[NEohioPAL]"Zen and the Art of Dancing Dinnerware" feature - Beck's Beauty and the Beast

[FSternfeld at aol.com]

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Bob Abelman, who is playing Maurice in Beck Center's production of  Disney's=
=20
_Beauty and the  Beast_=20
(http://www.fredsternfeld.com/beautyandthebeastencore06.htm) , is also a jou=
rnalist with the Chagrin Valley Times.  Below  is the=20
second in a series of articles he has written that have been published in  t=
he=20
Chagrin Valley Times to provide an inside look at the  production.
=20
=20
Zen and The Art of  Dancing Dinnerware
by Bob Abelman, Chagrin Valley  Times
=20
This is the second in a short series  of backstage commentaries about the=20
encore production of Disney=E2=80=99s =E2=80=9CBeauty and  the Beast=E2=80=
=9D at the Beck Center for the=20
Arts and focuses on actor  preparation.  =20
Famous actors like Marlon Brando are  known for embracing a particular=20
approach to acting that allowed them to  generate incredible realism and tru=
th in=20
their performances.  The Stanislavsky System, for example,  requires actors=20=
to=20
do extensive research into their fictional character's  personal background.=
 =20
Casts of  =E2=80=9CJulius Caesar=E2=80=9D that buy into this system live in=20=
togas to=20
experience life as  their characters.  What experiences  can an actor tap in=
to when=20
playing an enchanted tea pot?=20
The Strasberg Method, popular in the  1950s, emphasizes sense and emotional=20
memory so that the actor can actually  relive real moments during a=20
performance.  What recollections can help a performer play a singing salad =20=
fork?=20
The Meisner Technique focuses on a  series of increasingly complex exercises=
=20
aimed at breaking an actor away from a  planned performance and toward=20
spontaneity.   One exercise is called "Repetition" in  which two actors face=
 each=20
other and repeat an impulsive observation about  themselves and the other pe=
rson.=20
 What revealing exchanges can occur between dancing measuring spoons?  =E2=
=80=9CYou=E2=80=99
re =C2=BE tsp, I=E2=80=99m =C2=BD tbsp?=E2=80=9D=20
Most of the cast members in =E2=80=9CBeauty  and the Beast=E2=80=9D are, at=20=
some point in=20
the two hour production, enchanted  objects.  They are wearing  larger-than-=
life=20
recreations of dinnerware, flatware, household items and  furniture. =20
Director Fred Sternfeld  is a firm believer that all actors, regardless of t=
he nature=20
or size of their  roles, need to have a back-story that explains their=20
existence and which  motivates their actions on stage.  After all, there are=
=20
children in the audience and they will believe that  these objects are real=20=
if the=20
actors do. Even bewitched cutlery have a tale to  tell.  =20
During rehearsal breaks I asked  several of my costumed colleagues about=20
their preparation and whether one acting  technique was more effective than=20
another.  Michael Green is, among other things, a wooden mixing spoon.  He s=
aid he=20
embraces the =E2=80=9CTelletubby=E2=80=9D  school of performance art=E2=80=
=94that is, when dressed in=20
foam rubber, all dignity goes  out the window so you might as well BE the fo=
am=20
rubber.=20
Kristin Netzband=E2=80=99s character is a  French maid turned feather duster=
.   She=20
seems to be following Anne Bogart's famous training system that  prioritizes=
=20
the physicality of a character and places more emphasis on its  occupation o=
f=20
space, time and shape than on what it actually says.  On stage, Ms. Netzband=
 is=20
a paragon of  perpetual motion.  Every part of her shape occupies an=20
ever-shifting space  in record time.  It=E2=80=99s a wonder to  behold. =20
The dinner bell is played by Adam  Kapis.  His motivation is the same  as hi=
s=20
character=E2=80=99s: to be human again.  However, while his character percei=
ves being=20
a bell as an inability to  lead a normal life, Mr. Kapis equates it to=20
wearing a dog=E2=80=99s cone-collar.  The Hershey Kiss-shaped costume makes=20=
it  impossible=20
to scratch the places that constantly need scratching.  Mr. Kapis craves =20
intermission.=20
Perhaps Melissa Smith-Beudert=E2=80=99s  approach to being a napkin is the m=
ost=20
commonly held among the cast.  Ms. Smith-Beudert once worked at Disney  Worl=
d as a=20
Princess who roamed the grounds chatting with visitors and signing  autograp=
hs=20
for star-struck little girls.  She learned that, regardless of what was=20
happening outside the boundaries  of the theme park, she was the embodiment=20=
of the=20
fantasy within it.  While in costume, she was escapism and  entertainment=20
personified and that was all the motivation she needed.   She was very Disne=
y, as=20
are all of us who  strap on the foam rubber.        =20
Next week:  Seamless Scenery  Shifts=20



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<DIV><STRONG>Bob Abelman, who is playing Maurice in Beck Center's production=
 of=20
Disney's <EM><A=20
href=3D"http://www.fredsternfeld.com/beautyandthebeastencore06.htm">Beauty a=
nd the=20
Beast</A></EM>, is also a journalist with the Chagrin Valley Times.  Be=
low=20
is the second in a series of articles he has written that have been publishe=
d in=20
the Chagrin Valley Times to provide an inside look at the=20
production.</STRONG></DIV>
<DIV><STRONG></STRONG> </DIV>
<DIV> </DIV>
<DIV><B style=3D"mso-bidi-font-weight: normal"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial"><FONT size=3D4>Zen and The Art=
 of=20
Dancing Dinnerware</FONT></SPAN></B></DIV>
<DIV><B style=3D"mso-bidi-font-weight: normal"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial">by Bob Abelman, Chagrin Valley=
=20
Times</SPAN></B></DIV>
<DIV>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial"> <o:p></o:p></SPAN></P>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial">This is the second in a short=20=
series=20
of backstage commentaries about the encore production of Disney=E2=80=99s=20=
=E2=80=9CBeauty and=20
the Beast=E2=80=9D at the Beck Center for the Arts and focuses on actor=20
preparation.<SPAN style=3D"mso-spacerun: yes">  </SPAN><o:p></o:p></SPA=
N></P>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial"> <o:p></o:p></SPAN></P>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial">Famous actors like Marlon Bran=
do are=20
known for embracing a particular approach to acting that allowed them to=20
generate incredible realism and truth in their performances.<SPAN=20
style=3D"mso-spacerun: yes">  </SPAN>The Stanislavsky System, for examp=
le,=20
requires actors to do extensive research into their fictional character's=20
personal background.<SPAN style=3D"mso-spacerun: yes">  </SPAN>Casts of=
=20
=E2=80=9CJulius Caesar=E2=80=9D that buy into this system live in togas to e=
xperience life as=20
their characters.<SPAN style=3D"mso-spacerun: yes">  </SPAN>What experi=
ences=20
can an actor tap into when playing an enchanted tea pot?<o:p></o:p></SPAN></=
P>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial"> <o:p></o:p></SPAN></P>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial">The Strasberg Method, popular=20=
in the=20
1950s, emphasizes sense and emotional memory so that the actor can actu=
ally=20
relive real moments during a performance.<SPAN style=3D"mso-spacerun: yes">&=
nbsp;=20
</SPAN>What recollections can help a performer play a singing salad=20
fork?<o:p></o:p></SPAN></P>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial"> <o:p></o:p></SPAN></P>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial">The Meisner Technique focuses=20=
on a=20
series of increasingly complex exercises aimed at breaking an actor away fro=
m a=20
planned performance and toward spontaneity.<SPAN=20
style=3D"mso-spacerun: yes">  </SPAN><SPAN=20
style=3D"mso-spacerun: yes"> </SPAN>One exercise is called "Repetition"=
 in=20
which two actors face each other and repeat an impulsive observation about=20
themselves and the other person.<SPAN style=3D"mso-spacerun: yes"> =20
</SPAN>What revealing exchanges can occur between dancing measuring spoons?=20
=E2=80=9CYou=E2=80=99re =C2=BE tsp, I=E2=80=99m =C2=BD tbsp?=E2=80=9D<o:p></=
o:p></SPAN></P>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial"> <o:p></o:p></SPAN></P>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial">Most of the cast members in=20=
=E2=80=9CBeauty=20
and the Beast=E2=80=9D are, at some point in the two hour production, enchan=
ted=20
objects.<SPAN style=3D"mso-spacerun: yes">  </SPAN>They are wearing=20
larger-than-life recreations of dinnerware, flatware, household items and=20
furniture.<SPAN style=3D"mso-spacerun: yes">  </SPAN>Director Fred Ster=
nfeld=20
is a firm believer that all actors, regardless of the nature or size of thei=
r=20
roles, need to have a back-story that explains their existence and which=20
motivates their actions on stage.<SPAN style=3D"mso-spacerun: yes"> =20
</SPAN>After all, there are children in the audience and they will believe t=
hat=20
these objects are real if the actors do. Even bewitched cutlery have a tale=20=
to=20
tell.<SPAN style=3D"mso-spacerun: yes">  </SPAN><o:p></o:p></SPAN></P>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial"> <o:p></o:p></SPAN></P>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial">During rehearsal breaks I aske=
d=20
several of my costumed colleagues about their preparation and whether one ac=
ting=20
technique was more effective than another.<SPAN style=3D"mso-spacerun: yes">=
 =20
</SPAN>Michael Green is, among other things, a wooden mixing spoon.<SPAN=20
style=3D"mso-spacerun: yes">  </SPAN>He said he embraces the =E2=80=9CT=
elletubby=E2=80=9D=20
school of performance art=E2=80=94that is, when dressed in foam rubber, all=20=
dignity goes=20
out the window so you might as well BE the foam rubber.<o:p></o:p></SPAN></P=
>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial"> <o:p></o:p></SPAN></P>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial">Kristin Netzband=E2=80=99s cha=
racter is a=20
French maid turned feather duster.<SPAN style=3D"mso-spacerun: yes"> &n=
bsp;=20
</SPAN>She seems to be following Anne Bogart's famous training system that=20
prioritizes the physicality of a character and places more emphasis on its=20
occupation of space, time and shape than on what it actually says.<SPAN=20
style=3D"mso-spacerun: yes">  </SPAN>On stage, Ms. Netzband is a parago=
n of=20
perpetual motion.  Every part of her shape occupies an ever-shifting sp=
ace=20
in record time.<SPAN style=3D"mso-spacerun: yes">  </SPAN>It=E2=80=99s=20=
a wonder to=20
behold. <o:p></o:p></SPAN></P>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial"> <o:p></o:p></SPAN></P>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial">The dinner bell is played by A=
dam=20
Kapis.<SPAN style=3D"mso-spacerun: yes">  </SPAN>His motivation is the=20=
same=20
as his character=E2=80=99s: to be human again.<SPAN style=3D"mso-spacerun: y=
es"> =20
</SPAN>However, while his character perceives being a bell as an inability t=
o=20
lead a normal life, Mr. Kapis equates it to wearing a dog=E2=80=99s cone-col=
lar.<SPAN=20
style=3D"mso-spacerun: yes">  </SPAN>The Hershey Kiss-shaped costume ma=
kes it=20
impossible to scratch the places that constantly need scratching.<SPAN=20
style=3D"mso-spacerun: yes">  </SPAN>Mr. Kapis craves=20
intermission.<o:p></o:p></SPAN></P>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial"> <o:p></o:p></SPAN></P>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial">Perhaps Melissa Smith-Beudert=
=E2=80=99s=20
approach to being a napkin is the most commonly held among the cast.<SPAN=20
style=3D"mso-spacerun: yes">  </SPAN>Ms. Smith-Beudert once worked at D=
isney=20
World as a Princess who roamed the grounds chatting with visitors and signin=
g=20
autographs for star-struck little girls.<SPAN style=3D"mso-spacerun: yes">&n=
bsp;=20
</SPAN>She learned that, regardless of what was happening outside the bounda=
ries=20
of the theme park, she was the embodiment of the fantasy within it.<SPAN=20
style=3D"mso-spacerun: yes">  </SPAN>While in costume, she was escapism=
 and=20
entertainment personified and that was all the motivation she needed.<SPAN=20
style=3D"mso-spacerun: yes">  </SPAN><SPAN=20
style=3D"mso-spacerun: yes"> </SPAN>She was very Disney, as are all of=20=
us who=20
strap on the foam rubber.<SPAN style=3D"mso-spacerun: yes">  </SPAN><SP=
AN=20
style=3D"mso-spacerun: yes">    </SPAN><SPAN=20
style=3D"mso-spacerun: yes"> </SPAN><SPAN=20
style=3D"mso-spacerun: yes"> </SPAN><o:p></o:p></SPAN></P>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial"> <o:p></o:p></SPAN></P>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial">Next week:<SPAN=20
style=3D"mso-spacerun: yes">  </SPAN>Seamless Scenery=20
Shifts<o:p></o:p></SPAN></P>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt"><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial"> <o:p></o:p></SPAN></P>
<P class=3DMsoNormal style=3D"MARGIN: 0in 0in 0pt; TEXT-ALIGN: center"=20
align=3Dcenter><SPAN=20
style=3D"FONT-SIZE: 11pt; FONT-FAMILY: Arial"><o:p></o:p></SPAN> </P></=
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