“The Diary of Anne Frank,” now playing at the Collaborative Theatre Project in Medford, is a powerful production. Last Saturday night’s performance, by a brilliant ensemble cast, left the audience in stunned silence until the characters had left the stage — then they rose to give an enthusiastic standing ovation.
I met with Director Susan Aversa-Orrego; Lisa-Marie Werfel, who plays Anne; and Stage Manager Joshua Martin at Boulevard Coffee in Ashland to discuss the impact of the play and the legacy of the story.
EH: Why is this play exceptionally popular year after year?
LMW: Because, when she’s writing the diary, Anne is between 13 and 15; it’s easily relatable for anyone, especially for young people. Something else that makes this story still relevant is that her words are so filled with hope and resilience. She is in one of the darkest situations imaginable, and she still finds light and happiness in small things that can give us joy through the darkness.
I think she is a good voice for the six million people killed, humanizing that number to make us realize the number of people was not just a number, but real living people. We have to learn from history, and as the present reflects history, it’s really important. Continue reading A one in six million voice
Monthly Archives: March 2018
17th century ‘Rover’ resonates with modern feminists
Dawn Monique Williams directed “The Rover,” now playing in the Main Stage Theatre in Southern Oregon University’s Theatre Building. Last season, Williams directed the “Merry Wives of Windsor” at the Oregon Shakespeare Festival.
With exuberant performances by a cast of 20, a revolving set, flashy sword play and saucy plot twists, “The Rover” is as alive and vital as it was when it was written in 1677 by Aphra Behn. I chatted with Williams at Mix Bakeshop in Ashland.
EH: “The Rover” is a huge undertaking, where do you start?
DMW: My process varies, from show to show, but I start any play with the script: reading the script, reading the script, reading the script. And then, most times, there is one character that will stand out for me, to be my guide through the world. It is the character that opens the door and says, “Come inside.” Usually, I’m able to anchor onto that character. Then I’m moving through the play again, re-reading it, thinking about that character: What they want; what they’re doing; and how the other characters relate to that character. And then, simultaneous to that, I usually create a mental play list of what I think the world sounds like, not just in terms of the ambient sounds, but (if this character had an iPod) what would that character be listening to? Then I always ask myself: “What would the play look like if it were a dance?” Continue reading 17th century ‘Rover’ resonates with modern feminists
Ashland Theatre 