Photo courtesy of Renaissance Theaterworks
The classic show biz phrase, “The show must go on!” takes on a very different meaning in this Age of Pandemic. And in the case of Renaissance Theaterworks, the show in question is its recently suspended production of Actually, a two character drama by Anna Ziegler featuring Emily Fury Daly (Amber) and Justin Jones (Tom) directed by Mary McDonald Kerr.
The play is especially relevant today given the question, “what constitutes consent?” There is no afterglow in the aftermath of two drunken college students hooking up for a night. Actually turns into a legal drama with the shroud of “he said, she said” hovering throughout like an ominous dark cloud, waiting to burst.
As the last show of RTW’s current season, Artistic Director Suzan Fete decided to find a way to stage the production while maintaining social distancing protocols. Hence, a streamlined production that runs from April 3-30 which viewers can watch on demand. And what’s involved in doing this is much more complex—and faster—than a fully staged production.
“We put this together in, quite literally, 24 hours,” explains Bailey Wegner, RTW Production Manager and Stage Manager for Actually. “We made the call to cancel all performances and our remaining rehearsals. That evening we secured the videography and use of the stage, furniture placement was the next morning, and the taping was at 2 p.m.”
While both actors and the director felt the need to have some audience members, RTW was aware of following the rules for gatherings: no more than 10 people. Yet another challenge met. “Theater isn't the same without people in the seats to share the play with,” says Wegner, adding, “Emily’s mom and dad [veteran theater pros Gale Childs Daly and Jonathan Gillard Daly] were able to attend. Justin's dad came up from Chicago, and his mom Skyped in on the company laptop. Michael Wright [Milwaukee Chamber Theater Producing Artistic Director] was also there as an audience member. With the Stage Manager, director, and videographers, the room was full at exactly 10 people.”
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The furniture used in the streaming production is “practice” furniture. The newly rented lighting instruments were focused on a previous rental, which meant quickly reconfiguring them. and in place of intimate body microphones, area mics were used. But the messages in Actually still resonate given the play’s altered state.
As Wegner points out, “With bare bones technical elements, the story remains poignant and powerful.”
Actually is a fully staged rehearsal performance and is available for general viewing on demand for $15, April 3-30 at https://vimeo.com/ondemand/actually.
