strathairn. He imbues this piece with so much heart and compassion that I would have spend many more hours listening to his librarian spin further yarns on life and the dancing mysteries therein.

#3 Age of Beauty, The Exit Theatre

What this play, written and directed by Stuart Bousel, captured for me was the sense of all the important conversations that one has in their 30’s. Redefining ourselves , the loss of friendship, measuring up to our own expectations, being ok with the fact that life isn’t what we thought it may be: these things and more are on the table for discussion between four pairs of women. Like all excellent theatre, this play is held up by superior dialogue and genuine characters. We remain with these women for an hour and a half because we like them, we laugh with them and we get frustrated with them. They are real to us. Their unique perspective is valuable because it illuminates our own. In viewing them, we are privy to insight we may not have had and are reminded of things we may have forgotten. It’s life circa our 30 year old selves.

The best part of making these end of year lists is having people tell you how wrong you are…or right. What were your favorites of 2013?