#juliabaker

I love celebrating awesome talent! Here are some old friends and new from last weekend’s #joeyawards: #aymericjettmontaz #satinescarlett #madisonbrydges #daliayegavian #christianconvery #athenapark #riajade #aidencummingteicher #octaviankaul #juliabaker #laurenthompson

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Here goes my third blog post! As Salome runs about 2 weeks from tech, things are stringing together gradually, but progress is being made. As things are becoming more detailed, things have begun to move slower, but with more attention to ensemble work, and specificity of motion. Beth Schachter has been sitting in on our rehearsals lately, and has been a firm advocate for us to all expand our arms, and take up space, as corresponding to our respective characters. While at first the focus on arms felt awkward and over-the-top, we have all conclusively found that the usage and mobility of our full body expands the status and significance of our motions and characterizations. I do wish we could expedite the process so that the final product would be visible ASAP, but the process is probably the most beneficial aspect of it, however it seems so gruesome right now. The nit-picky repetition is a little hard, but hopefully the end product will be something I am proud to be a part of. As a cast, we do have a habit of distraction, which can be fun, but also a bit taxing at points, because it elongates the fluidity and flow of things, which we’re sort of running out of time to do. Salome as a whole is a very ambitious project, what with the heightened text and usage of an ensemble, but the sense of camaraderie is a really nice aspect of it. However, I do wish currently we were buckling down and paying attention to the text, and were truly present during rehearsals, so as to capitalize on the four hour rehearsals we endure. There is a little bit of frustration joined with this part of the process, which is the real testing point of whether the show is going to come together or not. However, I still think we have a strong show on our hands, we just need to regroup, and really commit to characterization, text, and status/relationships. Progress, albeit hard, is being made.

Hello! So, this is my second post about the mainstage Salome, and things are undergoing some pretty significant changes. A week or so ago, we had our first designer run, and decided to redo and revamp some of the scenes. We had Beth Schachter sit in on some of our rehearsals and play status games with us, so that the cast could get acquainted with the idea of power. Since the show plays with such power-heavy scenes, the establishment was necessary. Not to mention the really interesting power dynamics between characters, some as stark as queen to servant. Playing with status is helpful to establish relationships with characters you interact mostly with. The only character in which I have dialogue with is Salome, and exploring the tension between a princess and a prophet is very complicated, because one is important on the earthly realm, which is respected by her subordinates, while the other is a vessel of God, but is not necessarily respected by those around her. Interacting with the different actors on stage while playing such a high status is really intriguing because their reaction is indicative of how high my status is. It affects the way I hold myself, the way I speak, the fluidity of my motion, etc. Exploring these differences attunes you to those around you, which is so incredibly helpful in establishing a character, and its significance. That’s not to say that only those of high status matter in a play. The reality of a production stems from the reactions of all characters with each other, regardless of status. Status merely acts as a guideline so that a servant doesn’t challenge someone of a higher status unjustly, or a high status character is inconsistent in their treatment of those below them. But competing with someone of the same status is where things really get interesting. The time in which you feel out your sense of power is different; it’s slower and more deliberate. You’re more cautious of your actions, and how the other person is receiving them. I still don’t have everything figured out about the status in Salome, but I really look forward to continuing the push-and-pull process.

So, I guess I should start off with a sort of introduction. My name is Julia, I’m a sophomore at Muhlenberg College, and I am playing Iokanaan in the upcoming production of Salome by Oscar Wilde, a part of the second set of New Visions festival, Falling. We’ve been in rehearsal for a little over a month now, and honestly, I’m beyond excited about the cast, the process, and working with a student director on a Mainstage production. Since the show is gender-bent, and consists entirely of girls, the dynamic of the rehearsal process is actually very different from any experiences that I’ve had in the past. Personally, given the sexual connotations of the piece, it’s actually been pretty amazing working with a group of extremely empowered, fluid actresses who are very supportive of one another. Since the entire cast is comprised of women, the idea of sexuality isn’t projected as a hindrance, but instead, it’s more used as an empowering reclamation of the female form. Salome is movement-based, and watching my cast mates partake in a powerful, highly sexual dance is actually really remarkable. There’s no real strive to fulfill the male gaze in rehearsal; the work is entirely that of the actresses. It even alleviates some of the stress of appearing “sexy” on stage, because the movement is so freeing and strong, really reiterating the concept that sexuality is not dependent on the perception of men, but instead a means of self-identity and establishment. The movement of the female form is that of grace and poise, not of showcasing its assets. I’ll be submitting posts on a roughly 2 week basis, so stay tuned!