Why do tablework? The Seagull was written in 1895 in Russia, so for me playing Nina it’s important to figure out what’s going on in this play as it pertains to a provincial girl in pre-revolutionary Russia. The play spans over 2 years, so we also have to chart the logistical timeline of the play and the emotional arcs of the characters. This is my first time working on a play by Anton Chekhov outside of classwork. Thankfully, I’m working with a team of seasoned pros who lend a ton of experience and insight to the project. Working together gives us chance to get on the same page before we hit the stage.

Another amazing benefit of working on this play at Antaeus that I get to share the role with the amazing Abby Wilde! The Antaeus Theatre Company has a unique double casting policy. Each role is played by 2 equally talented and fabulous actors in alternating performances. Our company is comprised of working actors so we are often called away to audition or to a TV or film shoot (in fact you’ll usually see at least one recognizable face from the telly in an Antaeus production). Double casting allows us to take the big bucks jobs while also working on iconic roles in theatrical masterpieces. If you are called away, your double is always there to take on that night’s performance. Not a bad deal, huh? The best part is that Abby and I get to bounce ideas off of one another, be mirrors for each other and, of course, steal each other’s good bits;) They say imitation is the best form of flattery.

Next week we’ll get on our feet, so there will be even more to share! Until then, I will leave you with a passage written in a letter by Anton Chekov as he was starting to write The Seagull:

I am writing a play which I shall probably not finish before the end of November. I am writing it not without pleasure, though I swear fearfully at the conventions of the stage. It’s a comedy, there are three women’s parts, six men’s, four acts, landscapes (view over a lake); a great deal of conversation about literature, little action, tons of love.

Hopefully this gives you a better idea of what this play is about and why we still love to read it, act in it and see it over 115 years later. Tons of Love.

Antaeus Member, Jules Willcox, shares her experiences working on our production of The Seagull. This is the first installment. For tickets, visit www.antaeus.org

ARKADINA  Gigi Bermingham & Laura Wernette

SORIN:   Gregory Itzin & Micheal McShane

TREPLEV:  Joe Delafield & Antonio Jaramillo

NINA:  Jules Willcox & Abby Wilde

SHAMRAYEV:  John Achorn & Armin Shimerman

PAULINA:  Dawn Didawick & Reba Waters

MASHA:  Avery Clyde & Joanna Strapp

TRIGORIN:  Bo Foxworth & Adrian LaTourelle

DORN:  Kurtwood Smith & James Sutorius

MEDVEDENKO:  Bill Brochtrup & Patrick Wenk-Wolff

YAKOV:  Brian Abraham

COOK/HOUSEMAID:  Janice Kent & Bonnie Snyder

In other Seagull news, we will soon be featuring a new series on our blog entitled “I Am a Seagull,” in which actress Jules Willcox will share her experiences and views of the rehearsal process and performances.

Until next time.

I am Lizzie Zerebko, and I am currently taking the American Classics at Antaeus under Rob Nagle.

After being born and raised in the Pasadena area, I went on to study Theatre at USC. I had a brief stint in London while studying at BADA (British American Drama Academy), which reinforced my love for classical theatre- I’ve never looked back. After graduating in 2010, I worked at A Noise Within as an intern and took classes there for nearly a year.

Certainly my favorite post-graduation project has been “Shakespearience” at the Alex Theatre, a field trip that serves as an introduction to the wonders of Shakespeare. The audiences (1,000+ students each time) are unlike any other- they allow themselves to feel moved by the material, and have no problem verbally expressing it! Their unique energy is overwhelming at times, but ultimately very rewarding. When I was a wee freshman in high school I saw this show myself, and it is a wonderful opportunity to give back. I can’t wait to perform again this coming March. (www.theatricaleducationgroup.com).

I could, of course, tell you that I’ve ALWAYS wanted to be a performer since I was ten months old, yadda, yadda. BUT- what I remember most as the true change in the way I viewed theatre was a daytime student matinee at Pasadena Playhouse’s production of PRIVATE LIVES, directed by Art Manke. The overwhelming beauty, intriguing style, and sublime execution have colored my pursuits through the years, both in acting and directing.

It was from that performance, I believe, that I garnered my conviction that theatre should be beautiful… somewhere at its heart should be the search for and attainment of beauty, or the failure thereof.

My goal is to talk to Art Manke one day and just let him know what a great influence that particular show has had on my development. I hope that I am bound to run into him at some point, as Facebook tells me we have far too many mutual friends. Hopefully I will be able to give him that compliment and validation- after all, as theatre artists isn’t it our mission to affect the individual with human truth for days or years to come?

What brought you to Antaeus?

With this developing belief and the resulting inclination toward the classics, how could I not be drawn to Antaeus? In fact, I had been looking at the classes for years before I was able to audition, even while I was still at school. The welcome I have experienced this fall, paired with the dedication and talent of those I know involved, tells me that I have come to the right place.

My time with the American Classics has been wonderful. I know that I speak for many when I say that the class gives us an outlet where we can be truly excited and challenged by what we are working on. Rob has been astoundingly flexible and supportive, and has let each of us form our personal class journey to fit our needs. As long as the pieces fall within the guidelines of O’Neill, Williams, and Miller, we have been able to take on whatever material we are drawn to- whether a traditional two-person scene, a monologue, or a female version of Death of a Salesman featuring a Wilhelmina Loman. Our guest moderators have been very informative as well, bringing fresh eyes and new perspectives to make even more well rounded scenes.

The level of talent in the student group is truly apparent in the work. I am constantly impressed, as their honesty and willingness have created some of the best theatre I have seen in a long time. Everyone’s positive attitudes also create a nice support system that allows for more risks, regardless of the “success”.

I can walk away from this fall’s class knowing that I have reached for things that have scared me, highly triumphant with some…and no so much with others. I’ve been reminded of the immense detail and continuous thought that separates a good performance from a great one. I’ve remembered my personal weaknesses and my ticks and tried to work through them. AND, in the grander scheme of theatre scholarship, I am walking away with a wonderful comprehensive introduction to three distinct American playwrights, each with their own distinct voice that I had never been able to hear before. I am thrilled. I can’t wait for some High Comedy in the spring.

I will leave you with my favorite quote, shown to me by a dear friend and mentor:

“Far away there in the sunshine are my highest aspirations. I may not reach them, but I can look up and see their beauty, believe in them, and try to follow where they lead.”

-Louisa May Alcott

Thank you. Any and all of my information can be found on my website, at www.zerebko.com.

Tell us about yourself (where you’re from, maybe where you studied, how long you’ve been in LA, your favorite credits):

What do you think of the class so far?  Absolutely in love with Liz and the class!

What is your experience with classical theater?  Has class reinforced/changed what you previously thought, or have you learned new things, etc? Yes reinforced many things and opened new doors to language!
 
Tell us a fun fact about you or highlight one of your unusual special skills. I don’t know if I have any special skills, but I speak fluent Finnish and can stand on a horse while it’s galloping! ;o)
 
Anything new and exciting going on in your life? (doesn’t have to be acting related, can be an engagement, upcoming trip, new dog, etc.) My acting studio has a little scene study showcase coming up. We call the evening: Tennessee Williams-Cafe, and I’m very excited for the wonderful actors in it! Also, I just got invited to direct a production in Brazil and I’m exited for the trip!

U.S. premiere of
“Peace in Our Time”
by Noël Coward

Complacency or freedom: Which would you choose?
October 20 – December 11

Artwork: Mila Sterling

NORTH HOLLYWOOD, CA – September 15, 2011 – What would life be like if the Nazis had successfully invaded and occupied Britain? Antaeus, L.A.’s multiple award-winning classical theater company, presents the U.S. premiere of Noël Coward’s rarely produced anti-war drama, Peace In Our Time. Casey Stangl directs the fully double-cast production of a new adaptation, with music, by Barry Creyton. Four gala openings, two with each cast, take place on October 20, 21, 22 and 23, with performances continuing through December 11 at The Antaeus Company‘s interim North Hollywood home at Deaf West Theatre.

Set in a London pub during the 1940s, Peace In Our Time imagines English life under Nazi occupation. Complacency or freedom – which would you choose? Coward conceived the idea while in Paris shortly after the Liberation. He wrote, “I began to suspect that the physical effect of four years of intermittent bombing is far less damaging to the intrinsic character of a nation than the spiritual effect of four years of enemy occupation.”

“This play has a very different feel from the urbane amusements that come to mind when we think of Noël Coward,” suggests Stangl. “Like his other work, it’s provocative and has wonderfully funny moments, but it also reveals his deep sense of patriotism and unabashed love of country. The story of a great nation brought to its knees and finding its way back from that is very potent right now. All these years later we’re still talking about ‘peace in our time,’ but today it seems more elusive than ever.”

Creyton’s adaptation, which Stangl calls a “work of art,” adds emotional resonance to the original by adding nine of Coward’s lesser-known songs. Coward’s distinctive Music Hall style ditties with their incisive and wickedly ironic lyrics give the piece an authentic sensibility, at the same time offering audiences a deeper connection with the characters and their tribulations.

“When [former artistic director] Jeanie Hackett approached me about adapting Peace in Our Time to include music, a moment’s consideration was all I needed to agree,” says Creyton, who collaborated closely with both The Noël Coward Foundation and Antaeus. “Given that most London pubs of my youth contained a sturdy upright piano, there is a logic to weaving songs into the scenes to provide musical subtext for the action and relationships.”

Written in 1946, Peace in Our Time opened 63 years ago at the Theatre Royal, Brighton (July 15, 1947), moved to the Lyric Theatre, London on July 22, and finally to the Aldwych Theatre on September 29, where it ran for 167 performances. It has never before been performed in the United States – perhaps due to the fact that the cast includes 22 speaking roles. But it’s the large cast, together with the complexity of relationships among the characters, that makes Peace In Our Time an ideal choice for Antaeus with its 100-plus classically trained members and A2 Ensemble of young professionals.
“Part of the Antaeus mission is to train the next generation of classical actors,” notes co-artistic director John Sloan. “All Antaeus productions are fully double cast. This production in particular features a lot of our younger, A2 actors sharing roles with company members who have mentored them, so it will offer an unusually exciting opportunity to see how different the same play can be when performed by two equally excellent but extremely different sets of actors.”

The double-cast ensemble includes 46 actors sharing 22 speaking roles: Josh Clark and Steve Hofvendahl as Fred Shattock; Eve Gordon and Lily Knight as Nora Shattock; Danielle K. Jones and Abby Wilde as Doris Shattock; Jason Dechert and Brian Tichnell as Stevie Shattock; Bill Brochtrup and JD Cullum as Chorley Bannister; Karianne Flaathen and Zoe Perry as Lilly Blake; Drew Doyle and Buck Zachary as Alfie Blake; Emily Chase and Rebekah Tripp as Janet Braid; Anna Mathias and Amelia White as Mrs. Grainger; John Wallace Combs and Philip Proctor as Mr. Grainger; Graham Hamilton, John Francis O’Brien, and Adam Meyer sharing the role of Billy Grainger; Raleigh Holmes and Rebecca Mozo as Lyia Vivian; Daniel Bess and Christopher Guilmet as George Bourne; Jason Henning and Rob Nagle as Albrecht Richter; Mark Doerr and Peter Larney as Dr. Venning; Kendra Chell and Ann Noble as Alma Boughton; Joseph Fuhr and Patrick Wenk-Wolff as Kurt Foster; Etta Devine and Rosalyn Mitchell as Phyllis Mere; Belen Greene and Joanna Strapp as Gladys Mott; Jesse Sharp and Paul Culos as Bobby Paxton; Melinda Peterson and Susan Boyd Joyce as Mrs. Massiter; John Allee and Richard Levinson as Archie; and Chris Clowers as a soldier.

Musical direction for Peace In Our Time is by Richard Levinson; set design is by Tom Buderwitz; lighting design is by Jeremy Pivnick; costume design is by Jessica Olson; sound design is by John Zalewski; properties design is by Heather Ho; and the production stage manager is Cate Cundiff.

In addition to a multitude of stage, film and television credits as an actor (including the role of Hector Hulot in last season’s award-winning Antaeus production of Cousin Bette), Peace In Our Time adaptor Barry Creyton is an author, TV writer, director and playwright, a former BBC World Service broadcaster and recipient of the Kessell Memorial Award for contributions to Australian Theater as Actor, Playwright and Director. His devotion to the work of Noël Coward has lasted as long as his own extensive career in the theater; he has appeared in several of Coward’s plays and performed many of his songs in cabaret. Barry’s London doctor and good friend was Patrick Woodcock, Noël’s doctor, and Gladys Calthrop, Noël’s celebrated designer, was a friend and theater-going companion of his, so it seemed inevitable that he met the Master socially in 1970, just prior to his knighthood. “It was like meeting God,” he says solemnly, “except, I think, that Noël Coward had a better sense of construction.”

Casey Stangl has directed for theaters across the country including South Coast Repertory, The Guthrie Theater, Denver Center Theatre Company, Actors’ Theater of Louisville’s Humana Festival, Woolly Mammoth Theatre Company, Portland Stage, HERE in New York, The Jungle Theater in Minneapolis and Alabama Shakespeare Festival. Casey was the founding artistic director of Eye of the Storm Theatre in Minneapolis, a company devoted to new work and for which she was named Minnesota Artist of the Year. She is now based in Los Angeles where her credits include numerous productions at the Falcon Theater, Chalk Repertory’s Flash Festival and the world premiere of Susan Johnston’s How Cissy Grew at the El Portal Theatre, named Best New Play at the 2009 LA Weekly Theater Awards.

The Antaeus Company strives to keep classical theater vibrantly alive by presenting professional productions with a top-flight ensemble company of actors. Taking their company name from the Titan who gained strength by touching the Earth, Antaeus members – many of whom are familiar to movie and television audiences – regain creative strength by returning to the wellspring of their craft: live theater performances of great classical plays. Members of the company and its board span a wide range of age, ethnicity and experience; they have performed on Broadway, at major regional theaters across the country, in film and television, and on local stages, and are the recipients of multiple accolades including Tony, Los Angeles and New York Drama Critics Circle, Ovation, LA Weekly, and Back Stage Garland nominations and awards.
Performances take place October 20 through December 11, on Thursdays, Fridays, and Saturdays @ 8 pm and on Sundays @ 2:30 pm except Sunday, October 23 which will be at 4 pm. There will be no performance, on Thursday, Nov. 24 (Thanksgiving). Tickets are $30 on Thursdays and Fridays and $34 on Saturdays and Sundays, except opening weekend performances, which are $40 (Oct. 20 & 21) and $75 (Oct. 22 & 23) and include pre- and post-show receptions. Preview performances take place Oct. 13-19 on the same schedule; tickets to previews are $15.

The Antaeus Company is located at 5112 Lankershim Blvd (inside Deaf West Theatre) in North Hollywood, CA 91601. Free parking is available in the uncovered Citibank lot on Lankershim Blvd. just south of Otsego St. The theater is air-conditioned and wheelchair accessible. For reservations and information, call (818) 506-1983 or go to www.antaeus.org.

Details for Calendar Listings
Peace In Our Time

WHAT:
Peace In Our Time – The U.S. premiere of Noël Coward’s drama poses a most intriguing and terrifying question: What if the Nazis had successfully invaded and occupied Britain? Set in a London Pub during the 1940s, this new adaptation by Antaeus company member Barry Creyton incorporates 9 of Coward’s lesser-known songs.

WHO:
Written by Noël Coward
Adapted by Barry Creyton
Directed by Casey Stangl
Musical Direction by Richard Levinson

WHEN:
Previews: Oct. 13 -19
Performances: Oct. 20 – Dec. 11:
Tuesday @ 8 pm: Oct. 18 only (preview)
Wednesday @ 8 pm: Oct. 19 only (preview)
Thursdays @ 8 pm: Oct. 13 (preview), 20 (Press Opening), 27; Nov. 3, 10, 17; Dec. 1, 8 (dark Nov. 24)
Fridays @ 8 pm: Oct. 14 (preview), 21 (Press Opening), 28; Nov. 4, 11, 18, 25; Dec. 2, 9
Saturdays @ 8 pm: Oct. 15 (preview), 22 (Gala Opening), 29; Nov. 5, 12, 19, 26; Dec. 3, 10
Sundays @ 2:30 pm: Oct. 16 (preview). 30; Nov. 6, 13, 20, 27; Dec. 4, 11 (no. 2:30 perf. on Oct. 23)
Sunday @ 4 pm: Oct. 23 only (Gala Opening)

WHERE:
THE ANTAEUS COMPANY@ Deaf West Theatre
5112 Lankershim Blvd.
North Hollywood CA 91601
(one block south of Magnolia; free parking available in Citibank lot on Lankershim Blvd. South of Otsego St.)

HOW:
(818) 506-1983 or www.Antaeus.org

TICKETS:
Thursdays and Fridays: $30
Saturdays and Sundays: $34
Press Openings (All press openings include a post-show reception with the actors):
Friends and Family Openings (October 20 & 21): $40
Gala Openings (October 22 & 23): $75
Previews: $15

###

The Cast of the Original Production of "The Wood Demon" at Rest

“Actors climb up Chekhov like a mountain, roped together, sharing the glory if they ever make it to the summit.” While that quote is directly attributed to Ian McKellen, any Antaeus company member would be likely to agree. Much like Antaeus, there are no stars in Chekhov plays. Everybody sinks or swims together. Therefore, it’s no surprise that, twenty years ago, Antaeus’ first full-length production was a Chekhov play, the rarely-performed The Wood Demon. One of Chekhov’s earlier plays, many people consider it to be the precursor to Uncle Vanya. In honor of our twentieth anniversary, we’re bringing the show back this weekend for our Flight of Fancy. Frank Dwyer is returning to CF11, after his production of Othello, to direct.

As I wrap up my time at Antaeus, I’m constantly impressed by the amount of history this organization has and how it’s managed to stay an important part of the Los Angeles theater scene. The amount of passion these company members have for the work they do here helps me understand the crazy little dude on the logo: keeping one foot in the world of theater truly does help these actors stay relevant.

There are three chances this weekend to see The Wood Demon: Saturday at 8pm and Sunday at 2:30pm and 7:30pm. Saturday’s performance is preceded by the Flight of Fancy prix fixe dinner at The Federal and a symposium on translating Chekhov for a modern audience with Frank Dwyer and Founding Members Dakin Matthews and Lillian Groag. Come celebrate twenty years of this fantastic company! We look forward to seeing you this weekend!

Summer Intern and Columbia University MFA Candidate Jen Hoguet is keeping you up-to-date on all things ClassicsFest this summer at Antaeus. She can be reached via twitter @JHoToGo …..

Impro's Williams Unscripted at the Odyssey Theatre (photo by William Adashek)

This ClassicsFest, Antaeus has been trying something new for its Saturday nights. Called Flights of Fancy, these events are more than just a performance. For the past two Saturdays, the evening performances have been paired with a related afternoon symposium and attendees enjoyed dinner at our neighborhood dining partner, The Federal, in between the two. This Saturday is a particularly special night out because we’re throwing our first birthday party at Antaeus. 2011 marks Tennessee Williams’ hundredth birthday and we’re throwing him a birthday party! Kick the evening off with a prix fixe dinner at The Federal, where you’ll get three courses for twenty dollars*. The Birthday Party is kicking off at 8pm with excerpts from Williams’ greatest hits, an appearance by The Scarlet Furies, a Southern Gothic band, and a performance of Williams Unscripted by The Impro, featuring Antaean, Michael McShane. After the performances end, the fun continues on with a party in our library. Birthday cake and booze, what more do you need?

Next week, our Flight of Fancy will be a performance of the rarely-seen Chekhov play, The Wood Demon. This is a particularly exciting event because The Wood Demon was Antaeus’ inaugural production twenty years ago and we’re thrilled to celebrate our anniversary with a repeat performance! The day will start with a symposium on Anton Chekhov, followed by dinner and the performance. We hope we’ll see you this Saturday and next!

* If you’d like to join us for dinner at The Federal, please make your reservation via the Antaeus box office (818-506-1983) by 6pm Friday.

Summer Intern and Columbia University MFA Candidate Jen Hoguet is keeping you up-to-date on all things ClassicsFest this summer at Antaeus. She can be reached via email at jen@antaeus.org or followed on twitter @JHoToGo …..

Mirron Willis & Rob Nagle in Les Blancs, CF10

There’s a tradition at Antaeus that gave me pause when I arrived here a month ago and that’s the tradition of Project Initiator. While we list each project’s initiator in all of our marketing materials, we rarely explain what exactly it means. Next week’s Work in Process is “Macbeth” (is it ok to type that in a theater???) and Rob Nagle, both Macbeth himself and the Project Initiator, helped me understand this concept and why it’s such a fundamental part of our work here. “One of the most empowering parts of being a member of the Antaeus Company is the ability to initiate a project. Since the star of our company is the acting ensemble itself, we are encouraged to find projects for the ensemble. It doesn’t matter whether they are obscure works or famous ones. In order for us to start the process of exploring a work, the project has to have an initiator — I guess you could think of me as Macbeth’s sponsor.”

For this play in particular, Rob was able to point to the exact moment when he knew “Macbeth” was right for Antaeus. “I was standing around with three fellow company members in one of their kitchens during a birthday party in January. We were brainstorming about some of the projects that were being considered for the coming season, and I was confused by some of the choices that were in the running for possible productions,” Rob told me. When one of his friends asked what production he’d like to do, his immediate response was “Macbeth.” As the rest of his friends all signaled their excitement, he knew it was a good idea. This wasn’t a spur-of-the-moment idea though. “I’d been thinking of and hoping to revisit the play somehow. My wife has been gently nudging me for the past several years. I had the good fortune to explore the Scottish play when I was an undergraduate at Northwestern University, in a production under the direction of Bud Beyer. That must’ve been 1991 or so. It’s such an amazing gift to revisit it twenty years later, and to find more & more layers to a play I thought I knew rather well.”

Rob joked of initiating “Macbeth” that “I suppose it means you can lay the blame squarely on me if you don’t like what you see,” but even he has to admit everything Antaeus does is a collaboration, even from the point of view of the project initiator. He spoke highly of Jessica Kubzansky, the director of “Macbeth,” and how grateful he was to have the opportunity to work with her. “I also owe a huge debt to two actresses at Antaeus who’ve given of their time and explored this play with me in the past several months: Avery Clyde & Dana Green. I’m a very lucky man, and a very lucky actor.”

I found myself remembering how much I too love “Macbeth” as I listened to Rob’s comments on the play and the process thus far. One of the greatest things about seeing an Antaeus production during ClassicsFest is this shared discovery or re-discovery of a great work and that passion starts with the initiation of the piece and doesn’t stop until the journey is complete. As Rob himself said, “I am falling in love with the play all over again. I really couldn’t ask for anything more.”

Summer Intern and Columbia University MFA Candidate Jen Hoguet is keeping you up-to-date on all things ClassicsFest this summer at Antaeus. She can be reached via email at jen@antaeus.org or followed on twitter @JHoToGo …..

Kendra Chell in 2008's ClassicsFest production of The Rover

One of Kendra’s latest ideas is our Tuesday Night Tweet Night. All Tuesday nights during ClassicsFest are Company Nights, open only to Antaeus Company members. These Company Nights are a great way for everybody to come together and support each other’s work. Plus, it’s always nice to have an audience to laugh and cheer during the final dress rehearsal (I accidentally typed “stress rehearsal,” which I think is Freudian.). We’re taking advantage of these evenings, an amalgamation of an actual performance and a rehearsal, to try out live tweeting. Every Tuesday night, we have a crew of Antaeus tweeters, give or take a few special guests, live tweet the performance. This means they tweet their comments on the show as it’s actually happening. Maybe they quote a line, maybe they note a particularly fantastic performance of a scene, maybe they just want to remind all people in the tweetverse that Harry Groener, who is playing Feste in “Twelfth Night,” recurred on “Buffy the Vampire Slayer.” They can tweet whatever they want, so long as they tag it with the hashtag “#cf11” which allows all the tweets to be linked up (Check out Tweeting 101 and Twitter Glossary if this is all Greek to you.). In order to keep disruption to a minimum, all the tweeters sit in the back row, so the light won’t bother other audience members or actors on stage, and they keep the phones on silent.

Kendra was inspired by other theaters around the country to bring Tweet Nights to Antaeus and I think it’s a great idea. Already, it’s inspired discussions on twitter about Antaeus and we think these discussions are encouraging new people to check out our theater. Unfortunately, not every actor agrees and there’s been some unexpectedly passionate pushback from the company. “I think people liken it to answering their phone or a phone going off in the theater, which I’m not a fan of either,”  Kendra said, “but there have been some very very strong reactions that do surprise me, bordering on absolute fury, and it’s been interesting.” However, management has taken the stance that we need to forge ahead with this new initiative and we’ve done everything possible to make the actors understand why it is we’re trying this and why we think it’s important. As Kendra put it, “on the whole, people have been supportive once we’ve had our conversations about it though and once I explain that it brings awareness to the company and about ClassicsFest and doesn’t degrade their art.”

Kendra is appearing in “Long Day’s Journey Into Night,” which will be our third go at the Tuesday Night Tweet Night and I asked if she was nervous to be on the other side of the twitter feed, so to speak. “As the person that’s implemented it, I feel pretty okay with, though if they got to sit in the front row and tweet whenever wherever, as opposed to a controlled environment on a designated evening, I’d have a problem with it. It’s interesting with ‘Long Day’s…’ because it’s a long, heartbreaking play, whereas the other two shows we’ve already done are on the lighter side. I’m curious to see what they choose to comment on.”

What do you think about Tuesday Night Tweet Night? We’d love to hear your thoughts! And if you’re interested in becoming a Tuesday Night Tweeter, please DM our twitter account @AntaeusCompany.

Summer Intern and Columbia University MFA Candidate Jen Hoguet is keeping you up-to-date on all things ClassicsFest this summer at Antaeus. She can be reached via email at jen@antaeus.org or followed on twitter @JHoToGo …..