March 2001

Tammy Dygert, Hippo Dramaturg, carried a large stack of plays into my office this week.  Her year is spent reading plays to find the most exciting work possible to present in our season.  This time of year, Artistic Director Lauren Caldwell and I gear up for one of our most exciting challenges, selecting a new season.  Part of this process is reading hundreds of plays.  Another is travelling to the Humana Festival of New Plays in Louisville, Kentucky.  Going to the Humana Festival is always great fun.  The Festival features seven plays in one weekend by the nation’s most talented contemporary playwrights.  It showcases a series of ten-minute plays, and as of last year, it includes something they call the phone plays.  Yes, these are plays that are experienced over the telephone, a real interesting innovation considering our technologically driven world.  It is exhilarating seeing all this new work in such a condensed time frame.  It is especially exciting to meet the playwrights at this critical time when their words are first heard on the stage, to hear their fascinating stories, and their inspiration for these stories.  Every year, we return invigorated by the work we see and we negotiate rights on some terrific properties before Broadway producers snatch them up.

One thing that is so resonant when we go to this festival is that theater is so important.  It brings us together, breaking down the isolation of our daily lives, and providing a sense of community unlike any other art form. It is at times like this that I am so thankful that my life work has been to bring people together in this way.  We thank you for being such an important part of our theater community.  You are more important to us than you can ever imagine.  We look forward to being with you for another season.
 

 I am writing this article on the morning of January 21st. It is the day after the Presidential inauguration and being a CNN junkie, I was glued to the television for the swearing in of our next President of the United States. Our commentators reported over and over again that this great country of ours was experiencing a peaceful transfer of power as George Bush Jr. stepped up to the grand platform for his oath of office. However, in the midst of this “peaceful” transfer, there were Democrats in high office who refused to be interviewed by the press reluctant to comment on our new leader, there were protestors lining the streets of Washington and other cities throughout the country, security reached an all time high, arrests were made, flags were burned, there were shouts of a stolen election, minority groups outraged, and an unsettling feeling that the truth will never be truly realized. As I watched this historical moment, I felt proud, moved, saddened, fearful, relieved we can move on, unsure of the truth, and curious as to how this new administration will overcome the obstacles of the historic months leading to this final moment.
 I know that many of you are worn out by all of this, eager to look to the future and put behind us the embarrassment of the political war this great country experienced in choosing our next leader. However, as we support this next President we will still remember, as citizens, the bloody fight for the “crown” that was played out before us.
 Macbeth will be in rehearsal by the time you read this and it is ironic that this is the first story upon our stage since experiencing the final outcome of this political fight for power in our own country. Centuries ago, Shakespeare placed upon the stage a man named Macbeth who was a virtuous, courageous, and revered warrior who found himself fighting for a title that he desperately believed rightfully belonged to him. Shakespeare created a mythic, folklore world for us to witness this battle of greed surrounding this man. Unlike out modern day leader, this mythic character battled his way through supernatural prophesies, a wife poisoned with lust and ambition, darkness, a revolting and horrifying unnatural world of nature, and horrible imaginings which infected his mind, heart, and judgement. Even though Shakespeare’s story reaches such mythical heights, surely we can see the parallels of the bloody strategies of politics which lead to the turmoils of a society who puts their faith and hope in the “peaceful” transfer of power.
 It would be a great disservice to Shakespeare’s masterpiece to assume that the themes and conflicts explored are only those of political power. Macbeth poses questions of the potential of evil inside a virtuous man’s heart, the power of the supernatural, the role of nature as it mirrors the chaos of the soul, the madness of murderous deeds, and the fall of one who was mostly fearful of his own horrible imaginings. Even though these themes are shrouded in such mythical heights, it also speaks to us on a real human level as Shakespeare knew that the fight for power would always be with us.
 The Hippodrome is proud and excited to offer the experience of this grand-scale classic that continues to challenge our present day values. Mary Hausch, our Producing Director, embraces this endeavor with a knowledge of how important these classics are to all of our lives. Macbeth offers to us, not a historical replica of an old story(as that is not the goal of any artist), but a haunting look inside a man’s soul and a realization that man has fought against his own darkness from the beginning of time.
 
 

I normally use this space to talk about practical aspects of the theater's business side.  In the past, I’ve talked about planned giving, endowment, diners clubs, etc. etc.   These things are important parts of the miracle of doing professional theater in a community the size of Gainesville.   In the last ten days I've done radio and TV interviews, visited city and county commission meetings, and had appointments with current and potential sponsors.   During one of these visits, a gentleman said to me, “you’ve done a great job with the theater Mark”.  I quickly reminded him of the collaboration that it takes to do what we do at the Hippodrome.  I am so “out there” in the public eye that I think I sometimes get too much credit for the Hipp’s success.

Everything I do is motivated by a deep respect for the artistic vision of two remarkable and talented women, Producing Director Mary Hausch, and Artistic Director Lauren Caldwell.  They are both more interested in devoting their time and energy into the nurturing and development of the art then in keeping a high profile in the community.  I get a great deal of satisfaction in knowing that every time that I’m out and about in the community that they are free to focus on the most important part of our mission… doing great theater.

The system works because at the top is Mary Hausch.  She has been here since before the first patron walked through the door.  She is equally at home wearing either an administrative or an artistic hat. Her knowledge of how to survive in the challenging world of non-profit theatre is unsurpassed.  Her talent, courage and tenacity are truly inspirational.  Her work as a director is incredible.

Then there is Lauren.  My friend since college.  She is an amazing artistic spirit.  Her curiosity, thirst, and restlessness make her one of the most interesting and exciting voices in American Theater.  I have had the pleasure of being in many of her shows in recent years and have felt a spiritual renewal as an actor working with her.

To paraphrase the old cliché; behind all great women is a man.  I’m proud to be the “out there guy” behind these great women.
 

Macbeth or “the Scottish Play” if you’re superstitious, was inspired by two tales from actual history: that of the real King Macbeth who reigned Scotland for 17 years and the shocking murder of King Duff by his own subject, Donwald and his (Donwald’s) wife. Shakespeare, who knew a thing or two about dramatizing history was also aware that facts alone weren’t enough to keep the attention of his diverse audience. So when writing Macbeth, Shakespeare compressed Macbeth’s 17-year reign down to one year, wrote in some witches (King James and his countrymen were very superstitious) and added the ghost of a freshly murdered man to his cast of eclectic characters. When the final “Flourish. Exeunt” had dried on the page, Shakespeare had on his hands a historic, supernatural, psychological thriller that has since been the envy of writers everywhere.

The Hippodrome is proud to produce Shakespeare’s famous (and shortest) tragedy. Journey – if you dare - with the Macbeths as the once noble mind of a warrior becomes diseased by the prospects of an intriguing prophecy. What leads them down that path of no return – fate or free will? How far would you go for power?

"Something Wicked This Way Comes" in the form of Macbeth to the Hippodrome State Theatre March 2-25 (previews February 28 and March 1). Don’t miss this timeless production of Shakespeare’s haunting tale of politics, prophecy and murder.
 

Did you know that the current production of Macbeth is not the first to grace the Hippodrome stage?  It's true.  A generation ago, the fledgling  band of players that would eventually evolve into one of the most highly respected and loved of Gainesville's home-grown institutions mounted its first production of  Mr. Shakespeare's enduring tragedy.

The play was produced in the original location of the Hippodrome, a small building on Hawthorne Road, which had been a convenience store in a previous life.  Talk about "intimate theatre!"  The bulging sold out houses of  75 audience members per performance surrounded the "stage" in a tiny circle as if in group therapy.  If you were wise, you brought your own cushion in those days, to protect against the unyielding texture of the bare wooden benches which were the theatre's less than luxurious seating accommodations.

You would do well, back then, when watching a play such as Macbeth, to keep your head well down during any swordplay that ensued in that particular venue,  and there was no guarantee against being inadvertently splattered with a little stage blood, washable though it may have been.  Lights fashioned from coffee cans glared unglamorously down on the tiny stage, and yet it was a gloriously magic time and place.

Hippodrome Co-founder Marilyn Wall-Asse directed that first production, and I was fortunate enough to be chosen to play the sanguinary Scot.  The production itself was a little wild, even for those times, as evidenced by the fact that nine nearly nude witches constantly slithered through the onstage proceedings, adding an eerily provocative element to the fabric of the show.  Flying in the face of tradition, the director had King Duncan murdered in a highly stylized ritual fully in view of the audience, contrary to the manner decreed by the Bard.  Early in the run, the actor playing Duncan showed up wearing  under his costume, a protective breastplate fashioned by his wife,  to guard against what was apparently my youthfully overenthusiastic vigor during the murder scene.

I will be playing Duncan this time around, and it seems fitting that the ghost of that character would return after all these years to pleasantly haunt me.  As of this writing, we have not yet begun rehearsals, so I have only a sketchy idea of what director Lauren Caldwell has in store for us, and for you, in the current production, but knowing her as I do, I can guarantee that it will be an unforgettable experience. I do know that one of my favorite actors, Scott Kealey, will be playing Macbeth, and I cannot think of anyone to whom I would rather pass the mantle.  My friend and gifted colleague Sara Morsey will be assuming the coveted role of Lady M., and you simply can't do better that.

So I look forward to once again performing in this four-hundred year old retelling of an eight-hundred year old story.  The one thing you can bet on though, no matter how ancient the story, is that once the Hippodrome gets its hands on it, then and now, it will seem brand new.
 
 

“Your performance at the conference was powerful.  This is a show that all young people need to see.”  Gail Campbell (Conference Coordinator)

It is with great pride that I report that the HITT staff, Paula Barret and 11 of her students from Loften High school presented a performance for 700 conference attendees for the closing ceremonies of the November Prevention Conference.   The 20-minute performance was an original piece addressing the important subject of the “RAVE” scene, and the effect it is having on today’s young people.  HITT team leaders came up with the initial concept, which became rich with substance and reality as the Loften students made it their own.  Flashlights and glow sticks illuminated characters as they “rolled” through the night, making choices that would effect their lives forever.  The poignancy of the story is that it is all too familiar and that these same choices are being made by young people every day.  For them the “Rave” is a place of love, a place where they feel free to connect with other people on a deep level they feel nowhere else.  Where as a society have we failed them?  What kind of world have we created where people connect only when a drug frees them to do so?  I am so thankful to be part of this incredible program that is tackling this question and encouraging young people to help us find some answers.
 
 

Joining our annual Spring Break-A-Leg (April 9-13) and our Summer Spectacular (Session One June 4-29, Session Two July 9- August 3) we are pleased to introduce a new program for teens.  ACT UP will run concurrently with our Summer Spectacular Sessions, and will challenge teens to produce their own show.  They will be given a budget and will work closely with mentor Gabrielle Byam, as they choose the script, come up with a concept, cast, assist with the set, lights, costumes, sound, and marketing.  This exciting program is perfect for youth that have come through our other programs and are looking for a new challenge.  We are still coming up with ideas for this program so if you have some you would like to share please contact Gabrielle (373-5968).
 
 

This is a call for all young writers ages 13-18 to submit a script for our Florida Teen Playwright Festival.  Entry deadline is March 12.  The three winners will be announced March 26 and will see their plays performed on the Hippodrome’s Second Stage, April 28-30.
See our web site (teenplay.html) or call Sandra Dietel for details(373-5968).
 

On January 21, 1982 the Hippodrome Cinema opened its first season of films. We played only 16mm back then and as a regular patron I always arrived early enough to get a seat on one of the sofas that made up the first few rows!

The cinema has evolved since then into a 35mm, surround-sound, first run art house. The couches have been replaced with plush, rocking, stadium style seating. We are the only cinema in Gainesville with a full service bar as well as hot and cold beverages, gourmet pastries and the best popcorn in town.

But you probably know all this. What you may not know is that we are in the process of spending a Cultural Facilities Grant that has enabled us to upgrade our cinema on every level.

Some changes will be invisible. Only the most finely tuned cinema-file will detect the improvements in our picture and sound.  One change that will be very obvious, however, is the addition of the vestibule, which will forever change the shape of the Hippodrome.

The vestibule will be an entirely new entryway into the cinema. It will be at the west gallery entrance and will eliminate a huge amount of the light and sound that currently leaks into our cinema. The vestibule is a long time dream of cinema director Shirley Lasseter who is working closely with Mary Hausch and architect Joshua Shatkin of Anglin Cavallino Inc. to design a structure that will not only serve its purpose but will also fit in aesthetically with the character of our building.  Mc Callum Cabinets Inc. has agreed to create the vestibule once we have the architectural plan.

Other improvements include: acoustic soundproof doors on the east gallery cinema exit, a state of the art sound-head as well as many other technical improvements to our sound and projection equipment.

The Hippodrome Cinema is also welcoming our first intern ever!  James Mc Andrew from St. John’s Newfoundland is in the process of creating a catalogue of 250 movie posters that are available for purchase here at the Hippodrome.