Archive for category MARY’S WEDDING

Podcast Interview with Director Stuart Carden

marys-wedding216-editSenior theater critic Chris Rawson talks with Stuart Carden, associate artistic director of City Theatre, about his production of Mary’s Wedding, the intimate epic about love and loss, running at City through April 5.

To listen to the interview click here :

Podcast Interview

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Rehearsal Diary #2 with Mary’s Wedding Actor Braden Moran

Braden MoranI’m not an experienced blogger as evidenced by my extreme neglect of my blogging duties…but my inability to find the time to compile some thoughts more regularly throughout the rehearsal process is a great testament to the tremendous amount of attention this play requires!  I knew the simplicity on the page was deceptive – but I didn’t know how deceptive.  It’s one of the more complex shows I’ve worked on and demands a good deal of imagination, focus, and technical facility.  There are only two actors on stage the whole time so just memorizing the lines is a job in and of itself!
It’s been an absolute blur of activity since we started rehearsal… as we’ve begun to pull the layers back on the show, the depth of the text continues to reveal itself in fantastically surprising and continually challenging ways.  As we discover those new challenges, the magnitude of the amount of work involved (on all levels of the production) is daunting but invigorating.  I couldn’t be more excited about the team of artists compiled by City Theatre for Mary’s Wedding…it’s an honor and a privilege to be counted amongst them.  Every day at work is a joy…there is something so wonderful about this play that inspires very unique and individual responses…and everyone involved has a great passion for the telling of this story.  
We’ve begun previews of the show – which means we’re rehearsing for about 5 hours during the day and then performing the show at night. Those rehearsals allow us to continue crafting the show to best fit into the space as well as add new technical layers of lighting, costumes and sound to flesh out the dream world we dwell in. We’ve been learning a great deal about the show as we’ve had our first audiences…and one of the things I’ve learned is that it is physically and mentally exhausting – in a good way!! It’s a nightly workout and I appreciate that from a show…It continues to grow nightly as we settle into the space and the technical elements combine with the work we did in the rehearsal hall…
This is a fun time for an actor…the whole things starts to come together and the technical elements that have been living only in your imagination throughout rehearsal are suddenly vibrantly alive in the space. Our designers and crew have done a fabulous job of complimenting the work we’ve done in rehearsals and – in many ways – elevating it to another level. I cannot rave enough about all of their work…
And I can’t wait to see how it’s received by people…I think we’ve got something really lovely on our hands and am excited to share it with City Theatre’s audiences!!

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Mary’s Wedding Tech

Here at City Theatre we are in the heart of technical rehearsals for Mary’s Wedding – this is when all of the technical elements of the performance get added to the hard work the actors have done in the rehearsal room. Director Stuart Carden and actors Braden Moran and Robin Abramson have moved into the theatre where they are joined by lighting designer Andrew Ostrowski, costume designer Susan Tsu and sound designer/composer Andre Pluess. Everyone is working hard to put the finishing touches on the play before the doors open to the public for previews.

Andre Pluess


Susan Tsu

 (If you want to learn more about Andre Pluess and Susan Tsu, click on their links to the right under “Designers”)

Posted by Christine Pini, Artistic Assistant

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Mary’s Wedding Set Update

The technical crew has been working tirelessly to build the set for Mary’s Wedding. They have made great progress as can be seen in the photos below, taken only a week apart. What began as a skeletal structure of platforms and ramps has been fleshed out with facing made of rough-hewn “barn” wood, a textured treatment on the floor that resembles cracked, dried mud, and the beginnings of the photographic paper sky being hung. With previews only days away, the pace and hard work will continue and Tony Ferrieri’s stunning set will be fully brought to life.

Mary's Wedding Set (1) 2.24.09Mary's Wedding Set (1) 3.3.09








Mary's Wedding Set (2) 2.24.09Mary's Wedding Set (2) 3.3.09


Posted by Christine Pini, Artistic Assistant

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Mary’s Wedding Rehearsal Process

Early in the rehearsal process, director Stuart Carden and actors Robin Abramson and Braden Moran explored how to physically express several key moments in the play. In addition to generating ideas for the physical vocabulary for the production it also gave the actors and director the opportunity to explore the stage space. One of the exciting parts of this process was testing how the moments in the play that take place on horseback might be realized in a theatrical way on stage (there will be no live horses in this production!).  You will find some snapshots of this part of the rehearsal process below.  In addition, there are some great photos of the actors on a special horseback riding trip. 

Posted by Christine Pini, Artistic Assistant

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First Rehearsal: Mary’s Wedding

Last week was a busy one at City Theatre, with a workshop of our final show Speak American and our next mainstage show Mary’s Wedding vying for use of the rehearsal hall.

Mary's Wedding Meet and Greet

After initial introductions, the first rehearsal of Mary’s Wedding began with a presentation by set designer Tony Ferrieri, who shared his vision for the set with the aid of his color model (seen in earlier blog posts), pictures he used for inspiration, and plenty of grass harvested from around town.

Tony Ferrieri Design PresentationTony Ferrieri Design Presentation - Detail


Costume designer Susan Tsu was up next; she talked about her ideas for the two characters and passed around fabric samples and beautiful paintings she created to showcase her designs.

Susan Tsu Costume Design - MarySusan Tsu Costume Design - Charlie

Lighting designer Andrew Ostrowski and Sound Designer/Composer Andre Pluess were finishing up other projects and could not join us for the first rehearsal, but we look forward to hearing from them soon to round out the design elements for the show.

Finally, we heard a few words from playwright Stephen Massicotte, who made a special trip to be with us for the beginning of the process. He gave unique insights into his experiences with past productions and a deeper understanding of the play. We all then sat down and the actors – for the first time together – read the play aloud.

We’re off to an exciting start!


Posted by Christine Pini, Artistic Assistant

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Color Model for Mary’s Wedding

color-model-photos0062Scenic Designer Tony Ferrieri just snapped a few images of the color model for Mary’s Wedding.  While the actual build of the set is taken from very detailed construction drawings and elevations the model serves as a small scale representation of what the scenery will eventually look like.  Typically the director is given the model to reference as s/he begins more detailed work on the blocking — and help her/him determine where certain moments will take place on the stage and how best to have the actors relate to one another and the space.  And as you can see in these images the model also gives you a sense of how light and color might interplay with the sky backdrop which is made of painted and textured photographic paper.


The model also helps the actors envision what the world of the play will look and feel like.  For the first three weeks of the process the actors rehearse in our rehearsal room with the outline of the set taped out on the floor.  But as you can see in the model there are dramatic sloping levels in the design.  The model helps the director and actors imagine how these slopes and height differences in the set impact physical relationships.  From the front of the stage to the back there is a  six foot rise as well as a trench that goes three feet into the floor.  The model helps keep these dynamic height differences in perspective.


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