Sylvia

R.M. Sydnor

Conversation

Tanna Frederick

A.R. Gurney’s Sylvia, playing at The Edgemar Theater in Santa Monica, stars Tanna Frederick as the loving pooch affectionately known as Sylvia. Ms. Frederick presents a well-crafted, muscular, energy driven performance (she runs the stage, jumps on furniture, chew shoes, barks) that keeps us thinking about the fragility of relationships and the acceptance of change. Greg, Sylvia’s owner, faces midlife crisis in a marriage slowly drifting apart and must choose between either keeping Sylvia and losing his marriage, or giving away his dog and maintaining the marriage. Ms. Frederick’s personification of the insouciant and rambunctious K-9 and an outstanding cast make for memorable theater.

Your work as Sylvia impressed this critic, a comedic and vibrant performance yet elegant in an old fashion way. Casting a dog as a young woman is highly inventive, yet making this work on stage is not easy.  Tanna tell us how you specifically prepared for Sylvia.

First of all, thank you so much for the compliment!  I'm so happy you used the four adjectives together in one sentence for my performance-specifically those four-'comedic, vibrant, elegant, and old fashioned'…I'll never need another compliment for years!  Thank you!  Pretty much to play this part, I had ten days to learn the lines, the blocking, and tech the show.  So when I wasn't doing that, I was watching my Shiba Inu Garbo.  I don't know, can you call that Method?  

There is always growth when playing any theatrical role.  How have you grown as person as a result of Sylvia?

My biggest fault is that I think too much.  I get pulled down sometimes by my own crazy circular dismal tail-chasing.  (I crack a lot of jokes pertinent to canines now, p.s.)  Playing an animal, playing a dog, is pure gratitude.  Gratitude for absolutely EVERYTHING.  For eating, for going out on walks, for crotches, for a treat, for chasing a fly and eating it.  That requires me to find something to be really, really happy about for every performance.  I mean, if I played a cat, I could be moody and annoyed.  But there's just NO WAY a dog can be moody.  They just aren't.  Everything is like Disneyland to them.  So in my mind, I've begun to tick off all the little things in life I'm grateful for.  Because otherwise my performance turns into 'Dog of a Salesman'.  I did that one night, I was in a bad space, and Henry was there, and there were no laughs.  I had no idea why.  He said I was this suicidal dog that this poor couple had to take in otherwise it'd jump out the window.  That's a good thing for me, to recognize things in life that make me happy, and then make myself get really, really, really happy about them, as dogs have boundless enthusiasm.  So I think my psyche is in better shape most the time.  If only we were all dogs.  

You play Sylvia with much theatrically and certainly Gary Imhoff’s direction helped.   What did you learn from Imhoff?

Gary was my teach for four years.  I was a relentless sob when it came to getting him to finally direct me.  He caved in 'Always, But Not Forever'.  He's a dream director.  The best I've ever worked with.  (Except for Henry in film…)  What haven't I learned from him?  I've learned everything.  About life, about living, about acting, about myself…He always teases me and says I put him on this pedestal, but I genuinely mean it when I say he's affected my life and my acting.  He knows things and senses things, pulls me up and out of my self doubt and criticism, and smooths out the kinks so that I can do my work.  He simplifies what's complicated, and complicates what's too tedious and simple in his work.  I've done three shows with him now, he's won numerous awards himself and for the cast and show, and every minute of work is like drinking in the most refreshing drop of the clearest water.  I never want rehearsals to stop.  And I've seen that with every actor I've worked with.  I guess I dig simpatico dynamics and stick with them, because I've done this with both Henry and Gary.  If it ain't broke, don't fix it.  Or maybe it's just hunger to work with genius.  (I'm hoping Gary reads this and agrees to direct me in the next play I do.  Haha.)  

Do you see Sylvia a mistress image and a symbol for Greg’s midlife crisis?

Yes but in a credibly careful, innovative and creative way-The so-called 'midlife crisis' does not always equate to a marital affair or obsession, it can equal a new car, a compulsive need to pump iron, obsession with grandkids, whatever.  In A.R. Gurney's romp, it's a dog that borders on the midlife life-preserver of 'the other woman'.  

But that is delicious and clever, because the choice of a dog being Greg's obsession is really a playground to exploring that fine line of human/pet relationships.  For example, I let my dog kiss me on the lips.  I know that's disgusting and I'm not supposed to do that, and no one will ever kiss me again after admitting that, but it fulfills some happy need…

Greg and Kate are clearly going in opposite directions in both career and their relationships, yet they come together in the end.  This is truly a play about change, tolerance and acceptance.

Yes, it's beautiful that Sylvia is a conduit to their coming together.  Sometimes the most unexpected arbitrary things bring people closer, even save their relationship.  Not that a dog is arbitrary, but I believe that the way couples deal with conflict is the key to their succeeding or their termination.  'Sylvia' demonstrates that in perfect conceit.  The husband wants something, the wife doesn't.  Will they last or won't they?  What I like about Gurney is he demonstrates this in a darling, funny, captivating form by making the conflict be a dog that talks.  And sometimes meanders on the premise of this pooch being the other woman.  It's a simple message delivered in a clever comedy.  People get it, and walk away with the concept of sharing, and loving, and reconsidering their lives, their loved ones.  Although, I've had eight people tell me after seeing the play they've now adopted a dog from the shelter.  And funny enough they are all women.  So, it could be throwing some curve balls into people's lives, but as the play demonstrates, that's a good thing.

I thought Joel Daavid’s sets and lighting helped everyone to be in the moment.

Joel Daavid is a genius. 

 The only problem with Joel Daavid is that his set can totally upstage the actors…Seriously, they're so breathtaking and so perfect, why would you want to look at the actors and not the set the whole time?  I totally kidding.  Only halfway kidding, actually.  On 'Just 45 Minutes From Broadway' I came out into the lobby and the first thing everyone said is, 'I can't believe that gorgeous set!' and went on and on about his masterful work.  I wouldn't want anyone else to design my set.  He's a complete genius.  I just want to stress that a second time.  

The role of Kate, played wonderfully by Cathy Arden, comes across as a villain but yet she is amazingly revealing.

As Gary Imhoff said, 'The role of Kate is about the most unforgiving character ever written for an actress.'  It's true.  Who wants to root for the person who wants to kick out a stray dog?   But Gary is fantastic at molding the antagonist into the questionable protagonist.  He believes people are imperfect, but if the audience doesn't root for the seeming villain of the play at some point, there's no play. There's no conflict.  There's no depth.  So he wittled and wittled away at Cathy until he found her soft underbelly and then stuck to that vulnerability in the character, and broke her whenever she went to the 'Kate the Imperialist' place.  It was fascinating to watch.  And Cathy is one of the most hard working, determined, stubborn people I know. And she found Kate, the way Kate was meant to be played, I believe.  A woman who loves her husband.  A woman who wants to make her marriage work.  A woman who wants to create good in the world and is giving everything she has in her life to educate children when her husband is playing hooky from work with a dog.  The script is what it is, the lines of the villain are there, so kudos to Gary and Cathy for their unyielding diligence to playing against the grain and making a character you feel something for.

The relationship between you Stephen Howard seems very special.

Steve is an absolute doll.  If I was a dog and I had to choose an owner, it would be him.  The truth is, I came into the show by accident.  I was jonesing to get on stage and at my New Year's Eve party I was throwing I went on a rant to a friend, Cathy Arden, about needing to get on stage and serendipitously she started crying and said that she thought the show she had been rehearsing two months for was going to close because the lead actress quit.  She said the role was 'Sylvia', a role I've heard from numerous people that I 'had' to play that role because I was perfect for it.  So I told her I would learn the part in 10 days if the director and producers were into it.  Gita Donovan, the director in Serra Madre, and Chris Soldate, were amazing.  They ushered me into the role with finesse and elegance.  Gita's fantastic direction and support was spot on and exactly what was called for.  And I remember meeting Steve and thinking, this is a dream owner for my dog…Not only was he fabulous on stage, but he was constantly propping me up backstage when I was terrified.  Every time before I went on that opening weekend he ruffled my hair and said, 'You're doing great'.  He still always checks in on me on days off texting, 'How's my pup?'  I adore him and would do anything for him, and that's easy to play on stage.  I love making him smile.

Tom Ayers damn near steals the show as Tom, Phyllis, and Leslie. 

No kidding!  I'm insanely jealous!  And so grateful we found him for the show!  Gary cast him, and as usual, Gary casts brilliantly.  Again, it's a love fest with him as well.  The four of us are very tight.  I really look up to Tom, he's had years of experience as a stand up and pee-your-pants funny.  There's several moments in the show where I've demanded of him, 'Tell me how to make this funny'.  And he'll come up with fifty different ways to do it.  He's an incredible talent, incredibly present on the stage, and every night I have such a ball with him.  Figuratively and literally.  (I love antagonizing him with the ball fetching tricks.  One of my fav moments.)

What is on the horizon for Tanna Frederick?

I really love broad comedy.  This show has really provided a new vehicle for me to discover myself in.  And I love it.  I'm hungry for it.  I'm fascinated with it.  I didn't know I could do it.  So I'm kind of in a place right now where I want to explore that world of broad comedic work because I think I have the specificity to make it real and not bullshit.  I hope I have that.  But so far the audiences have been laughing and crying, and I think that reaction can only be garnered, especially when you're playing a dog or doing A.R. Gurney, if there's a reality and authenticity behind the humor.  Especially with 'Sylvia'.  Without that, the piece can easily tip to a superficial sketch comedy.  I think it was meant to be that I was popped into that play at Sierra Madre, and every day I felt like I was going to be terrible in the role and I was fake and phony.  But it's turned out to be one of the best roles I've done.  Now, I'm not sure how to take that as I am playing a dog…But whatever makes you discover something you thought you couldn't do, you roll with.  And I feel very fortunate.  But don't ask me to roll over.

Solid Gold Cadillac

Theater Review

R.M. Sydnor

         Solid Gold Cadillac, playing at Sierra Madre Playhouse, benefits from Ken Saltzman even direction and admirable dedication to the 1950s; however, this screwball comedy faces a sisyphean effort to overcome an all  too often worn out theme of Main Street versus Wall Street to make this populist parable fresh as a modern-day fairy tale.  This omnipresent motif demands a different perspective to gain the necessary comedic momentum and satiric bite.

         The George S. Kaufman and Howard Teichmann comedy of 1953, featuring an eccentric thespian Mrs. Laura Partridge who exposes the incompetence and corruption of the executives at mega-corporation where she owns stock, suffers from contrived plotting, scattershot gags, and woefully dated references.  Georgan George’s Partridge impresses by carefully avoiding the imitation of the nonesuch Judy Holiday (star of the movie version).  George sparkles with a kind of giddy, half-mad effervescence, always making sure to show hits of fangs behind an ineluctable charm.  The players Michael Bruce (Edward L. McKeever), Tony Cicchetti (Clifford Snell), Norman Igar (T. John Blessington), Sasha Goldberg (Sullivan, A.P.) and Melainie Rashbaum (Amelia Shotgraven) perform admirably and provides a measure of credibility.   Voiceover veteran Barry Schwam’s warm narration adds richness and entertainment to the proceedings.

         Solid Gold Cadillac has rusted badly over the last 50 years and should have faced the junk yard and wrecking ball long ago.  High time for a brilliant playwright to step-up and create an inventive comedy for this century.

South of Delancey Street

R.M. Sydnor

Conversation

Karen Sommers

South of Delancey Street, playing at the Freemont in South Pasadena, is based on archival tapes of a popular Yiddish radio program broadcast in New York starting in the late 1940s.   This is Jewish divorce court where arbitrators mediate disputes and render binding decisions. These fascinating recordings make for thought-provoking analysis not just of the couples under adjudication but also the arbitrators, whose interactions among themselves and decisions appear sexist and unjust. Director Karen Sommers deserves much credit for bringing this entertaining and evolving play to the stage.

Perspective lies at the heart of this South of Delancey, which makes this entertaining and thought provoking theater.

Perfect!  I’m glad you thought so.  That is what I love about theatre.  Good theatre forces you to lean forward in your seat, makes you think - challenge you as well as entertain you.  When I hear people leaving the theatre in heated debate about the stories they just heard, I know I’ve done my job and thought provoking storyteller.

This play is based on the archival tapes of a popular Yiddish radio program broadcast in New York starting in the 1940s.  I found the recordings entertaining despite questionable justice.

 So did I.  That’s why I created this piece.  Those tapes were the inspiration for this show.  I originally heard the voices of the plaintiffs and found myself transported back in time.  The picture it created in my mind was so vivid.  I was entertained as well as educated about my history.

Tell us about the Jewish arbitration court and the people who sought its counsel.

From what I learned in the process of creating this piece, Jewish arbitration courts were and are not uncommon within the Jewish culture.  It is modeled after something called a Beith Din - a panel of rabbis who hold counsel and advise and dispute cases.  The Jewish arbitration court in this production is not a Beith Din, but it is similar.  The difference is the court in South of Delancey was broadcast on the radio.  The people who came to the House of Sages, where the court was held, were often too poor or ignorant of the American Judicial system to seek traditional legal counsel.  These people were mostly immigrants who spoke only Yiddish.  The court was held every Sunday and the people lined up out the door.  The cases were binding and each plaintiff signed a document saying they would adhere to the decision.

I found the voices of the counsel quite revealing because their ratiocination lead to sexist decisions with far too many omissions of fact.  This is certainly true in the case of Faye.  The court rules that she stays with her husband because he promises not to abuse her.

That is true.  Many people react very strongly to their decision.  Some say, “It was a different time!”   Some also point out that the panel was made up of all men and that the rabbi was living a simple life.  I don’t know.  All I know is what the rabbi and the judges say.  This is a piece of history and it is impact-full in and of itself.  It makes you think about how people were in the 1940’s, but - at the same time - it challenges you to think about your own story as well.

What were some of the challenges of bringing South of Delancey to the stage?

 This piece was built over a period of 5 years.  Trying to stand back and separate myself from the piece to make artistic decisions was a big challenge.  Once you work on something for that long you get so close to the material.  I was blessed to have collaborators and such talented people surrounding me.

Your sound engineer Grady Hutt does a great job of integrating those recordings with the actors.

 Yes, he did!  I tell people the real show is up in the booth watching Grady run that board.  He’s incredible and has terrific timing.  We constructed the sound for the court scenes such that each of the judges, rabbi’s and radio host’s voices are on separate tracks.  The actors respond to each sound cue as if the judge is in the room.  They cannot miss or mistake a line during those sequences because each track is going to play in order!  

The costuming is quite authentic as are the sets.

 Lois Tedrow and Dove Huntley did amazing work.  As I mentioned above, I was blessed to be surrounded by such talented people.  The piece was collaborative from day one and I infused that into each aspect of the production.  

This is a solid veteran cast beginning with Abigail Marks as Faye and her abusive husband, Marty played by Michael Rubenstone.

 They are terrific.  It’s been amazing working with them as they bring so much to their roles.  They all challenged me in rehearsals and kept me on my toes.  The fullness of each of the characters is a tribute to their amazing instincts. 

Success as you well known is not achieved solo and this play certainly speaks to the collaboration.

 From the very beginning, this piece has been collaborative.  In workshopping and developing the script in NYC, I hired actors to improvise each scene over and over.  I went home with the recorded improvisations and pulled the best bits and lines from these tapes to create the script.  Through the years, and especially during this recent rehearsal process, the script and completely transformed in rehearsals through more improvisation.  My goal was to keep the language as natural and real as possible.  Being that the people this show are based on are real people and their stories are real, I wanted the language and interactions to be real.  I challenged my actors not to perform, but to react authentically to each other.  

Although these stories speak to the Jewish culture, I think these stories speak to relationships today.

 Yes, my goal was never to make a “Jewish” show.  It is about the human struggle and interpersonal relationships.  It just happens to have Jewish characters.  These are all familiar stories and problems.  Everyone has a mother, a sibling, a spouse or a troublesome relationship.  I believe everyone can see themselves in this piece. 

What is on the horizon fir Karen Sommers?

 My immediate goal is to take this show to Equity theatres, the regional circuit, New York...etc.  I am a collaborative stage director and I plan to keep directing and developing new pieces.   I am also the original Producer/Director of the worlds first and only live and interactive broadcast studio in a pediatric hospital in the world.  I hope to create and open hospital broadcast studios all over the country.