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Performances of OTHELLO are coming!

May 18 @ Memorial Park in Provo, 7:30 pm

May 19 @ Memorial Park in Provo, 2:00 pm and 7:30 pm

May 21 @ Memorial Park in Provo, 7:30 pm

May 23 @ Memorial Park in Provo, 5:00 pm

May 24 @ Orem City Center Park, 5:00 pm

May 25 @ Orem City Center Park, 7:30 pm

May 26 @ Orem City Center Park, 2:00 pm and 7:30 pm

May 28 @ Orem City Center Park, 7:30 pm

CAST LIST
Othello- Lawrence Fernandez
Iago- Adam Argyle
Desdemona- Jacqueline Johnson
Emilia- Kat Webb
Cassio- Stephen Geis
Roderigo- Bryce Peterson
Brabantio/Gratiano- Jordan Kramer
Ludovico- Casey Walker
Duke/Montano- Tom Boyd
Bianca- Lexi Lallatin

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Director’s Note from Hedda Gabler

Have you ever laughed at a situation where society would generally regard the event as tragic? Or has the irony of a moment far outweighed the misery accompanying it? Laughter, sorrow, misery, humor, irony, tragedy—thy can all be felt simultaneously. Why? Because we are human! The human condition is fascinating because we are capable of thousands of emotions, feelings, and thoughts all at once. This story contains all the elements of the human condition, but does that mean the story is purely tragic? Is it purely comical? Is it ironic? No. The goal of this story as intended by Ibsen himself is to assess the human condition, tell a story, and present a clearer understanding of what life truly is—anything but pure. With that said, any reaction you may have to the story is the right reaction, regardless of the reaction of those around you.

Lawrence Fernandez

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AUDITIONS

USP will be holding auditions for OTHELLO and RICHARD III on Tuesday, April 17 from 7-10 pm in D-341 in the HFAC.

OTHELLO will start rehearsals on April 23 and will perform May 24 to June 2.

RICHARD III will start rehearsals on June 1 and will perform July 19 to the 28th.

Cold reads will be provided. If you can’t make the scheduled audition please contact anners2.7@gmail.com.

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Actors and Directors

The dynamic between a successful director and his actors is very similar to a parent-child dynamic. The director can fail his actors and damage his actors in much the same way that a parent can scar and obstruct the progress of a child.

Our greatest failure as theatre artists is in failing to grasp the magnitude of responsibility and the depth of power held by each and every director over their actors.

It does not matter if you are running a community theatre gig, a professional contract on a major stage, or an elementary school extravaganza. The director is fully responsible for the well-being and growth of each and every actor.

Being a director is like being a single parent. It is hard with a capital ‘H.’ It is aggravating, painful, wearing work that brings huge emotional rewards but very little validation. It is thankless work and it is everlastingly necessary work. Someone must direct, just as someone must parent.

Actors, you must use the same kind of discernment in choosing theatre projects that a child would like to use in choosing a foster family. Your director will affect your life deeply; he or she will make you a better or worse person. Almost all directors will ruin you in one way or another. Very few directors will foster your growth as an actor, let alone your potential as a human being.

STOP TREATING THEATRE AS AN EMOTIONALLY SAFE OUTLET. You are jumping into an ocean of predatory, needy people who will hurt you if you do not take care.

I am preaching here something that I call self-advocacy. Actors, you must learn to stand up for yourselves and treat yourselves as human beings.

The reason your director can and will call you for a six or ten hour Saturday rehearsal without feeding you or giving you reasonable breaks is that all of you as actors accept the situation. The reason your director can and will unexpectedly extend the run of performances is that most actors will accept the situation. The reason most directors damage their actors by labeling, gossiping, and manipulating them on and off stage is that all of you as actors expect and accept the situation.

Acting in our culture has become psuedo-emotional slavery. It only keeps going because no one stands up and says anything.

Actors, stand up for yourselves. Your director is a human being and so are you. Human beings can and must work together for the common good; they can and must learn to negotiate life with kindness, sensitivity, and tact. When you allow your directors to malign and abuse you, even in the name of making theatre, you are making the world a worse place to live in.

Actors, be kind. Begin a cycle of kindness that will overspread the face of the earth by first being kind to yourself. Be kind to your director by expecting kindness. Have the courage to instigate change. Theatre changes the world; for a long time now theatre has been making this world an uglier place to be. We have the power to change the face and substance of human relations. Actors, love yourselves enough to love everyone else. Learn to be genuinely kind, and learn to draw kindness from others. Take up the responsibility to make this world a more beautiful place to be.