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!