The Trailer Park is Officially Open!
Imagine That!
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- Christopher De Vore When Lucy woke up this morning, she didn’t expect everything about her universe to change. But when you’re four years old, things happen fast. Director Denver Vaughn, and her cast have been given the opportunity to let go of the grown up world and return to the everyday imaginary adventure of being a child. Set behind the world’s greenest couch, Noah Haidle’s ‘Mr. Marmalade’, explores Lucy’s breakneck trajectory through the adult world. From tea parties, to food fights, to boyfriends, and to morning cartoons, The Alternative Arts Collective’s ‘Mr. Marmalade’ will remind you what childhood was really like; so bring your blankie and a thinking cap.
Closing Night: March 16th @ 8pm Thursday-Saturday Performances @ 8pm Please note, our theater is very small. To ensure yourself a spot, we suggest you purchase tickets for $15 plus a small service charge. $10 SPECIAL until February 20th. Go to brownpapertickets.com, keyword: “Mr. Marmalade” for tickets. Discretion: Strong language, drugs, and suggested violence. Box office will open 1/2 hour before scheduled showtime for will call pick-up and sale of remaining tickets. For more information: http://www.facebook.com/thealternativeartscollective |
“In the Blue Box Theater we can imply the universe.”
Opening Night: February 28th @ 8pmQUILLS – Putting Pen to Paper
It’s finally here! Tonight, The Alternative Arts Collective is unabashedly proud to present Doug Wright’s Quills. After a successful sneak preview and countless hours spent exploring the mind of a lunatic, the cast and its director, David Blue Garrison, could not be more ready for an audience!
The play follows the Marquis de Sade, a man with a dangerous appetite for mayhem, as he and his perverse novels seek to overthrow Charenton Asylum, an institution haunted by the criminally insane, where no one escapes in one piece. The Abbe de Coulmier and Doctor Royer-Collard have been given the daunting task of curing the Marquis of his degrading habits and maintaining order within the asylum’s hallowed halls, all while facing intense scrutiny from the ever-looming Ministry and Napolean himself.
The asylum comes to life on an intricately painted and lavishly furbished set, which
suggests an air of serenity. But in these beautifully shadowed hallways, a maniac thrives. The only question is, which side of the bars does he stand on?
Photography by David Garrison
In honor of TAAC’s opening night, we sat down with Jouni Kirjola, the man behind the Marquis. Read on for his insight into the inner workings of a madman, as he details how he was able to step into a character who finds solace in destruction.
What is your opinion of the Marquis as a husband, an author, a legend, a man?
There is a line in Quills where the Marquis says “I may be a scamp, a chancre, and a blight…but I am not a hypocrite.” Think what you will about the Marquis de Sade; He was not a hypocrite. He fought against oppression and censorship with everything he had.
How are you different from the Marquis? How are you similar?
The Marquis is said to have poisoned prostitutes in order to sodomize them. I’ve never done that. He spent decades in prisons and insane asylums. I’ve never done that either. His very name is used to invoke sexual violence. Mine is just kinda weird. How are we similar? I too am passionate about liberty and staunchly opposed to censorship. There is a debate that rages in Quills between the Marquis and his jailor at the asylum, the Abbe de Coulmier. In these scenes the Marquis consistently points out hypocrisies in order to prove his point. I find myself doing that all the time; It seems to be an effective way to win an argument, or at least discredit your opponent. I’m all about discrediting your opponent.
How do you get into the mindset of the Marquis for the show?
As the Marquis, I ask myself “What do I want and what will I do to get it?” Pretty narcissistic, but so was the Marquis.
What has been particularly challenging to you, and how did you come to terms with it?
I’d be lying if I said the nudity didn’t make me think twice about playing this part. I mean it’s not as if it’s just a flash of nudity; there are whole scenes where I’m strutting around the stage, naked as the day I was born. It’s not gratuitous though. The nudity is absolutely crucial to the story.
How would you describe the Marquis’ journey?
The Marquis is a man who is so determined to freely express himself that he will endure all forms of oppressive abuse that come his way. He goes from living a rather comfortable existence at Charenton Asylum to…well, I don’t want to spoil the ending. You know, a lot of people have seen the movie version of Quills, so they THINK they know what to expect. But this is The Alternative Arts Collective, folks. Don’t think there won’t be surprises aplenty. As co-director on this project, I’m equally concerned about the audience’s journey as I am with the Marquis’. And I can guarantee you, it will feel less like a journey and more like a ride; a very fast-paced, funny, sumptuous and provocative ride. Just don’t be scared if, at the end of the ride, you have a whole new perspective on life, liberty and the pursuit of happiness.
TAAC’s Quills opens tonight, November 29th, and runs until December 15th, with shows Thursday, Friday and Saturday evenings @ 8 PM, and Sunday evenings @ 7 PM. Please note, our theater is very small. To ensure yourself a spot, we suggest you purchase tickets for $15 plus a small service charge at brownpapertickets.com. Box office will open 1/2 hour before scheduled showtime for will call pick-up and sales of remaining tickets.
No cameras or cell phones will be permitted into the theatre and you must check them at the box office.
No persons under the age of 18 and not accompanied by legal guardian will be permitted into the theatre.
Meet the Actors: Josephine Longo
As we count down the days before TAAC opens the Sacramento premiere of Quills, one question seems to be on the forefront of everyone’s mind: who’s in this thing?
Josephine Longo brings the complex role of Madeleine to life in TAAC’s production of Quills. Juggling love and lust, she acts as a confidant to the Marquis, helping him produce the pornographic and violent prose that threatens to tear down the very fabric of French society.
And she does it all in a corset.
Read on for Jo’s thoughts on the play, her character, and all of the debauchery in store!
If your character were a body part, which would she be, and why?
I think Madeleine would be a tongue; she’s got a sharp one.
How would you describe Madeleine?
Madeleine is, I think, a fairly normal young woman. She did, presumably, grow up in a madhouse and she belongs to the lower class, and I think that those are contributing factors to her emotional strength and her reading of the Marquis’ work.
What is it like for your character, being the only young girl in an asylum filled with and governed by men?
Living at Charenton, she certainly had to toughen up. I think the fact that the people around her happened to be men has less effect on her than the type of men they are. The Abbé and the Marquis are polar opposites and the main influences, besides her mother, on her life. Having those conflicting points of view may have encouraged her to question and think more for herself. Otherwise, being surrounded by men could have allowed her to develop a strong will and an edge that might not have been tolerated if she’d grown up around women.
“Not having the most subversive mind in the room.”
What is your stance on the Marquis? Does it differ from Madeleine’s?
I am absolutely on the Marquis’ side as far as censorship. There should be room for all view points and it’s up to the reader/receiver of the art themselves whether they experience it or not. And while I subscribe to a sort of survival of the fittest mentality, I don’t think I would take it as far as he does. But then again, I didn’t live through the French Revolution.
What has been your favorite part about working on the production?
Not having the most subversive mind in the room. It’s nice that everyone’s laughing at the perverse things being said. It often seems like people are afraid to laugh at such twisted subject matter.
What has been the most challenging obstacle for you, and how have you worked through it?
I think the most challenging thing at this point is getting the lines out. I know them but the way they’re written is a lot like the Marquis’ writing: dense and flowery. Your brain knows what it’s trying to say but your mouth can’t keep up with it.
What made you decide to audition for such an infamous show in the first place?
I had seen the movie and really, really enjoyed it. The characters, the message, and the story are all so provocative. I like entertainment that makes me think and question. Also, as an actor, I like to challenge myself; see how far I can stretch myself before I have to stop and if there was ever a play to do that, this definitely qualifies.
What do you think of the show?
Quills is going to be worth seeing for all of the thought it will provoke. The performers are committed and willing to be open-minded and to give themselves to this show. It’s not often that Sacramento gets to see such an extreme play, especially in such an intimate space. It should make people uncomfortable but that’s part of why we like scary movies.
QUILLS opens Friday, November 30th at 8 P.M., with a preview Thursday, November 29th, and continues thru December 15th at 8 P.M., and Sunday shows @ 7 P.M. Please note, our theater is very small. To ensure yourself a spot, we suggest you purchase tickets for $15 plus a small service charge at brownpapertickets.com. $10 till November 20th. Box office will open 1/2 hour before scheduled showtime for will call pick-up and sales of remaining tickets. http://www.brownpapertickets.com/event/295340
No cameras or cell phones will be permitted into the theatre and you must check them at the box office.
No persons under the age of 18 and not accompanied by legal guardian will be permitted into the theatre.
TAAC presents the Sacramento Premiere of Doug Wright’s Quills.
The Marquis de Sade and his debauched novels spread like an ooze across the war-torn nation, until his incarceration. Having narrowly avoided beheading, the Marquis is condemned to life in the Charenton Asylum for the Insane. There, he meets an empathetic abbey, an overzealous doctor with a cruel streak, and a young laundress who knows danger when she sees it but cannot resist the urge to seek it out.
1616: Those of us who saw the movie Quills (with Joaquin Phoenix, Kate Winslet and Michael Caine, directed by Philip Kaufman) might wonder how it can be adapted to the stage? But first, we wonder why TAAC would tackle such an ambitious project that addresses censorship, pornography, sex, art, mental illness and religion – all in one evening.
1616: So, how are you adapting it to the stage… and not just any stage … the intimate stage of The Blue Box Theatre.
TAAC: As the last director who worked in the Blue Box said; “I love the Blue Box, you can imply the universe.” and you truly can. The world of the Marquis is very rich and colorful. There are textures and smells and everything real. We wanted to create that. The audience is so close to the action and it makes for an immersive experience. Not only will you see the emotion so near to you, you may even smell the sweat and get a drop of blood or two as well. We are staging Quills in the Blue Box to reach out grab the audience and not let go until the curtain call.
1616: The film version, although considered an art film by many, was controversial because of its violence, sex, sexual violence, and nudity. Can we expect the same from the stage adaptation? How will it be the same; how will it be different.
TAAC: Yes and no. The play and the movie are very different in content though similar in tone. The first half of the film is very close to the text, then the middle section takes on the story of Marat/Sade, followed by an almost identical ending as the play. So where there was a lot of realism in the movie, the stage version is a little more bizarre. It’s borderline theatre the bizarre and certainly tip toeing Theatre of Cruelty. Yes, you will see blood, nudity and violence. But it will seem less actual than the movie did. What it reminds me of is the film adaptation of Sweeney Todd directed by Tim Burton. The blood in that movie was a slightly lighter shade of red. So while there was gallons of it used in the film, it didn’t turn your stomach as much as it should had it been a little darker. It’s almost a subliminal tone set by the absurdity of the plays content. You’ll see horrible things but at the time you’ll feel that everything is strangely justified. Exactly what the Marquis would want.
1616: Without giving away too much, what is the basic story line of the play?
TAAC: A man without limits is given limits and everyone around him therefore suffers. The story is secondary to the message of the play. However, the message if solely focused on would then ruin the story. But it’s a battle of morality and censorship. Is the writing of the Marquis (which he is addicted to) inspiring acts of violence and rape in the asylum and France as a whole? If so, if someone were to try and walk on water then drown… is it the Bibles fault? Who do you blame and who do you punish?
1616: Is the Marquis De Sade a hero or villain?
TAAC: Neither. The Marquis, to me is the voice we all have inside of us. It’s the voice that says all of the things we wouldn’t ever want anyone to hear. But he says them. He’s that urge you get to do something sexual or violent, but wouldn’t do it or tell anyone about it. He does them. He does not deny himself any of the fleeting urges that come his way. That is why there are moments in the show, you are rooting for him. And at other times, you hate him. He is composed of sin and beyond redemption. Both hero and villain at the same time.
1616: This is not “A Christmas Carol” or “It’s A Wonderful Life.” Why produce such a challenging production during the holiday season?
TAAC: Simply: There will definitely be ‘Green’ & ‘Red’ Happy Holidays!
QUILLS opens Friday, November 30th at 8 P.M., with a preview Thursday, November 29th, and continues thru December 15th at 8 P.M., and Sunday shows @ 7 P.M. Please note, our theater is very small. To ensure yourself a spot, we suggest you purchase tickets for $15 plus a small service charge at brownpapertickets.com. $10 till November 20th. Box office will open 1/2 hour before scheduled showtime for will call pick-up and sales of remaining tickets. http://www.brownpapertickets.com/event/295340
No cameras or cell phones will be permitted into the theatre and you must check them at the box office.
No persons under the age of 18 and not accompanied by legal guardian will be permitted into the theatre.
Lights Up on IN SWITCH
Photo by David Garrison
By Sean Melby
As the October 11th preview of In Switch approaches, rehearsals have become more exciting, both for the actors as they get closer to show-readiness and for the play’s writer and director, Chris De Vore, as he watches his original work come to life.
The play follows the story of a tortured young man and his reckless older sister as they wade through a murder trial and the physical and mental scars they’ve gathered. Shel Ransom (Rob Hayes), their state-appointed psychologist, has been given the weighty task of analyzing the siblings, searching their minds for the makings of a murderer, all while attempting to coax the quiet Jonah into sharing his story. A story on which the siblings’ innocence precariously hangs.
This battle of the minds takes place on a modest, nearly unadorned stage, with slatted walls. But with a few special lighting effects, designed by our fantastic lights designer, Tim Galindo, the stage has the power to take you to a different place, an entirely new world.
As the actors tiptoe from the past to the present to the world of the subconscious, you will find yourself lost in Shel’s soothing voice, secure in the belief that you understand every plot twist. But, like any good thriller, the play packs a surprising punch.
In Switch features a cast familiar to the TAAC stage, including TAAC’s own artistic director, David Garrison (Angels in America and Midsummer Nightmare), Rob Hayes (Angels in America), Leigh Leonard (host of Leigh’s Cabaret), and Cassie Guthrie (Midsummer Nightmare 2 & 3 and The Tempest), as well as a new face, Ernesto Bustos (playing the witty and fame-hungry Parkman). The actors have carefully crafted the play under the expert direction of Academy-Award Nominee, Chris De Vore.
In Switch opens Friday, October 12th at 8 P.M., with a preview Thursday, October 11th, and continues 10/13, 10/18, 10/19, 10/20, 10/25, 10/26, and 10/27 at 8 P.M., and 10/14, 10/21, @ 7 P.M. Please note, our theater is very small. To ensure yourself a spot, we suggest you purchase tickets for $15 plus a small service charge at brownpapertickets.com. Box office will open 1/2 hour before scheduled showtime for will call pick-up and sales of remaining tickets.
Building the World of IN SWITCH
By Sean Melby and Janelle Weiner
In a little corner of Sacramento known as The Boulevard to local artists and foodies, Academy-award nominated screenwriter Christopher De Vore (The Elephant Man, Dune, Franco Zeffirelli’s Hamlet) is getting back to his roots–theater. “I always wanted to be in plays,” says DeVore. “I’ve done movies, and I love movies, but the beauty of theater is it’s the liveliest art. It’s the closest thing we do that mimics what we do every day.”
On Thursday, October 11th, TAAC will open its latest mainstage production, De Vore’s psychological murder mystery, In Switch. The show thrusts the audience into imagined worlds accessed from the very real office of renowned child therapist Shel Ransom.
Inspired by writer and director De Vore’s own “strange and beautiful, but very scary” recurring dreams as a child, In Switch follows Ransom as he sifts through Jonah Stillman’s troubled mind and attempts to break through Rose Stillman’s aggressive and guarded demeanor, in an attempt to evaluate the siblings for their part in a highly publicized murder. As Ransom digs, he comes face to face with fantastical beings, untouchable cities, and an invisible space chimp who may hold the answers he needs.
Chris DeVore, writer and director of IN SWITCH
But just how far into this world will Ransom venture? “This is the case of a psychologist’s career,” says De Vore. “It’s the case of his career in terms of his position, and it’s extremely important to him personally. Doctors will say in an emergency room, there must be some detachment they must find or they will go nuts. In Switch is very much about detachment. Detachment from others and the worst kind—detachment from yourself.”
With each new discovery, the story delves deeper into the past of a shy, reserved boy, and his protective and hot-headed sister. With each step forward in understanding Jonah’s dreams, Shel–and along with him, the viewer–becomes more eager to reach some conclusion, but seems more and more afraid of what he’ll find.
The play alternates from high-intensity moments, in which secrets are revealed, villains discovered, and truths unearthed, to relaxed, semi-normal conversations. It’s all laced with a dark humor that leaves the audience constantly uneasy about its own conclusions; each character’s goals are just outside of comprehension, and it’s not clear just who is protecting whom.
Between learning and executing pages of fast-paced lines and building something otherworldly with their voices, actions, and multi-layered lines, the cast of In Switch has their work cut out for them. “The whole reality of this world is on their shoulders,” says, De Vore. “I think I have a bullet-proof cast, as well as some very talented technical people. These actors are quite wonderful. I’m astounded already at how quickly they’re cementing their behavior.”
The cast, including TAAC-familiars like David Garrison (Angels in America, Midsummer Nightmare), Leigh Leonard (from TAAC’S I Loves a Cabaret) and Rob Hayes (Angels in America), have come together with DeVore to build a psychological thriller fraught with mystery and bubbling with Donnie Darko-esque elements. Don’t miss this opportunity to see a world premiere in an intimate venue.
A preview, to be held Thursday, October 11 at 8 P.M., will include an optional post-show conversation with the director and cast.
Show runs through October 27, with performances on Thursdays, Fridays, and Saturdays @ 8 P.M. and Sundays @ 7 P.M. Please note, our theater can only seat 35 audience members. To ensure yourself a spot, we suggest that you purchase your tickets for $15 plus a small service charge (to a good cause!) at brownpapertickets.com. Box office will open 1/2 hour before scheduled showtime for will call pick-up and sales of remaining tickets.
Important information about parking and directions can be found on the ABOUT tab, above.
