Posts Tagged Braden Moran

Performer of the Year

by Robin Abramson and Carlyn Aquiline, City Theatre Literary Manager and Dramaturg

Less than two weeks ago, the Pittsburgh Post-Gazette printed critic Christopher Rawson’s annual designation of Pittsburgh’s “Performer of the Year.” To our great thrill, actress Robin Abramson received that top honor, and for her performances in two plays presented by City Theatre: Mary’s Wedding and Blackbird, both of which were directed by Stuart Carden (who was not mentioned in the article, but should have been). Read Rawson’s article here. I might be wrong about this, but I believe City Theatre gave Robin her first professional job out of college when she was cast as the earthy Laurel-and-Hardy-obsessed Ellen in Outlying Islands, David Greig’s Darwinian coming-of-age story set in the Scottish Hebrides. Robin has also joined us twice as a company member in the Young Playwrights Festival.

Robin in the poster for David Grieg's OUTLYING ISLANDS (2004-05), with Lea Coco (left) and Michael McMillian (right), directed by Tracy Brigden.

When I called Robin to congratulate her, she agreed to write about her reaction to receiving the commendation—what was she thinking and feeling?—after she let the news sink in for a couple of days. Unbeknownst to Robin, I also invited her Mary’s Wedding collaborators—director Stuart and actor Braden Moran—to share their insights on Robin, as an actress, as a person, as a worthy recipient of this meritorious recognition. I was interested to see the symmetry among what they all chose to talk about and how, sometimes even speaking in the same vocabulary.

Robin’s thoughts follow, written in the first-person—Stuart’s and Braden’s comments (along with some of my own) are indented and in italics, and inserted where they seem to be responding to what Robin is talking about.

I officially learned that I had been named “Performer of the Year” from a 5:45 am voice message from my Mother. Mr. Rawson had interviewed me during the run of Blackbird and although we had since then discussed my accomplishments over the past few years, I still was not expecting to be the main feature of his annual article. My gratitude to Mr. Rawson for this recognition is immeasurable.

After having been asked by the wonderful City Theatre to offer some thoughts on being honored “Performer of the Year,” my initial response is “Well, what is there to say? It’s all very simple, it’s extremely validating to be recognized in this way for my work.” But there’s more, this honor has inspired reflection on the year: the challenges, the doubts, and above all, I am humbly reminded of the achievements of many of my fellow artists and collaborators.

That modesty, self-reflection, and eagerness to acknowledge in her own success those who shared the work with her is typical of Robin, a point made by her Mary’s Wedding co-star Braden: “It’s always an honor and a joy to work with an actor who really approaches the work from an ego-free perspective. A true collaborator. That’s Robin.”

Robin and Braden in 2008-09's MARY'S WEDDING by Stephen Massicotte, directed by Stuart Carden.

Although many may regard it as mere coincidence that both Stephen Massicotte’s Mary’s Wedding and David Harrower’s Blackbird were produced by City Theatre, I do not. As many Pittsburgh theatre-goers are well aware, and I have experienced firsthand, City Theatre often produces thought-provoking and adventurous new works by both up-and-coming and acclaimed playwrights. Many of these “push the envelope” plays offer lush, challenging roles for women, which can unfortunately be a rarity in the world of a struggling actress. So, thank you to City Theatre.

Thank you, Robin, for such high praise! The issue of challenging female roles was not lost on Stuart, who also generously mentioned City Theatre in his comments: “I also want to congratulate City Theatre for choosing plays with such complex roles for women.  Robin’s recognition owes much to City’s willingness to program fascinating plays with fascinating female leads.”

Memory is a funny thing because, in retrospect, what I recall most is overcoming apprehension and uncertainty during rehearsals—right up until closing day. Both Mary and Una required a raw sincerity that, initially, I was not convinced I would be able to embody fully. This is where Stuart Carden comes to the rescue.

And here we turn to Stuart. He commenced talking about Mary and Una from the reverse angle, from the perspective of their differences, saying, “On the surface Una and Mary could not be more wildly different. Mary is an innocent who has just tasted loss for the first time and Una has lived with the bitter taste of loss and suffering for more than half her life. Mary is idealistic, spirited, open, and pure while Una is scarred, jaded, closed, and filled with rage.” Then he broached what they have in common: “their need to understand what they have lost and how they deal with that loss in order to find some way to heal and move forward.” And he reveals why he cast Robin: “It is this emotional vulnerability that drew me to the idea of Robin playing both roles.” Which is another way of saying that he cast Robin as both Mary and Una precisely because he was confident that she could embody their “raw sincerity.”

As director of both shows, Stuart bestowed upon me his never-ending knowledge, immense trust, and limitless encouragement. But what I learned most from Stuart is the true art of storytelling: “I am not standing on this stage to merely display my talents, but to tell the audience a true and honest story”—which is easier said than done.

Braden addressed Robin’s dedication to true storytelling, and how that unpretentious approach ends up actually shining a light on her talent: “She’s very interested in looking at the story and the character and finding out how to be a storyteller through the character—not how to draw attention to herself or her abilities. In doing so, her tremendous abilities easily shine through.”

While the end of many rehearsals sent me walking to my car wondering if I could pull this off or if I had been miscast, I always returned the next day determined to overcome whatever challenge Stuart had presented me with, because… I knew he was right, and that if I could just do it, it would work.

Stuart applauded this willingness on Robin’s part to trust in the process with him, and commended her for the honesty and openness she can then offer to audiences: “Robin has the rare ability to be completely emotionally naked on stage. She rends her heart open in every rehearsal and performance in order for us to examine its contents. This is an exceptionally brave act and one that I’m always amazed that actors are willing to do for audiences. And Robin is fearless, once you have gained her trust she is willing to go anywhere with you. Whether that is transforming into Sergeant Flowerdew while wearing a frilly nightgown in Mary’s Wedding or plumbing the raw and agonizing depths of a wounded young woman seeking answers in Blackbird.”

Braden, too, commented on Robin’s commitment to the rehearsal exploration and how that translates to her stage performance, on her determination to face all challenges head on, and on the trust that’s so important among collaborators. He even uses the same metaphor of “emotional nakedness” that Stuart did. In Braden’s words, Robin is “diligent, extremely intelligent, insightful and passionate in the rehearsal hall and carries all that playfully and generously onto the stage. Knowing you have a partner you can trust and rely on allows you as an actor to go to places you might not with someone less willing to be vulnerable and naked out there with you. Her imagination and emotional depths are a joy to witness as an actor. And—most impressive—is her desire to continue to grow—as a human and an artist. Any challenge that was before her she was willing to embrace and try to work through—not run from or hide in a realm of comfort.”

Robin as Una with Steve Pickering as Ray in 2009-10's BLACKBIRD by David Harrower, directed by Stuart Carden.

Stuart expressed best the idea that, in a collaborative art like the theatre, no one can go it alone—actors have to support one another onstage: “An actor is only as strong as their stage partner and I would like to give a shout-out to the two phenomenal Chicago actors that shared the stage with Robin, Steve Pickering and Braden Moran.” And, of course, Robin did not neglect to talk about her co-stars, in glowing and personal terms, bringing up those crucial issues of trust and honesty once more:

Braden Moran, who co-starred with me in Mary’s Wedding helped me understand that you can make a best friend in only a few weeks if you trust each other on stage. I want to apologize to all the designers during tech week who endured hours of Braden and me laughing hysterically through our endless cue to cue rehearsals. Never have I had more laughs. Steve Pickering, my Blackbird boxing mate, never gave me one dishonest moment to work with and can really terrify the front row with just one kick!

Stuart and Braden share the last words on Robin, since, combined, they beautifully summed up the sentiments of all of us who know her: Braden said, “It’s wonderful to see true talent recognized—and I could not be happier for Robin to receive this much-deserved attention. She’s not one who seeks it—so it’s nice to know it’s found her regardless!!” to which Stuart added, “I’m thrilled by Robin being named Performer of the Year but not at all surprised. The range she showed in these two productions was rivaled only by the risk that she took in revealing their complex hearts. Brava Robin!”

Knowing that no theatre event is complete without the audience, Robin’s final expression of gratitude includes you.

Thanks to City Theatre production, cast, crew, and audience. I hope to be back soon!


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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 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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Rehearsal Diary #1 with Mary’s Wedding Actor Braden Moran

Braden Moran

Braden Moran, who will play Charlie in our upcoming production of Mary’s Wedding, shares some thoughts on his approach to beginning work on a new role:


The moment before jumping into a new text is always an exciting time.  Its full of so many mixed emotions – I’m thrilled and terrified and anxious and intrigued…and honestly – there’s just a basic joy that comes with every new play and that is the feeling of being very grateful to have a job (as an actor, that’s generally the case – but in the current economic climate, its a sentiment many can agree with, I’m sure…) So I always want to take as full advantage of the opportunity in front of me and do my best to prepare for the monumental task at hand.
I’ve rarely met an actor who doesn’t approach a new text with some form of trepidation and concern.  Making a play work is like alchemy…there are so many things involved and so many different people striving to create one singular piece of art made up of so many individual efforts.  It’s a lot harder than one can imagine.  I feel good about this one…I’ve worked with Stuart Carden (the director) before (both when I was at school with him here in Pittsburgh at Carnegie Mellon and also in Chicago where I now live) and have a tremendous amount of respect for his abilities.  It always alleviates some of the anxiety when you know you’re in very capable hands. AND I think the text is fantastic – simple, yet deceptively challenging.  So I look forward to jumping into it with everyone involved.
One of the things I do before first rehearsal is just sit with the play as much as I can.  I go to a coffee shop and I read it and re-read it (oddly, working at home is difficult for me – I find that being in a public place allows my mind to wander in a productive way – latching onto various people’s walks and tics and rhythms can sometimes give tremendous insight into the people on the page in front of you…just simply observing human behavior is one of the joys of being an actor) Sometimes I do nothing but soak the play in – I try not to “work” on it, but rather let it work on me.  Sounds a little “hippy trippy” I know, but that’s the best way I can describe it.  I let the images of the words start to play on my imagination.  I ask questions about the world of the play for me to answer (immediately…or eventually…or perhaps, never) and I just try to figure out who these people are that are having these experiences…AND who are the people that use these specific words to convey and understand those experiences. 
With historical plays I always like to do a good deal of research on the historical context of the play.  MARY’S WEDDING is set in Canada before and after WWI.  So I’ve been checking in on that world – looking for films and books and poetry and letters and music from the time to get a sense of the emotional landscape.
For me, creating a character is a bit like solving a mystery – there are all these clues in the text as to who this person is and its the job of the actor to seek them out, analyze them and put your findings to use in fleshing this person out.  So, that said, I’m going to go bury my head in the script and see what I can find out. We’ve got a few weeks to go before first rehearsal – but it never feels like enough time.
I’m really looking forward to this journey…it should be a good one.

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