 Dean says that, due to the amount of time he's spent in the sound booth, it is weird to watch a show without a mouse in his hand when he travels to other venues. Behind every great production at The Merc Playhouse is a team of talented people working behind the scenes to bring the magic of theater to life. One of those people is Dean Hussey, who has been helping shape the sound of Merc productions for more than a decade. From running the sound booth to composing original music, Dean’s work helps audiences fully experience the stories unfolding on stage. We recently sat down with Dean to learn more about how he first found The Merc, what goes into managing sound for live theater, and why community theater matters so much. How did you first become connected with The Merc Playhouse? I started running shows in early 2014. My first show was running the sound board for the children’s production of Willy Wonka. My family and I were new to town and we were looking for a way for me to meet people and make friends. My mom actually found the opportunity and encouraged me to try it. I was reluctant at first — it didn’t exactly sound fun and I didn’t know what it would be about — but I was convinced to give it a shot. Once I did, I liked it. How did you transition from that first experience into working with sound? When I first started at The Merc, Missi Smith was in charge. She must have thought I did a good enough job because she called me for the next show. After that I just kept doing more productions and gradually became the sound operator for almost every production. By the time I was officially hired for the position last year, I had probably run sound for 40 productions or more.  When Dean worked Willy Wonka in 2014, the sound booth was located in the mezzanine (stage right, audience left) and the sound operator had to lean over the equipment to see as much of the stage as possible – about 1/4 of it was hidden from view. The newer location of the sound booth, in the middle of the back of the house, makes it much easier to make sound cues happen on time. For those who may not realize how much work happens behind the scenes, what does an audio engineer do during a production? It depends on the show, but there’s a lot that goes into it. I usually have email correspondence with the director and the technical director to figure out what sound elements the director will need. We also go through tech meetings where the director relays their desired cues. I do cue editing, sometimes write original music, and help with setup when we have rentals. There’s also digital audio work involved — editing sound effects or songs so they fit exactly what the production needs. There’s quite a bit of preparation that happens before audiences ever hear a single sound. What are some of the biggest challenges of managing sound for live theater? One of the biggest challenges is that we have to be creative with the space and equipment we have. The booth is fairly small, so we work with a compact mixer board and find inventive ways to make everything work. Another challenge is troubleshooting. Things like microphone batteries can fail, and during tech rehearsals we often have to stop and adjust things so everything runs smoothly once the show opens. By the time opening night arrives, though, it’s usually all figured out.  In 2019, Dean received The Merc's Steinebach Award for Outstanding Contribution to Live Theater, in part for the work he put in on his senior project — and partly for the 1,000+ other hours he logged doing volunteer hours at the theater during high school & junior high. You’ve also composed original music for The Merc. How did that start? Before my first show at The Merc, I already had some interest in electronic music. The Merc experience gave me the courage to start producing my own music. I’ve been composing for about twelve years now. In high school, my senior project was creating the complete soundtrack for a production called Bike America. I’ve also written some original music for the children’s shows here at The Merc. A lot of my experience comes into play when directors need very specific sounds or edits—sometimes that means composing something new that fits the moment perfectly.  Dean's a flexible fellow who wears many hats. Sometimes, helping costumers by modeling costume pieces (like these flower crowns from The Nutcracker) helps him 'catch the vibe.' When you’re creating music for a show, where do you start?
The script is always the best place to begin. From there I look at the mood of the play, the characters, and the story itself. All of those things help guide what the music or sound should feel like. What’s one piece of equipment audiences might be surprised is so important? Honestly… batteries. So many things don’t work without them. If the batteries fail, microphones stop working, and that’s obviously not something you want happening during a performance. Do you have a favorite show you’ve worked on at The Merc? Ride the Cyclone is probably my favorite play we’ve ever put on. It was incredible working with the high school students and helping bring that show to life. It’s such a powerful piece and it was amazing to see it come together on stage. Why do you think live theater is important for communities like ours? Connection and expression are huge parts of it. For young people who choose to perform on stage or work backstage as stagehands or tech operators, it’s a great place to meet people who share similar interests. That’s how I made quite a few of my friends. Theater also brings art into the community and allows stories to be shared at a particular moment in time. It has a lot of value — not just as entertainment, but as a way for people to connect with each other. Just for fun—if you could design sound for any show in the world, what would it be? Musicals are usually the most fun, so something like Wicked would be great. It’s just such a good story. For more than a decade, Dean Hussey has helped shape the soundscape of productions at The Merc Playhouse. Whether he’s running the booth, editing cues, or composing original music, his work ensures that every moment on stage resonates with audiences. We’re grateful for Dean’s dedication, creativity, and the many ways he helps bring Merc productions to life.  Lexi Lodwig, Stage Manager Extraordinaire By Jane Orme
Lexi Lodwig (Stage Manager) hails from Lost River and is delighted to return to The Merc for Once Upon Camelot. Her recent credits include serving as Stage Manager for James and the Giant Peach in 2024 and performing in The Merc’s production of The Nutcracker as the Sugar Plum Fairy in 2022. A versatile theater artist, Lexi is equally at home on stage as an actor, behind the scenes managing young actors, and creating costumes and set pieces to bring The Merc’s stories to life. Between rehearsals, I was thrilled to chat with Lexi about her experiences at The Merc. (We don’t have time to chat during rehearsals) When did you land in the Methow Valley? I have lived in the valley since 2017, grew up in a small valley town, moved to another small valley town, and now live in this small valley town – you could say I have a type. What inspired you to get involved with The Merc? Have you met Missi Smith? Being close friends with her puts me in proximity to The Merc. A few years ago, she wore me down, cast me in a play (The Nutcracker), and I haven’t looked back. I must confess that even on my own, I am a ham and have always loved the performing arts. Describe your experiences as an actor in The Nutcracker and stage manager at The Merc. Differences/similarities? Being in The Nutcracker was so much fun.. I enjoyed being part of a mixed cast of children and adults. However, stage managing, wrangling America’s youth, is a whole lot of enjoyment in its own right. When I’m stage managing, I have the freedom to be silly with the kids and give them confidence to find their little actor-selves. I really love their questions about the script and their lines — explaining to them why a joke is funny or why Jane and I laugh at some of their lines — and when they hear the explanation they feel like they are in on the joke – it's so cute to me. What new skills or insights have you been learning through stage managing so far? Mmm, probably patience. I am not a parent myself so it taps into a type of patience I am not used to. Also, I am just so impressed with the kids at each rehearsal, especially their ability to remember lines and each other's lines. They bounce back really quickly to what we call “notes” — children have low-egos at this stage in life, making them so easy to communicate with. It's something that I try to emulate in my own daily life. What advice would you give to someone who would like to volunteer backstage with 23 preteens and teens in a full production? Always have HI-CHEW’s on hand, talk to them like they are adults, and get your “mean glare” down — they respond very well to the mean glare backstage. What are your thoughts about community theater such as The Merc Playhouse? I love community theater! I love how it brings us all together, whether you are in a play or you come to watch a play. It's very nice to have such a fun, intimate space in our tiny community, and The Merc’s programming variety gives everyone a chance to enjoy and participate. Are you thinking about any future plans/ideas regarding The Merc? Well, I am sure you will find me up on the stage at some point in the future, and I will never say no to Jane Orme directing a play in whatever capacity she needs me. Anything else you’d like to share? I am very excited about our upcoming play, Once Upon Camelot. It is HILARIOUS, and I can’t wait to see it come to life. It runs March 20-29. Besides loving this show, you will notice how quiet it is backstage–just doing my job!  Last Chance is owned by Brie Smith, Jeremy Idjadi (center), and Tom Kelley.  By Jessica Kelley Last Chance Distilling, a micro-distillery and tasting room located in Twisp, has been a strong supporter of The Merc since they opened 1.5 years ago. They are committed to producing high quality spirits (gin, bourbon, rye, vodka and other limited releases) in the Methow Valley. They’ve provided in-kind donations and volunteered numerous hours of their time to The Merc over the last several years. We recently chatted with Tom Kelley from Last Chance Distilling about their relationship with The Merc:  Visitors can sample their products and learn about the distilling process in their tasting room and production space at 309 N Methow Valley Highway. Tell us about your business and your connection to the arts? As a micro-distillery, we often talk about how the production of spirits is a balance of science and art. Yes, there is the chemistry portion in running the still — but the flavor profiles needed to make an excellent gin, or the skill of creating or mixing a well balanced cocktail definitely fall more within the artistic side of the house. I think the creativity needed to succeed as a distillery is very similar to the creativity needed to thrive on stage. What was your first exposure to theatre? Well, I grew up in the NYC area — and had the privilege to see a Broadway show or two as a kid. That was my first ever exposure to theater... but definitely my most important exposure has been through my daughter whose passion is theater. In fact, most of my theater experience is directly through her, directly from the Merc! Do you have a favorite memory of The Merc Playhouse? It's gotta be the first time I saw my daughter perform on stage in The Fantastic Mr. Fox. Although, honestly, it's every time I see her perform. She really found her people at The Merc Playhouse and we are forever grateful! The Merc has made the valley feel like home for her. What show or performance would you like to see on our stage? Oh boy. I'm a little out of touch with the latest and greatest plays. I'm a big fan of comedy though, so I'd love to see more of that. Maybe the Merc should do an improv show! If you were going to create a cocktail just for The Merc, what would it be? How about "The Merc Playhouse Mule," because it's very approachable: Easy to make and easy to drink. 2oz Buck Mountain Bourbon (or Vasiliki Ridge Vodka if you prefer) and 4 oz of Ginger Beer stirred over ice. Add a squeeze of lime to brighten it up a bit. Preferably served in a copper mug, but an old fashioned glass will do too.  SPOTLIGHT: A Perfect Pairing: The Merc Playhouse and 1908 BBQ and Bourbon Bring Theater to the Table11/13/2025
 by Phil Quevillon Tyler Krost, chef and owner of 1908 BBQ & Bourbon in Twisp, has built a reputation for craft cocktails and a mouthwatering array of barbecue and savory sides. His restaurant, located right in the heart of town at 101 North Glover Street, often collaborates with The Merc to create themed food and drink menus inspired by current productions. During the run of Our Town, for instance, guests could enjoy a mocktail called Mrs. Gibbs’ Almost to Paris, a cocktail dubbed Dr. Gibbs’ Tonic, featuring gin from Last Chance Distillery, a side of Mrs. Myrtle Webb’s Deviled Eggs, and Emily’s Chocolate Chip Cookies for dessert. I recently had the chance to talk with Tyler about 1908 and its creative partnership with The Merc, located next door. Tell us about your business and your connection to the arts? This place was a means to stay in the Methow Valley. I was head chef at Sun Mountain; we bought a house, and when new owners bought this building, I asked my wife Nicky if she wanted to stay in the valley. I met with Jen Tate and offered to change this building to offer BBQ and good bourbon. Food has always been my medium for art; it gives me a sustainable living in the valley. As next-door neighbors to the Merc, I want to be part of it as much as I can. How has the Merc Playhouse relationship affected your business? I really like it. We get early dinner traffic on show nights. It's great for business. What is your favorite show in the past few years? I liked Finding Nemo, last summer’s theater camp show. I think the kids were great, singing and dancing. Because our dishwasher’s daughter was performing in the show, we had skin in the game. I also enjoyed last year’s high school show Hadestown. The singing and energy were special. Is there a show you'd like to see at The Merc? Monty Python and the Holy Grail. It was at the Paramount and was hilarious. Tyler leaves us with a tease for what’s next: “Stay tuned for two new cocktails, an appetizer, and a dessert inspired by The Little Prince this December!”
  This month, our Merc spotlight falls on two shining young performers who have truly grown up under The Merc’s lights. Rowan and Orlo bring tenderness and spirit to Emily Webb and George Gibbs in Our Town, embodying the play’s reminder to cherish life’s simplest moments. For both of them, when their families first arrived in the Methow Valley, The Merc became more than a stage — it became a home, a community, and a circle of friends. Now, between rehearsals and school days, they reflect on what this story — and this theater — mean to them. Narrator: During a lull in rehearsal one evening at The Merc Playhouse, with backstage humming as actors polished cues and caught up with friends, we met Rowan Kelley (Emily Webb) and Orlo Parkinson (George Gibbs). With one young actor grabbing a quick yogurt, we talked about the joys and challenges of bringing Our Town to life. Getting to Know Emily Webb Narrator: What do you like most about playing Emily? Rowan: Emily’s such a nuanced character. She isn’t loud or flashy — she’s subtle. I like exploring that quiet depth and finding the little shifts in how she behaves. It’s different from the bigger, broader characters I normally play. Narrator: When you say “different from normal,” do you mean only as an actor, or also personally? Rowan: Both, probably. I usually get cast as the motherly type — which Emily sort of is — but she’s younger and living in another time. Still, there are similarities between us, which helps. It would be hard to play her if we had nothing in common. Narrator: In what ways are you alike? Rowan: We’re both ambitious, and we share this sense of wonder about the world — how things work, how beautiful ordinary life can be. Emily doesn’t see that at first, but by the end she really does, and I relate to that part of her. She’s a good person at heart. Narrator: And how are you different from her? Rowan: She’s a little arrogant. Not in a braggy way, but she thinks she’s smarter than everyone else. And she’s more emotional — less steady — than I am. I like to think I’m a bit more grounded. Narrator: What do you do to make her feel real — more than just a character on the page? Rowan: Whenever I play someone, I think about what they truly want out of life — their “super-objective.” Then I break it down into small goals in each scene. What does she want right now? What’s driving her? People always want something, and that’s what makes them real. I also build a backstory — little details like adjectives that describe her or even what color her hair is. The more you know, the more three-dimensional she becomes, and the more real I can make her. Narrator: Is there a line of hers that really speaks to you? Rowan: Yes. In Act 2, when she says, “Well, you might as well know right now that I’m not perfect,” I love that moment of honesty. And of course her speech at the end — when she says goodbye to clocks ticking and mama’s sunflowers and food and coffee and new ironed dresses and hot baths and sleeping and waking up — it’s so full of love for the ordinary. That scene always gets me. Becoming George Gibbs Narrator: What’s the most fun part about playing your role? Orlo: George is just such an optimist. He’s happy, enthusiastic, kind of carefree — especially in the first two acts. It’s fun to step into that, because real life can get stressful. I’ve got homework, responsibilities… George doesn’t. Being him lets me relax for a bit. Narrator: What parts of George do you see in yourself? Orlo: I try to be optimistic like he is. I complain sometimes, but underneath it all I believe things will work out. George lives in the moment, and I admire that. I think we share that quality. Narrator: If you could give George advice, what would you tell him? Orlo: Don’t get too focused on one thing. In Act 2, he gets wrapped up in baseball and forgets everything else. I’d tell him to keep the big picture — to remember there’s more to life than whatever’s right in front of you. Narrator: How do you get into character? Orlo: I don’t have a ritual or anything. It just kind of clicks. My first line is “Yes, Pa,” from offstage, and once I say it, I’m in George’s head. It’s like starting an engine — you might step out for a second, but it’s still running in the background. Narrator: Would George fit in at school today? Orlo: I think he would. He’s athletic, but not a jerk about it. He’s kind, and he tries to be a good person. People would like him. Narrator: What’s been the hardest scene to master? Orlo: The wedding, definitely — I’ve never been married, so that’s weird to imagine! And the Act 2 confrontation, when Emily tells George he’s been kind of a jerk and needs to be better. It’s tricky to find the right emotion there without making it awkward. Onstage Chemistry Narrator: You’ve worked together before, right? Orlo: Yeah, but this is the first time our characters really interact much. It’s been great. Rowan: Definitely — it’s different when you actually need to build a relationship onstage instead of simply being in the same production but not interacting. We’ve become even closer friends. Narrator: Do you ever make each other laugh when you shouldn’t? Rowan: Oh, absolutely. During the wedding scene I sometimes make faces at him. And he doesn’t mean to, but he makes this funny expression back that breaks me every time. Orlo: And my shoes hurt when I kneel down in the last scene, so I take them off — she’s always thrown off when she sees that. Lessons from Our Town Narrator: What have you learned from this show? Rowan: It’s such an interesting play. It reminds me how valuable small-town life is and how lucky we are to have a place like The Merc where we can do theater and connect with the community. When I moved here, joining The Merc introduced me to the valley, to amazing people, and to acting itself. I might not have discovered how much I love it without that. Orlo: For me, the play really teaches you to appreciate life while you’re living it. I want to carry that lesson with me. And being in this show — and in theater in general — has helped me with confidence and social skills. The Merc is a kind of escape for me; it’s a place I feel comfortable and supported. Narrator: Do you think Our Town will connect with people your age? Rowan: Maybe not in the same way it does with adults. It’s written for people who have lived a little more, who can look back and reflect. But younger people can still take things from it — about relationships, noticing the small stuff, caring about the moments that matter. Orlo: Yeah. Even if you don’t relate to every situation, you can feel what the story’s saying. Narrator: As we finished chatting and they gathered their things — scripts, the empty yogurt cup, laughter — the director called for the actors to return to rehearsal. As they reentered Grover’s Corners, their voices carried that special mix of youth and wisdom that Thornton Wilder must have loved: bright, curious, and full of heart. And right there, between rehearsal and real life, Emily Webb and George Gibbs stepped quietly back into the world, reminding the rest of us to notice it while we can. —End Scene.  Photo by Jane Orme. This month’s spotlight shines on Jane Orme, director of Our Town. Jane has worn many hats at The Merc Playhouse: longtime director, retired public school teacher, past board president, and now a returning board member. She has guided countless productions with her trademark warmth and creativity, building community both onstage and off. Now she’s bringing Thornton Wilder’s timeless classic, Our Town to life for our Methow Valley audiences.  Q: You’ve directed many productions for The Merc. What keeps you coming back?
A: Our Methow Valley community. The Merc has such a devoted audience and an incredible pool of talent. Each show becomes more than just a production—it’s a shared experience that connects us as artists and as friends. I love working with the actors and crew. They are all so talented and generous, and they collectively want to make these shows the best ever. The stage for Our Town is set with pieces loaned to us by our community members. I asked if anyone had a wedding dress and received responses immediately. (Someone started a rumor that I was getting married – haha.) Board members, staff, friends, and even my family have donated, contributed, and been present for these productions. I’ve enjoyed lasting friendships with many young people as well as adults through the years because of this fabulous theater. Q: For those who have never seen or read it, what is Our Town about in a nutshell? A: Our Town, by Thornton Wilder, is a three-act play about a small community that feels familiar in any place or time. Methow Valley audiences as well as folks from other places will relate to the characters and community. It follows the Gibbs and Webb families—especially George and Emily—as they grow from teen years to marriage and beyond. Through the Stage Manager’s guidance, the play reveals the beauty of everyday life, love, and the power of relationships. Q: Written in 1938, Our Town is often called one of the greatest American plays. Why do you think it’s stayed relevant for so many generations of theatergoers? A: Audiences relate to Our Town’s themes. The play speaks to the message of appreciating life’s moments, which we all need to be reminded of during our most busy daily lives. Q: And for audiences seeing it for the first time, what do you think will surprise them most about the play? A: The cast is fabulous—that’s no surprise—but I love it personally when there’s a familiar face on stage for the first time. Also, the play has lots of humor. Q: Every director puts their own stamp on a classic. In what ways do you feel this production is uniquely yours? A: The choice to costume the actors in clothing mostly from their own closets. It grounds the story in the everyday, making Our Town feel immediate and relevant to today’s audience. Q: Is there a particular scene or moment in the play that gives you goosebumps every time? A: Yes, every time, but I can’t reveal which one. (Don’t want to give away special moments ahead of time, but let’s just say I cry every time I hear the line.) Q: Beyond directing, you’ve also recently rejoined The Merc’s board of directors. How does wearing both hats—director and board member—shape your perspective on community theater? A: Each role means a lot to me. As a board member I listen for the community’s voice, and as a director I get to bring that voice to life on stage. It’s a privilege to do both. Q: If someone who isn’t usually involved in theater peeked into rehearsal, what might surprise them about the process? A: Everyone is extremely focused on doing the best job possible, but occasionally we break down into fits of maniacal laughter. Q: What do you hope the cast themselves are learning or experiencing as they bring this story to life? A: I hope they are realizing how every character on stage reminds them of themselves and people they encounter in their own daily lives. Q: And for the audience, what do you think people here in the Methow Valley will recognize in themselves when they watch Our Town? A: I think they’ll see themselves in the families, friendships, and shared experiences of community—whether in the Methow or somewhere else. Q: Finally, if you could whisper one piece of advice from Our Town into the ear of everyone leaving the theater, what would it be? A: Cherish those everyday moments. Make ’em count. Can't wait to see the show? Grab your reserved seat tickets now!  By Jane Hill
A childhood in Maine, four years in the Air Force, and a degree in theater from Virginia Commonwealth University explain why Tim d’Auteuil bears no trace of a Texas accent from his more recent career years there. That East coast beginning also claims responsibility for his French surname, which he directs us to pronounce “DO-Tay” During a university production of the musical Carnival, Tim, on stage, noticed the talented violinist in the pit orchestra who played the solo “Love Makes the World Go Round” and a permanent partnership was formed between the musician, now wife Marilyn, and the actor. Following graduation Marilyn accepted a position in Fort Worth, Texas, while husband Tim tried to find fulfilling work as an actor while holding down various jobs. Landing a position as a teacher in a Montessori School, Tim felt at home and began to pursue a degree in education. Thus was determined the remainder of his career. Eventually the couple raised two sons, and continued their avid interests in outdoor activities, especially backpacking. While hiking at Mt. Rainier ten years ago, Marilyn and Tim met a couple from Winthrop with whom they kept in touch and visited. Both retired from their careers by 2021, and began the realization of their dream of extensive travel. They sold their home, unloaded possessions, and bought a camper van and enjoyed the next two and a half years traveling around the US. Knowing about our valley through their friends and travels here, Tim and Marilyn decided a year ago to stop here and make a home. What a lucky choice for us! Avid outdoors people, they relish the opportunities for all of those activities here as well as the arts scene here and the caliber of interesting people. Tim was thrilled to feel welcomed into three roles on the Merc stage in his first year here. Wishing to give back to the community, Tim joined the Board of Directors of the Merc Playhouse, and at his initial meeting was asked if he would consider stepping in as Interim Executive Director. He said “YES!” and has proceeded to learn a whole new job in a very short time. Join us in a grand welcome to Tim and Marilyn d’Auteuil!   By Jane Hill
This month we shine the Merc Spotlight on Nick Leon If you haven’t already, I’d like you to meet Nick Leon, a frequent and able performer on The Merc’s stage. Nick recognized early in life that he loved telling stories and that he really has no fear of speaking in public. He also finds memorizing an easy task. You’re getting an idea of why Nick seems so totally at home on stage. Singing in front of an audience was a bit more challenging. He began with the encouragement of his vocal coach, Dana Stromberger, and gradually invited classmates in to listen in increasing numbers, until performing in the LBHS musicals feels natural to Nick, too. Nick believes the value of live theater goes much further than simply entertainment. He affirms that seeing and taking part in a play encourages you to think about important subjects. Theater, opines Nick, can touch your soul and even break your heart. I hope you saw Nick in last year’s Liberty Bell Drama Company production of Ride the Cyclone and you won’t want to miss him in this year’s production of Hadestown. Nick is proud of the strides in self-motivation he’s made as a student at the ILC. The education he gets here fits him perfectly; he sees his learning as part of real world experience, actual life events, and excellent preparation for wherever his talents and abilities will take this capable and interesting young man. Cheers to 25 Years!  In 2025, The Merc Playhouse is celebrating 25 years of bringing live theater to our community. In honor of this milestone, we're sharing a close look at how we got to where we are after a quarter of a century.  This month we shine our Merc spotlight on Cindy Williams Guttiérrez, the much-lauded local playwright and poet who created The House. In addition to authoring the play, Cindy is directing its world-premiere production at The Merc, opening October 3, 2024. The Merc had the opportunity to chat with Cindy between rehearsals so we could bring you this sneak peek into this creator’s inspiration and backstory.
Cindy, what inspired the story behind The House? I once heard playwright Craig Wright talk about beginning his plays with a seemingly unanswerable question that is resolved as the play unfolds. The question that was the catalyst for my play was, “What if we could relive our childhood memories in the home where they took place and that home could serve as the objective observer and keeper of familial memory, interrupting us every time we misremember?” Did you face any moments in the writing process where the characters or plot took an unexpected turn? Yes, the ending surprised me. We don’t want to publish any spoilers! What stands out to you about the character development process? I love character development. The characters in the play are complex. We dedicated significant time in the rehearsal process to exploring the different facets of these characters, to humanizing them and to deepening the actors’ embodiment of their contradictions. What was the most challenging aspect of creating this script? I play with time in the first half of the play. Act I is not linear – because memories are not linear. I don’t recall that the writing process was challenging, but it does pose quite a challenge to direct a nonlinear series of scenes in a way that conveys a semblance of chronology to the audience. What led you to choose The Merc to stage the world-premiere performance of your creation? I love the Merc! I am so honored to see this work come to life in this community that means so much to me. In addition to being the playwright, you’re also the director. How has this influenced the production? Since this is a new work, we have been workshopping and producing the play simultaneously. That means that I have been making changes to the script along the way. It has been a gift to have the cast and stage manager co-create with me. I am deeply grateful to the actors: Nathan Sundt, Micah Lee, Kira Wood-Cramer, Megan Schmidt, Tim d’Auteuil, Emily Doran; and Stage Manager Ronda McHugh. What excites you the most about directing a script no one has seen performed yet? What challenges has it introduced? What’s exciting is that it’s a blank canvas. We get to be the first ones to interpret the script and bring the show to life. The challenge is that the script has evolved through the rehearsal process, so it requires tremendous patience and flexibility on the part of the actors and stage manager. Are there particular moments you're especially eager to see come to life? Yes, but I won’t give them away! Well, I will say that a scene takes place in a part of the Merc where a scene has never been blocked before. Hmm… That’s hard to imagine and intriguing! One of the great things about theatre is there’s always something new to try. How have your actors contributed to shaping characters, given they have no previous interpretations to draw on? This is a very smart and talented cast. I have been blown away by their instincts and their questions. Their intelligence and dedication have contributed enormously to this production. I have learned a lot from them. Can you share any surprising discoveries you and/or the cast have made during rehearsals? What I love are the discussions of the backstory, the stories the actors imagine that have brought their characters to each moment in the play. One thing I appreciate is that Emily Doran, who plays The Other Woman, gave her character a name as a way to humanize her. Through character work, we discovered that when Mama sees The Other Woman as a figment of her imagination, she looks more provocative than when she appears in real life. For me, this is true to how our minds work – how we fixate on people and things and make them bigger than they are. How did you decide on technical elements like set design, lighting, and sound for a first-time production? In what ways did the fact that it’s a new script make it easier and/or more challenging? Well, it’s a complex set – it’s a house! Trying to fit four rooms and the exterior of a house on the Merc stage was quite the challenge. It took a village to settle on the set: my friend and designer Ann Wilson from Portland, Karter Layfield (the Merc’s Technical Director), Rose Weagant, my husband Michael, Kira and me. You can’t just furnish a house on the stage – you have to leave room for the actors to move! And it has to make sense to me as both playwright and director. You’ve been involved in productions at the Merc before. Which productions have you been a part of & what has been your role? Any favorite memories or anecdotes? I co-produced my play Words That Burn at the Merc in 2017, the same year it won the Oregon Book Award for Drama. I brought the cast and director from Portland for public performances and a matinee for Liberty Bell High School students. I had a fabulous time performing a part in Love, Loss and What I Wore in a 17-woman cast directed by Rose Weagant. And last January, I was thrilled to play Hertha Ayrton in The Half-Life of Marie Curie. A fun anecdote is that I had never met Gwen Vernon (who played Marie Curie) until we auditioned together. We ran into each other later that evening at Mistletoe Madness. We looked at each other and one of us said, “Hey, I know you. I felt chemistry auditioning with you this morning.” The other of us said, “Me, too!” Two days later, we found out we had been cast. In your opinion, what role does a community theater like The Merc play in a small, rural area such as the Methow Valley? The Merc is essential to the creative vitality of the Methow Valley. It is a place to co-create, to collaborate in bringing something to life. There is room for everyone, whether you want to be onstage or backstage. It takes so many open hands and hearts to raise a play onto its feet. As a playwright, my vision is community-focused: my commitment is to bring the themes raised in the play from the stage into community dialogue. I am thrilled to involve Methow Valley leaders in two community engagement events following the Sunday matinee performances on October 6 and 13. One panel will explore “Opening the Door to Healing: The Role of Memory”; the other will discuss “Reimagining Home: The Role of Community.” I invite folks to stay tuned for details. On top of all things related to The House, you’re also a poet … how do your experiences as a poet influence your work as a playwright? Funny you should ask… Poetry is a character in the play. It’s one of the narrators. The other thing that comes to mind is that the actors have noted that there are multiple interpretations to many of the lines in the play – they are often open or have a double-entendre. This definitely comes from my life as a poet – everything is a metaphor, everything has layers of meaning. I am also rooted in rhythm. In playwriting, this sometimes shows up as “braided” and "echoed" dialogue. And I’m a fan of juxtaposition: holding two seemingly opposite things in proximity to reveal something interesting. How is the writing process for poetry and playwriting similar? How is it different? Over the years, I have written many dramatic monologues, also called persona poems. So I have written poems in voices other than my own. This is similar to writing monologues for a play. One of the main differences is that a play normally moves through time. But a poem transcends time – you can make enormous leaps of thought and you can expand the moment through meditative reflection. Perhaps this is why I play with time in Act I! How do you think being part of a smaller creative community (Methow Valley as opposed to New York City, for example) influences your work? It’s personal. Theatre is an intimate experience. The rehearsal space is sacred. It is a place to take risks, to experiment, to be vulnerable. It is a very special experience to share this with people in my own community. Would you encourage other established creatives to get involved in community theater? How does the theater inform your other work? Absolutely! I would encourage everyone to get involved. There is so much problem-solving involved in theatre-making, a constant stream of choices to be made – it’s a lot like life. This experience of bringing The House to life will certainly inform how I think about developing my new play, How to Measure a Life. What one piece of advice would you give to other aspiring playwrights? Particularly folks who have written for other genres. A long time ago a theatre-maker told me, “Plays are about relationships.” Try writing a scene between two interesting people. Before you do, write each person’s obituary." |
creating experiences which connect our community to the diverse aspects of live theater
MENU
Thank you to our sponsors!
The Merc Playhouse | 101 S. Glover Street | PO Box 425 | Twisp, WA 98856 | 509.997.7529 | [email protected]
The Merc Playhouse is a registered 501(c)3.
The Merc Playhouse is a registered 501(c)3.