Bridging the Gap: How Ancient Theatre Relates to the 21st Century

The Trojan Women may be a cetnuries old story, but it still resonates with a modern audience. Jennifer Graham-Felts has the opportunity to direct this production this year. She has been wanted to put this show on stage for six years, and we got the opportunity to talk to her about this project.

Ellen McLaughlin adapted this piece from a tragedy written over 2000 years ago. Eurpides tells the story of the women left to their own devices after the fall of the great city, Troy. We sat down with the director to talk about why this piece still hits home.

What makes you so passionate about this project? 

The Trojan Women first read through on November 11, 2017

"I have always found the universal, timeless messages in Greek theatre to be very moving. It is doubly exciting to see so many women represented on stage in this piece." 

What makes this play so special and important? 

"History is always told by the winners, but this play may be the first in history that was written with a sympathetic view of the loser in conflict." 

How do you think this play remains relevant in 2018? 

"There are many conflicts all over the world, in which we see women and children as refuges. They are forced out of their homes by their conquerors, because of the choices men have made. Although women have more rights than when this play was first produced in the 5th century BCE in Athens, we still see today that women, in the home, in the workplace and within society, tend to be at the mercy of men and the choices that are made for them." 

What do you want the audience to get out of this prodction?

Well, in true Greek fashion, I would like to see the audience experience a catharsis. I want them to think about the character's experiences, have some conversation, and ask some questions. I want the audience to be challenged by the material." 

Jennifer Graham-Felts is also our movement specialist for EMU Theatre. We also were able to talk to her about how movement factors into a piece such as this. 

How does being a movement specialist influence your directing style? 

" I tend to look at a piece from physical dynamics, rhythm of the body, and the language, balance, or being off balance. In this piece in particular, we are using elemental movement, such as fire, water, and air."

Jennifer Graham-Felts directs the cast of The Trojan Women. 

Do you think being a movement specialist gives you any advantages in directing? 

"I don't know if its an advantage, but I think I can handle moving large groups on people on stage quickly." 

Do you think this piece lends itself to doing unique things with movement? 

Certainly, because Greek Tragedy is larger than life and movement practic helps to heighten the acting. 

Getting this chance to sit and talk with Jen has allowed us to see how theatre touches us all, no matter what time we are in. There is a universality to theatre that is unmatched, and we are eagerly awaiting the presentation of this piece. 

12 Step Plan for a Life in the Theatre by Ken Stevens

Ken Stevens has accomplished quite a bit at EMU Theatre. As the last weekend of The 39 Steps approaches Stevens, the director, would like to share his Twelve Step Plan for a Life in the Theatre! Enjoy these photos of our current production of The 39 Steps and come see Ken's work in action THIS WEEKEND!

1) “OH YEAH, I DO THAT!”

-This means if you need a specific skill set to obtain a job...simply say, "Oh yea, I do that!" and go buy yourself a book about how to do that.

2) LEARN TO DO A BUNCH OF STUFF.
-Learn to knit. Learn a magic trick. Learn how to run on top of a train! It could come in handy.

3) APPRECIATE A BUNCH OF STUFF.
-There's more to life than musicals and farces. (We know! SHOCKING!)

4) SCREW IT AND DO IT YOURSELF.
-Who's gonna argue that?

5) ACT LIKE A BUSINESS.
-Take yourself seriously. Be professional. WORK HARD.

6) FAILURE IS AN OPPORTUNITY.
-"No" is the theatre's most-used-word.

7) MAKE FRIENDS AND KEEP THEM.
-...or else it COULD be awkward when your asked to kiss an enemy on stage.

8) DO MORE OF IT BETTER.
-Priceless advice.

9) NO BITCHING, NO WHINING, NO GOSSIP!
-Save the drama.

10) BE YOUR OWN UNION.
-Stick together! Help each other out! Promote each other! 

11) ACKNOWLEDGE TRAGEDY. LIVE COMEDY.
-Life's tough, get a helmet.

12) GET OUT.
-NOW GO OUT AND DO IT!

Get Tickets to "The 39 Steps" Here!

The History of Sponberg Theatre

Ken Stevens, Director of "The 39 Steps" , was the head of the 1980's campaign to build the Sponberg Theatre from the ground up and has produced countless performances within the space since.  All it took was a little bit of hard-work, some celebrity power, and one helicopter...

1970's

• Dr. Harold E. Sponberg is President of EMU and heads the initiative to create scholarships for the arts.
• EMU Forensics Team wins National Championship ('73, '75, '76, '77, '78, '79).
• Ken Stevens and his pal, Bob McElya, joked about putting a bubble over the outdoor performance space to create a Garden Theatre. 

1980-1983

• John Porter becomes President of EMU and sends out a call for proposals for capital campaigns at EMU.
• Ken writes proposal for Sponberg Theatre - a 200 seat facility that could be used to extend EMU Theatre programming, hold national Forensics competitions, and other campus events.
• A firm in Chicago deems Sponberg Theatre as the campaign that is most likely to succeed.
• The Department Head of the Communication and Theatre Arts Department, Dennis Beagen, backs the project along with Porter.
• Ken is asked to head the campaign.
• Ken seeks to secure the project with large donors before taking the project public.
• Enough funds are secured to make the campaign public.
• Carol Channing agrees to announce the campaign to the public ONLY if she can be flown to EMU by helicopter.
• Ken meets Carol on COBO Roof, takes a helicopter to EMU, and lands where our current Student Center is located.
• Carol announces the campaign and buys the first two chairs of Sponberg Theatre.

1984

• Enough funds are raised to break ground.
• Ground is broken.

2012

• On June 1st, Ken Stevens will present The 39 Steps in the Sponberg Theatre.
• Ken talks about his love for the space, "It's open, the size is right, and there is a sense of intimacy. You can do a range of productions. As a director, it is always a challenge to find a way to do a show in an unorthodox setting

Past productions that have taken place in Sponberg: 

Into the Woods, Brecht on Brecht, Little Me, Dead Man's Cell Phone, and many many more.

Click Here for Tickets to The 39 Steps!

TELL US ABOUT YOUR FAVORITE MEMORY IN THE SPONBERG THEATRE BY LEAVING A COMMENT BELOW!

Guest Blogger: Student Director and Playwright, Elizabeth Dieterich

We asked one of our theatre students to be a guest blogger! Elizabeth Dieterich was kind enough to write an entry about the Student Written and Directed One-Act Festival (March 18, 19, 20, and 21). The festival is a big event for Miss Dieterich. Not only is she one of the featured playwrights, but she also directed a show in the festival.

Well, it’s that time of year again. The weather is turning around, birds are singing, the end of the semester is in sight, graduation’s coming, we’re about to have auditions for our spring show aaannnndd….

The Student Written and Directed One-Act Festival is here!!!

We’re Eastern Michigan University students from all backgrounds. We’re Theatre Arts majors and minors, or students from outside the department.

We’re the writers. We’re the directors. We’re the actors.

We’re the makeup artists, costumers, choreographers, set designers, stage managers, prop hunters… and we’re in the audience!!

That’s the One-Acts. Student produced, student centered. It’s about you and me: by EMU students, for EMU students.

Before graduating, we Theatre majors are all required to have directing experience in the program before getting our degrees and taking the professional theatre world by storm.

Directing in the lab is not only a chance to fulfill this requirement, but also an opportunity to learn what it’s like to run our own shows.

Graduating in April, it was high time I sign up to direct. So I did, not even knowing what to expect….

Writing a play for the One-Acts is open to any EMU student. That means creative writing students, literature students, education majors, biology fellows, or really just anyone who has a script in mind! We write scripts with no more than 4 characters, and try to keep it under 20 minutes.

“…[U]nless this miracle have might,

That in black ink, my love may still shine bright”

I had a play in my mind for over a year before sitting down to write The Macon County Line. Writing this in a one-act was the perfect way to get the message of the script across and take the play for a “test drive.” Does it work? What does it sound like out loud? Will the director get it? The actors? Will people like it??

So out of many, many script submissions and directing applications, the Festival is born….

One day, walking through Quirk, I was delighted to see my name on the announcement twice. I got in this year as a director, and as a playwright.

The process all starts with directors getting the scripts.

We get a chance to meet and chat about our shared and different visions for the script.

I got to talk to playwright Michael Herman about what he was thinking when he wrote The Blue Rose.

I got to talk to director Brandon Grantz about The Macon County Line.

We all hold auditions and callbacks together. This is when real fun starts, ‘cause most of us are also actors – whether we’ve written for the festival or are directing.

Being on the other side of the casting table is a truly invaluable experience for any actor. As actors, we’d all like to know…“What are those directors thinking??”

Well for one thing, turns out we get just as nervous as you do!

Casting decisions are very hard, but they’re also thrilling. I could barely contain my excitement when I realized the words I’d written sounded great in the mouths of talented performers.

After we’ve cast our shows, we get down and dirty in rehearsals….

It’s true that directing requires attention to minute detail and tedious planning, setting rehearsal schedules, and getting spaces. We’ve got about a month to put up a great show. Needless to say, it’s a grueling process.

But once we’ve got the shows on their feet, we’re rockin’ and rollin’….

I’ve had the opportunity to work with several different faculty directors at EMU, either in classes or shows, so I had to draw on what I knew. I considered what worked for me, as an actor. But of course, that isn’t going to work for everyone.

Part of the rehearsal process is feeling out another person’s sense of taking direction, or interpreting text. And of course, that changed for each of my four incredible actors!

To continue the collaboration, my playwright – Michael Herman – came in to choreograph dance sequences. Now that’s a vision for the script!

Michael Herman choreographs a dance scene with Ramon Garcia and Rebecca Robinson for The Blue Rose.

As a playwright, I discussed all the literary references, specific lines, and character backgrounds with Brandon Grantz and his cast. This was chance to leave the directing to someone else, while maintaining my vision for Macon through the text.

I bet many a director wishes Shakespeare were around to ask the questions these folks got to ask me!

All this collaboration, and I haven’t even mentioned the amazing job the performers have done!

Our actors are talented, funny, smart, flexible (sometimes quite literally…), and adaptive.

Jahmeel Powers and Charlotte Frutig rehearse for The Blue Rose in the Lab Theatre.

So, the One-Acts are a chance for students to showcase our work and learn from every single element of the process. At only $5 a ticket in the Lab theatre during the school week, they’re an opportunity for students, faculty, and friends to go see the work EMU Theatre is producing.


The Student Written One-Act Festival:
March 18 @ 5pm
March 19 @ 8pm
March 20 @ 8pm
March 21 @ 5pm & 8pm
(Note: The Student One Act Festival is a popular performance series. Tickets cannot be purchased in advance and are sold A HALF HOUR BEFORE the performance. It is recommended to arrive early to secure a ticket). 
Join us and let the drama set you free.