Darcy Hogan's adaptation of Edward II received a runner up mention for best New Work/Adaptation in the BroadwayWorld 2010 Southern Calfiornia Theatre Awards.
We may not have ranked #1, but we are honored to have been nominated. Thank you to everyone who voted for your generous support! And Bravo to our dear friend, playwright, actress and director, Darcy Hogan! You are a star! Read about winners and fellow nominees here.
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Earlier this year I was involved in a truly inspired production of Christopher Marlowe’s Edward II, adapted and directed by the talented Darcy Hogan. I always speak about this show in fondness because it was not only a satisfying experience as an artist, but I also made some life-long friends on the journey. I am so thankful to have played Margaret, and that Darcy provided me with the opportunity to originate a role which she so lovingly created.
I am proud to announce that Darcy’s adaptation has been nominated by Broadwayworld.com for Best New Work/New Adaptation. Please help support the Theatre Out family by voting today. There are many great productions and categories on the ballot. I hope you can take a few minutes to vote for all of the wonderful artists – but if time is limited, just skip to question #17 and vote Edward II! Vote Now to Have Your Say on the BEST of Theatre in Southern California! Voting Ends December 20th, 2010 Vote Edward II for Best New Work/New Adaptation (Resident Non-Equity)! Go to http://losangeles.broadwayworld.com/vote2010socal.cfm and enter in your email address to vote. Tonight I closed Theatre Out’s production of Edward II at the Empire Theater to a full house. I am in awe of the kind-hearted, talented people I have met during this process. Working with the founders (Joey Baital, David Carnevale and Jack Millis) and director/playwright, Darcy Hogan, has been inspiring. Her innovative use of Christopher Marlowe’s powerhouse history, created an emotional journey for me driven by character, love and desire. I am so thankful to have played Margaret, and that Darcy trusted me to originate a role which she so carefully and lovingly constructed.
Opening night of Darcy Hogan’s innovative adaptation of Marlowe’s Edward II proved a satisfying experience. I truly congratulate my fellow cast members, dedicated director and crew, for opening with positive reviews. Our small, but eager, audience followed us on our journey through England’s intimate landscapes of passion, malice and vulnerability. Tonight marked the first time I felt the inner truth of my character. When Gaveston spoke to me and touched me, I felt deeply moved. There was a sense of magic tonight that came from just listening to each other – a simple task that is often forgotten and underestimated. My parents, my most adamant supporters and critics, seemed to enjoy the performance. Although, my father did comment on my apparent display of forehead tension (I think I have created a monster!). I suppose I am going to have to focus the emotional angst of my character within the technique of relaxed readiness. With 10 performances left, I intend to continue to make new discoveries and make choices to center Margaret in the world of the play. This week of reflection is sure to further stimulate my creative juices and refresh my focus as I work to fine tune my character with each passing performance.
I was listening to the following song in my car today, and I suddenly connected to it as it seemed to somehow personify what Margaret sees in Isabella in Edward II. If I were to create a soundtrack for Edward II, this would certainly be a part of it.
"Monarch" Feist The Queen has a feint had a fall Don't give me ether or open my vein I'm sane I know I'm sane I don't give a care for the crown or the shield I will not protect you or happily yield To the one who makes me come undone Who was born and in what way All the fields and poppies ay Who was born in what way All the fields The Queen is walking away with only her stockings on Waving having forbidden pears and song Valiant and the colours are too gold Colours of the morning old Who was born and in what way All the fields and poppies ay Who was born in what way All the fields Monarch now lay (your) jeweled head Monarch now lay (your) jeweled head Monarch now lay your jeweled head Monarch now lay your jeweled head Monarch now lay your jeweled head Monarch now lay your jeweled head The Queen saw the beast in the ribs of the garden Husband dear you are nearer to the eye You're thrown place you wouldn't hold a pardon strokes By the hand of God By the hand of God Though you is so cruel Who was born and in what way Who was born and in what way Rehearsals for Edward II are coming along slowly but surely. We began blocking Margaret's wedding night. There is so much emotional turmoil in this particular scene, I felt a little overwhelmed holding my book and frantically accessing the physical movement of the scene in an unfamilar rehearsal space. We have a break in our rehearsal schedule, to which I will devote the majority of my time refocusing my character and memorizing my dialog. My text analysis work had prompted new discoveries about my character. I realized early on that Margaret must be a genuinely caring individual. She rarely talks about herself, except on her wedding night, when she is faced with a life-altering, tragic situation. When others speak of her they refer to her as sweet: "Sweet Margaret," "Sweet Niece," "Sweet Wife," and "Sweet Lady." She regards the Queen as her friend and confidant, and thinks of her before all things, until the doom of her wedding night approaches. She makes the majority of her entrances "quickly" or "rushing," "looks pale" adn through Gaveston has no intimate or logistical desire to be her husband, he believes she "she deserve(s) affection and regard". I am currently investigatng points of attack, I am very interested to know what will drive my Margaret through the course of her journey.
Yesterday I beat the urge to sleep in on a Sunday morning, "sprang foward," and drug myself out of bed to do what I love best. Our first read-through for edward II enthused my desire to get this show on its feet. Unfortunately I will have to guide my way through the next week of table work in order to get to that point. I think the table work will be exciting in itself though, as I will be able to have an hour one-on-one with our director to discuss character.
The script diverges from Marlowe's version in a very sincere and exciting way. Darcy has added language, re-assigned dialog and added characters to create a much improved emotional journey which electridies the characters of the show. I am ready to make strong choices and collaborate on this unique look into one of Marlowe's greatest. On Saturday I attended an audition for Edward II at the Empire Theatre in Santa Ana. Sunday I was blessed with a callback, and to start my Monday morning off right, today I received notice that I have been cast as Margaret. The joyfully pleasant Darcy Hogan called me this morning to announce my inclusion in Theatre Out's adapted production of Marlowe's last play. In addition to playing the emotionally tragic role of margaret, I will also be playin gthe messenger! I think the juxaposition of these roles provide a worthy challenge for any actor. I am excited to begin this journey with this liberating theatre company. This play marks one year of back-to-back productions on my resume, and my 45th production!
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February 2020
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