Observations from Catonsville

Nataile Lambert — Mon, 23 Sep 2024 13:34:00 -0700

I was a part of a wonderful observership cadre of four fellow observers, guided by Teaching Artist Sara Guerrero and managed by Program Manager Meighan La Rocca. A typical day of observation meant meeting for about 30 minutes prior to rehearsal to check in and set intentions, observing about two hours of rehearsal, then debriefing and processing any observations in a private, post-rehearsal discussion at the end of the day. At the beginning of our observership, Guerrero tasked us to create personal goals for this process, considering that age-old question many parents begrudgingly ask their loud children: “Why theatre?”

As an MFA Playwright at UCLA, I read and see a lot of plays. That being said, it is easy to have a feeling of separation from theatre as a graduate student. To me, theatre has always been about the creation of it, with other humans in a space. As a graduate student spending her days hunched over a laptop, soaked in bluelight, spiraling over dramaturgy, it is sometimes easy to forget the “why” of theatre. This observership gave me the opportunity to feel theatre again and to reconnect with my “why.”

My main goal was to be a sponge; to absorb the process with an open mind and internalize what sticks out to me. One of the most major takeaways from this process was the idea of decentering panic in the rehearsal room. This was a precedent set at the beginning of the rehearsal process and it continues to linger in my mind to this day. I’ve replaced acting from a place of panic with acting from a place of problem solving. Translating this into the role of an observer in this space, I replaced listening from a place of needing to respond with listening from a place of needing to understand, which I believe is a form of decentering panic in one’s own life.

During the first discussion after the table read, I was internally shrieking, “Me! Me! Me! Let me say words, I want to say smart things!” I kept reminding myself that my role in that space was to learn, not to insert myself. This is a particular art of discipline for theatre people such as myself, but it was a deeply enriching experience to constantly remind myself that not everything needs to be said in the moment; some things can be sat with and processed later. In addition, during discussion, we had the philosophy of “take space, make space,” which is essentially to share what you want to share, then allow room for others to do the same.

The Trial of the Cantonsville Nine is a play that begs us to respond. I found a particular relevance to this play as a current student at UCLA. The Trial questions the current balance in the United States between true justice and the law. About a week before the reading, my classmates and fellow United Auto Worker student union members were brutally arrested at the student encampment at UCLA. As I watched the first read through, I realized that this play is a chant. One for every individual in the U.S. who deserves the right to protest. I held my thoughts in the rehearsal room and shared the powerful themes of the play with my fellow classmates later.

The cast, management team, and director Michael John Garcés were truly kind and welcoming to us as observers. The generosity of the space was inspiring to see. Perhaps my favorite moment in rehearsal was watching the staging of the “Our Father” prayer. My professor always says that theatre is the only secular form of communion we have, and this moment in rehearsal brought me back to my “why” for theatre. A moment shrouded in hope, I felt so connected to everyone in the space and basked in the significance of the moment.

What a play to be a fly on the wall for! And what a privilege to watch the great work everyone created. As an introvert with the occasional spell of social anxiety, I'm used to being asked, “Why are you so quiet?” Thanks to this experience, I have no problem proudly answering, “I’m just listening.”

Unifying CTG and LA

Christopher Eckhart — Mon, 23 Sep 2024 12:51:00 -0700

The night was a collective celebration, spearheaded by Gala Chair Jana Bezdek and Co-Chairs Amy Forbes, Noah Francis, and Bonnie Vitti. We are so grateful for their dedication, as well for the support of our honorary dancers Rory Macleod and Jackson Fisch. Emmy® Winner and Academy Award® Nominee Melissa McCarthy joined us at the Taper to introduce Sir Matthew Bourne and honor his profound impact on contemporary theatre.

Then, before guests danced under the stars with DJ Masha Mar on Jerry Moss Plaza, Artistic Director Snehal Desai announced his inaugural season: One CTG. One LA.

“I want us to have more pride and ownership in writing the story of our great city,” Desai said to the crowd. “Whether you work in Hollywood, in tech, for a bank or law firm, in education, or government—we all play a part. So, what comes next? The hard work of writing our next chapter. And we do that together. That is what next season is about here at Center Theatre Group. I hope you will join us.”

CTG: The Gala 2024 and the announcement of the 2024/25 Season are major milestones on an exciting road ahead. None of this would be possible without you. The support from our audience and donor community has been an inspiration and a reminder that there is only one City of Angels and only one Center Theatre Group.

To learn more about our work and ways to support Center Theatre Group, visit CTGLA.org/support.

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Observations from Catonsville

Unifying CTG and LA