Fellowship Musical | Western Country Sneak Peek Part 1

by Rachel Lerner-Ley

This year, Williamstown welcomes back Noah Haidle, the mind behind last season’s What is the Cause of Thunder?, as the book writer for the Fellowship Musical WESTERN COUNTRY.

I recently caught up with Noah to hear some of his thoughts on collaborating with composers Kellys Collins and Ryan Tyndell, country western music, and being back at Williamstown:

On Collaborating…

It started out as a screenplay called WESTERN COUNTRY and there was one song in it. I had never written lyrics before, but I’d written some poetry. So one day my girlfriend Jess was in Nashville where the play’s composers Kellys, Jess’s sister, and Ryan live and sent them the lyrics to this song. It wasn’t really a song; it was more of a free-flowing poem. They shaped it into song in the same day and they sent it to me. I remember hearing it and then saying “I’m coming.”  It took about 15 minutes for me to make the reservation and about two or three days later I got on a plane.

I went to Nashville. And we just started. Figuring out how to structure the songs and telling the story through song was something I’d never done before.

It’s a project that’s been made in living rooms, in kitchens. I believe we’ve written in Nashville, Brooklyn, and Massachusetts. So every time we record a song, I have people say where we are. So like: “New York City Radio,” “Massachusetts State Radio,” “Nashville City Radio.” And it’s been one of the happiest creative times in my life, writing with Kellys and Ryan.

On bringing Nashville to the stage…

I don’t think there has been anything like this before. I don’t think people have heard this type of authenticity in music on stage. And so for that reason I think it will be a really exciting piece for people to come hear. In a way, it is kind of the pulse of Middle America, where I’m from. It’s what my dad listened to. And so bringing that to a theatre is an exciting juxtaposition. I don’t know why nobody’s figured that out yet. But then again, they don’t have Kellys and Ryan.

On being back at Williamstown…

There’s a difference this year. There’s always enthusiasm for wanting to be here, but there’s a difference between people who are here for a gig, a professional job, they know the drill. And then there are these non-equity actors we’re working with who are newer and fresher and have a willingness.

Something I wanted to do with this project is revitalize my way of thinking about theatre. And so, to work with people who have this enthusiasm, to be like “hey guys” when you walk in the room and have them be like “oh my gosh I can’t believe this is happening”—that’s been amazing for me.

Anything else you want our audiences to know?

You know, the reason live theatre exists is to get you outside your home. It asks a lot to come all the way and get a babysitter and park the car and all that stuff.

When I teach, I tell students “you have to write without hope of praise or fear of derision.” And if that’s true then it’s something that will be original.

This is exactly what I want to see in the theatre and my bet is that people will have a really good time.

So it’s worth the babysitter. It’s worth parking the car and driving and going to Mezze and wherever they’re going to go. And it’s been some of the most exciting theatrical moments I’ve ever seen.

Come and see it!

Western Country plays two nights only! Monday July 19^th and Tuesday July 20^th at 7 pm & 11 pm. Directing Studio at the ’62 Center for Theatre and Dance. Tickets are free, but reservations are required. Call early and call soon: 413. 597.3400

Photo by Sam Hough, Alison Yates and Noah Haidle.

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Thank you! To all our blog readers—

It has a been a great summer here at WTF—from opening nights for the Main and Nikos Stages to Workshop shows to the Cabaret—and I hope you’ve enjoyed reading all about it on the Within The Festival blog. We will post occasionally during the off-season, but don’t worry, we’ll get back in the game regularly as soon as the Festival begins again next summer.

If you haven’t had time yet to check out all the posts for the shows this summer or read about your favorite intern or apprentice, you still can! All the posts from this summer will be up year round for your perusal.

And don’t forget to check back for season, alumni and special event announcements throughout the next year.

Thanks again for reading!

-Sarah Slight, Literary Associate

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WASPs

WASP, White Anglo-Saxon Protestants, refers to members of the upper class of the Northeastern states, who supposedly form a powerful elite. They created and dominated the social structure of the United States beginning practically as soon as this country was formed. Today, they are still imagined to dominate America’s prep schools and Ivy League institutions, many of which were formed in order to teach certain skills, habits, and attitudes associated with the upper class.

This upper echelon set the standard for society, education and politics—as well as class distinction and polarization. WASPs are credited with upholding the traditional British values and tastes, honoring the old and established, playing squash, golf, tennis, badminton, croquet, and polo. Social registers and society pages listed those who mingled in the same private clubs, attended the same churches, and lived in the same neighborhoods—Philadelphia’s Main Line and Chestnut Hill neighborhoods, New York City’s Upper East Side, and Boston’s Beacon Hill are notable examples.

When CHILDREN was first produced (1974), WASPs were part of a swiftly declining culture. Post World War II the networks of privilege and power in the old Protestant establishment began to lose significance. The postwar era created ample economic and educational opportunities for a growing middle class that would soon dominate American culture. In CHILDREN, this decay of a culture is represented by the crumbling house, the run-down tennis court and, the most significant element, the dysfunction within the characters’ familial relationships.

by Sarah Slight [Literary Associate]

[photo] Sam Hough for © WTF ’09 [pictured] Mary Bacon in CHILDREN, Dir. John Tillinger

© [Scenic Design | James Noon, Costume Design | Jane Greenwood, Lighting Design | RuiRita] 2009

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So, what is a “co-production” anyways?

You may have noticed that the 2009 Williamstown season opening production of A.R. Gurney’s CHILDREN is a co-production with the Westport Country Playhouse. Now, you might be asking yourself, “What is a ‘co-production’”?

A co-production, or “co-pro”, is when two (or more) theatre companies team up to present the same production of the same play. Simply, the show that you’ll see in Williamstown is the same show that ran to rave reviews in Westport, CT in early June. The same group of four actors (Mary Bacon, Katie Finneran, Judith Light, and James Waterson), the same director (John Tillinger), designers (James Noone – Sets, Jane Greenwood – Costumes, Rui Rita – Lights, and Scott Killian– Sound), and even the physical production (set, clothes, props, etc) all return to reprise their roles just in another locale.

Co-pros enable theatre companies with similar artistic sensibilities to partner up and offer their audiences a chance to see a great play that they may not have been able to otherwise. Theatres often bemoan how their productions are ephemeral. By doubling the length of the run and potential viewers, a co-pro can add a sense of permanence to an otherwise transient endeavor.

Audiences most certainly benefit from being able to see a co-pro, but the artists involved do so as well. In addition to being able to share their craft with wider viewership, having a second crack at a play so close together allows the actors to dig deeper into their characters and really explore the material further. Like plays on Broadway with extended runs, co-productions change over time and those subtle differences are what make each performance unique.

Williamstown has done several co-productions in the past. BEYOND THERAPY by Christopher Durang last season and Nicholas Martin’s 2000 production of HEDDA GABLER were both co-pros with Sag Harbor, NY’s Bay Street Theatre (and both starred festival favorite Kate Burton).

We are very proud to present CHILDREN with the Westport Country Playhouse. As you always hope with a co-production, the more cooks we have, the more delicious the meal. We very much hope you enjoy it.

by Justin Waldman [Artistic Associate]

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Welcome to "Within The Festival"

Blogging seems to be the newest trend for theatre companies—along with Facebook and Twitter—and I understand the development. It is the fastest and most convenient way to present you, our audience, with a total behind the scenes look at what is going on here at the festival that would have been impossible before.

I’ve enlisted a lot of help generating content that, I hope, enriches your experience of the Festival. Assistant directors, dramaturgs, and other staff members will provide entries that focus on all seven shows as well as other special projects. Because a new show opens every week, I’ve established a standard weekly schedule that we will follow:

Mondays—Extended Preview.

• Includes all of the events happening in the upcoming week.

Tuesdays—Interview Day.

• It could be an actor, designer, director, playwright or stage manager working on the show that opens that week or someone interesting from the festival.

Wednesdays—Dramaturgical Research.

• Information that you won’t find in the program for the show opening that week.

Thursdays—Special Feature.

• On the show opening that week that covers something interesting related to the show and/or rehearsal process.

Fridays—Opening Night.

• Photos, quotes and stories from the theatre, backstage and opening night parties.

By clicking the links in the column on the right, you can also find information on other events and programs including Free Theatre, Cabaret, Fridays@3 readings, and Workshop shows.

Thanks for visiting the blog. Check back often!

-Sarah Slight, Literary Associate (pictured)

[photo] Sam Hough for WTF ’09

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