Frequent PCSC actor, Kate Tubbs (Puck) talks about the challenges of creating a non-human character.

Puck is the first Shakespearean Fairy character that I’ve played, so preparing for this role has created a lot of new questions for me and has been an exciting challenge. The first step in creating a non-human character is to determine how your character is different from humans, especially the characters he/she interacts with. In creating Puck, I started by deciding how my character is different emotionally and physically.

Fairy characters don’t feel emotions the same way that humans do. While Fairy emotions can be extreme, they are not as complex as human emotions. For instance, a fairy can get extremely angry or sad, uncontrollably happy or tired, but he/she can’t feel complex emotions like shame or regret, and cannot empathize or sympathize with humans. So this informs how I interact with and treat the human characters. Puck’s detachment makes him a playful plot advancer who is intensely curious to see things play out.

Similarly, magical or non-human characters have different relationships with their environment. Puck moves differently than humans. He positions himself differently and has different opinions on what is appropriate/normal for interactions. He also has a small amount of magical power. Sometimes he can bend the laws of physics, other times he can control the flora and fauna around them. This has to be a part of my physical performance.

Overall, I tend to think of non human characters as less limited and usually more powerful than human characters. This creates a lot of opportunities for actors to give a unique performance because we can make bigger or more drastic choices. We can raise the stakes much higher and go farther outside of ourselves. We can be as weird or crazy or active as we like. So we have a much larger foundation to build our character on. Our character’s pool of resources is larger and deeper so there are so many things to try.

But even though there are lots of new possibilities when playing a non-human character, in some ways, it is very similar to creating a regular character. You still must understand your character’s storyline — his arc throughout the play, what he does and why and how. Non-human characters don’t necessarily always have exciting story lines or arcs themselves, but they do often have a lot to do with plot development. So the actors have a myriad of whys and hows to choose from. That’s what makes these roles so much fun!

Introducing  Antonio Royce Copeland (Lysander)! A Midsummer Night’s Deam is Antonio’s first production with PCSC, so he’s answering round one of our Acting Questions.

1. How do your typically go about preparing a Shakespearean character?

I approach every character I play from a similar jumping off point. Our actions as human beings are based on needs and wants (be they realistic, necessary to survival, or otherwise), so it is necessary for me to flesh out all of these first. Then I have to determine whether or not they are fantastical or within my reach, and just what I’m willing to do to get them. Once a character is driven, and those things are rooted in something; the actor – or vessel as I like to describe our part as performers – can personally connect with the character begins to take shape. As always much respect is due to the text (particularly when good ol’ Billy is involved), so you take care to fully understand The “givens” (i.e. who, what, where, when, and why). Once I get a grip on the environment I’m playing in; I focus on how the character is seen by those around him (or her if I’m lucky), and I decide which things are true, which things I’m aware of and how I react to said person as a result. The finishing layers such as physical traits, accents, and the rhythm/music of the dialogue, all fill out the role and let it become a living, breathing entity unto itself. So basically I read the script and wait for the director to tell me what to do. ;-)

2. What do you find to be most helpful part of PCSC’s standard rehearsal process?

It’s very apparent that the members of PCSC are also educators in one way shape or form. The rehearsal process is a safe space where EVERYONE is encouraged to provide input into not only their specific role, but anywhere they feel they can help. I imagine it’s what a brain storming session involving the writers for 30 Rock or The Golden Girls must have been like! Just someone saying, “it’s okay… just let your juices flow.”

3. What do you like to do for fun outside of theater?

I enjoy baking, and the Disney Channel…it doesn’t go much deeper than that…

4. What is your day job?

What is that?

5. What theater plans do you have in the next couple of months?

I plan to be singing and dancing wherever anyone will permit me. I feel the most like myself when I’m pretending to be someone else, so be it a gig at Tibbits Opera House (fingers crossed), or on the corner of 28th and Division if you belt it, they will come.  Or at least honk or throw something at you as they pass by!

Introducing  Chad Marriott (Flute/Peaseblossom)! A Midsummer Night’s Deam is Chad’s first production with PCSC, so he’s answering round one of our Acting Questions.

You must respect the Bard -  that is first and foremost.

When preparing for your character he has already done most of your work for you, but why did good old Billy have to be so smart? I’m not sure, but I know when I begin working on Shakespeare I start by figuring out what my character is saying. From there I figure out what they want and decipher how they are trying to get it.

After doing my text work I get to do, what I consider, the fun part. I put my personal twist on the character. For example, during Much Ado about Nothing (directed by PCSC’s own Katherine Mayberry at the Grand Valley Shakespeare Festival, 2013) I spent a lot of time figuring out what Conrad was doing and what he wanted, essentially what his role was in his group. After that I decided how my character felt about that. I played around with things until I found one that fit and took that and ran.

One of the interesting things with Shakespeare is that he forces you to use external techniques. I’m an internal process guy, but Shakespeare makes me do more external exercises than I typically would do.

At Pigeon Creek I’ve found that the directors’ openness has been really helpful. Knowing that I’m not going to be told “Do that again, but different” is definitely a helpful thing. They are straightforward with you, but not rude. This adds up to an encouraging environment for creativity.

I’ve also enjoyed working with a multitude of acting exercises. I once had a professor who said that he was giving us tools and if we liked them we could keep them and if we didn’t we could throw it away. We’ve worked on things like Laban’s movement tendencies, text work, and internal things, like head, heart, gut, and groin.

This is a great trait for a company to have because not every actor has the same process and being able to get across to all of the actors is vital to a show.

Our newest Rep. Company member Zachary Johnson (Hector, Calchus) answers our second round of acting questions.

1) When creating a Shakespeare character, do you start from the “outside” (voice and physicality) or the “inside” (relationships and motivations)? Why?

Inside. It kind of has to be with me. Mostly, I am going to be sitting alone reading these words over and over again…all by myself…thinking about what the hell any of them could possibly mean. In that way, I am already having the internal monologue that is required to feel out the character’s motivations. For example (after reading the play through from Hector’s perspective):
Me: So, Hector seems pretty pissed off at his entire family nearly the entire show.
Me Too: Yup.
Me: But everybody’s always talking about he’s so honorable and virtuous and patient and moderate
Me Three: (Offstage) Yeah, gallant’s the word!
Me: So, what the hell?!
Me Too: …I dunno. Bad week?
Me: …Gotta be. Bad week it is!
You see? How could I work on my physicality and voice that early when I’ve already got several people screaming opinions about the character at me in my head? It doesn’t seem like a reasonable expectation. When I’m sitting on the toilet wondering what the word “tenth” means and how I should go about coloring it (quick hint: tenth doesn’t mean what you think it means), I have no time to devise a specific posture. All that comes later, when the other actors and rehearsal space exist.

2) Is there anything about Shakespeare’s language you find especially helpful in preparing for a role? Anything that is always challenging?

My answer is the same for both things; implied stage directions.  On the one hand, I love it because, when I understand what stage direction is implied, it eliminates at least one of those “uhh, I don’t know what to do with my hands right now” moments from the play.  I especially love false exits.  Any time my character says goodbye even twice or more, I typically try to make a run for the exit after the first farewell.  The concept of making another actor have to force you back onstage after you try and just leave is really fun for me.  Unfortunately, things get hilarious in a more at-my-expense kind of way.  I end up looking confusedly at someone for several seconds before they just come right out and say, “You should probably be stopping me from ripping her eyes out of her skull right now.”

3) How do you prepare differently for an ensemble directed production versus a production with a director?

I don’t know that I change very much between ensemble and “nonsemble” directed shows.  More likely than not, I will just pose all of my questions throughout the process to the directors as opposed to taking them to everyone around me.  Directors have their own overall plan, but an ensemble just needs to talk more in general to each other to establish their own overall scheme together.

4) What is your favorite “Original Practice” (audience contact, cross-gendered casting, live music and sound, etc.) and what exactly do you love about it?

I would say audience contact, but I typically end up struggling with it too much still to really admit to it being my favorite.  Soon, maybe, when I’ve got it all figured out, I will appreciate it better, but for now I am going with live music.  For one, I always end up involved in some way.  Most often I am on drums, which might be one of the most rad things that I’ve gotten paid to do.  However, sometime I get the pleasure of learning one of the ridiculous instruments that PCSC has at their disposal.  My favorite example of that would have been in Love’s Labour’s Lost when I got to play three different songs on the concertina.  It’s like an eentsy, uncomplicated accordion, and it rocks my socks.  I even managed to work in “Epona’s Song” from The Legend of Zelda: Ocarina of Time as I entered a scene with that instrument.  Nothing beats it: walking around crotch-first and half-naked while playing a Nintendo love song about a horse on a wang-shaped instrument.  I felt like I had made it…like I had finally made something of myself.

5) What is your dream Shakespearean role?

King Lear.  Is that everybody’s?  I wouldn’t be surprised.  I have never actually seen the show performed, but it has always been my favorite since we read it (we of course read it last, after Romeo and Juliet, A Midsummer Night’s Dream, Taming of the Shrew, and Merchant of Venice) in high school.  I had always actually liked the Fool the most as far as that play goes, but as far as dream roles go Lear is way superior.  You get to be an ornery old man as well as hang out with the Fool for the entire play, and then there’s all the madness business when he gets naked in the rain.  The people that go nuts are always especially fun.  And then, in the very end of it all, you get hit with some seriously heavy drama.  Dude feels so bad about mistreating his not-evil daughter that he dies!  That all wrapped up in one guys seems pretty dream-worthy to me.

Rep. Company member Janna Rosenkranz (Ajax, Deiphobus, Cassandra) talks about the challenges of doing battle onstage.

From Couch to Greek Warrior in Six Weeks: Stage Combat for the Morbidly Sedentary

I couldn’t have been more surprised when I was cast as Ajax and Cassandra. The later character, Cassandra, is the type of character that comes easy to me in that I know what it feels like to be a woman whose voice is not always (for poor Cassandra never) heard or counted. Ajax, on the other hand, through me for a real loop. I had nothing, internally, to really explore for Ajax, so I took a very simple outside approach with him and played up his cartoon like Football Joe/Meathead characteristics. (No insult is intended towards football players named Joe or Meathead). It also must look ridiculous, as I’m the complete physical opposite of the men I’m fighting, however, as that lends itself to the fact that Ajax is a joke, and is made fun of by virtually everyone in the play.

With the help of our wonderful directing team, Angela and Francis Boyle, I was able to find some specifics to help with Ajax’s character, but besides the acting challenges, there was a huge physical challenge. I’m a 48 year old, overweight, Netflix addicted, un-athletic woman! I’ve taken some stage combat (around 15 years ago) and once even took a fencing class (in my last year of college for a required PE credit), and done some minor combat with PCSC in Henry IV, 2 and Macbeth, but I’ve never had to really have a serious stage fight before, and now I was faced with three serious fights. I was lucky to already have acted with the three men I’d be fighting with, Scott Wright, Killian Goodson, and Zachary Johnson. I knew them and trusted them. I was also extremely lucky to have Francis as our fight coordinator and Steven Schwall as our fight captain. I felt a kinship with Francis and Angie immediately and Francis was very clear with his instructions. Trusting your fellow artists is half the battle. I thank them all for their professionalism and camaraderie.

Facing my fears of anything movement related was a huge part of my challenge. Over the last ten years or so I’ve become a very careful mover, watching every step for fear of what my husband calls “tipping over.” Basically, I’m a huge klutz (I take after my Jewish mother) and I fall. A lot. Like a lot. During PCSC’s production of The Merchant of Venice I fell down a set of stairs and caught myself with my face. I had a huge lump on my forehead and two black eyes as a result. In Henry IV, 2 I had one tiny fight during an excursion and I think I managed to mess it up in every performance. I did better in Macbeth, but only had one or two parries and a duck. I still am not quite sure how The Powers That Be at PCSC would even trust me with a sword, let alone cast me as a character who is in three fights!

Learning and rehearsing fights is like learning a new dance, there are beats, positions, intentions; basically lots to think about when you are fighting. I’m lucky to have a muscle memory of dance and gymnastics from my childhood; I’ve even been told I still sometimes move like a dancer, despite my more recent commitment to the good fight against gravity and being a highly ranked officer in the eat masses of carbs army. Like dance, you start getting the fight into your body and get some muscle memory established. Of course this means loads of repetition. The fight choreographer and captain (Francis and Steven in our case) model the moves of the fight beat by beat, and then the actors repeat what they did beat by beat. Since we’re doing live theater, we, rehearse the fight before each show with our fight captain observing. Since anything can happen during the fight, the more practice we get, the more we have the moves in our muscles, the more predicable the fight will be and the more we can deal with adjustments on stage.

We are currently in our final stages of rehearsal before we open and although I’m still nervous about my combat, I’m very excited. There is so much I don’t know and so much I learn every time we do fight calls and runs. The most important thing is that NOBODY gets hurt in any way, shape, or form, but for me, this experience has been so much more than just some fights in some play, it’s become a new source of mental, physical, and emotional confidence and  self-assurance.

The confidence that PCSC showed in me helped me gain more confidence, both in myself as an actor and in my own body. My appreciation for my body has also risen exponentially, and of course getting in a little better shape doesn’t hurt anyone. Both roles were great acting challenges and I am honored and appreciative that everybody at PCSC trusts me with helping them tell the stories of these wonderful plays.

Introducing  Brad Sytsma (Diomedes, Servant)! Troilus and Cressida is Brad’s first production with PCSC, so he’s answering round one of our Acting Questions.

1) How Do you typically go about preparing a Shakespearean character?

This is my first Shakespeare show, so I can’t say that I have a typical way to prepare a Shakespeare character.  I think I pretty much followed my usual routine where I started by looking at the dialogue and figuring out my character was thinking, and what other people think about my character.  Diomedes doesn’t really say a lot, so I also dove into some of the other materials written about the Trojan war to figure out who he is, and what he wants.  All in all, researching this character was a lot of fun, a lot of work, and very helpful in my performance.

2) What do you find to be the most helpful part of PCSC’s rehearsal process?

I think the most helpful part of the PCSc rehearsal process was the discussion.  Shakespeare can be difficult to understand.  The heightened language can be challenging to wade through and understand exactly what a character’s thoughts and motivations are.  Being able to discuss different thoughts and opinions on the approach to delivery and action was extremely helpful in figuring out how to perform in my first Shakespeare play.

3) What do you for fun outside of theatre?

More theatre.

4) What is your day job? What do you want to be your day job?

I am currently a Give a Wow Specialist for Terryberry, an employee recognition company.  I design websites in conjunction for employee recognition programs for businesses worldwide.  I would love to make theatre my day job, whether that be writing, acting, or even directing, I would love to be able to spend all of my time in a theatre.

5) What theatre plans do you have in the next couple months?

I will probably audition for some of the other shows happening in the area.  I’m also writing a series of 10 minute plays, two of which won contests and were produced this summer, that I would like to try and produce sometime this fall.

Introducing  Kerissa Bradley (Menelaus, Helenus, Helen)! Troilus and Cressida is Kerissa’s first production with PCSC, so she’s answering round one of our Acting Questions.

1) How do you typically go about preparing a Shakespearean character?

When I am preparing a Shakespearean character I do research on the actual people. I look for what status they were, how some artists portray them, and what they are most known for in history. I also go through the script and write down how other people describe my character. If the character was made up, I go through the script and see what other character’s say about my character and then choose two animal qualities to incorporate into my character.

2) What do you find to be the most helpful part of PCSC’s standard rehearsal process?

What I find most helpful about PCSC’s standard rehearsal process is the text work. It was really helpful to break down each scene into beats and paraphrase the lines, it made the scene more clear and the beat changes became more distinct.

3) What do you do for fun outside of theatre?

Outside of theatre I like to make jewelry, hang out with friends, and go swimming in Holland.

4) What is your day job? What do you want to be your day job?

I work at the Gerald R Ford Presidential Museum as a visitor service associate. I want my day job to be acting and doing the public relations work for a theatre.

5) What theatre plans do you have in the next couple months?

I will be in Much Ado About Nothing at GVSU in the fall.

Introducing  Brandon Marino (Agamemnon, Paris)! Troilus and Cressida is Brandon’s first production with PCSC, so he’s answering round one of our Acting Questions.

1) How do you typically go about preparing a Shakespearean character?

How do I go about preparing a Shakespearean Character? Well everyone has their own way, but what works for me is looking at it like a regular character, When I was younger I used to think everyone was refined or goofy and those were the only Shakespearean characters. But now I realize that is not the case, they are people that act a certain way because of something, and the something is usually your choice as an actor, the only difference between doing a character for a modern piece and doing a character for a Shakespeare piece, to me, is the language. The trick with any character is to know your history for the time, to not focus exactly on what you say but how you say it or the subtext of what you’re saying.

2) What do you find to be the most helpful part of PCSC’s standard rehearsal process?

What I find extremely helpful about the Pigeon Creek company is the people involved with it and the people who run it, From what I’ve seen a lot of them are teachers or people in teaching or mentoring positions. This means that when you need help you always have it, and it means that people bring forth a lot of knowledge to the table that someone might previously not have known. It also means everyone has a good work ethic and attitude and that rubs off on people. Also, everyone is a theater nerd, and that’s great because that means everyone is passionate and wants to help you be that way as well. Most of all though, everyone is welcoming and it feels very much like a family, which is a great work environment.

3) What do you do for fun outside of theatre?

I think people ask actors the question of what they like to do outside of theatre a lot. My answer to that question is unique I like to think. I like science, I was actually a chem major with a pre-med focus before switching to theatre. the reason for the switch was simply because I decided not to be scared of a career that isn’t stable and to follow what I really loved. But because of my love for science, I tend to read a lot of science books in my spare time, also comic books, just to confirm those suspicions of my nerdiness.

4) What do you want to be your day job?

My day job is a student. Currently, however, I am working two jobs, one, at Mcdonalds which is as great as it sounds. And the second is actually me working with a children’s theatre. I think, the ultimate goal of any actor is to make a living acting. My personal goal is to do that, probably with a traveling company either doing children’s shows or Shakespeare. I would do this for a few years, and then I would try to settle down somewhere like New York or LA and truly try to follow that actor dream, but that’s real long term, right now it’s graduation of college and then a travelling company.

5) What theatre plans do you have in the next couple months?

My plans in the theatre for the next few months are limited because of my going back to school, obviously I would audition for the upcoming plays, one of which is The Merry Wives of Windsor, But as of right now, I have no roles after Paris and Agamemnon.

Measure for Measure is still running, but we’re already hard at work on Troilus and Cressida! Here, Killian Goodson (Troilus) answers our second round of acting questions.

1) When creating a Shakespeare character, do you start from the “outside” (voice and physicality) or the “inside” (relationships and motivations)? Why?

I think it is important, when creating a foundation for a character, to understand their arc throughout the play. To me, this is grounded in the motivations of the character. Getting inside the life and thought process of the character while understanding their values and priorities lends itself well to the voice and physicality of the character later because it becomes the natural response to the various internal and external stimuli. For example, Troilus carries the values Ilion, which is as much to say that honor and pride are important and formulate Troilus’ life as a warrior prince. Yet, his warrior tendencies escalate late in the play. To begin, he is so caught up with his feelings toward Cressida, that although the war and his family’s honor is something to take note of for Troilus, it isn’t until he loses that veil that he becomes as reckless, and bloodthirsty as he does. I enjoy going through this change with Troilus.

2) Is there anything about Shakespeare’s language you find especially helpful in preparing for a role? Anything that is always challenging?

Troilus get’s to speak in verse often in this play. The rhythm is so intuitive and has the ability to guide the actor to find meaning that may otherwise be glanced over. As I have learned from our directors and other members of the company, verse can often mean the character actually knows what they are saying, and they are trying to use wit and rhetoric to outlast the conversation and persuade others to play into their plans. Verse is easier to learn because the lines have to follow in a specific way or it quite obviously doesn’t sound right. On the flip-side, the few times Troilus speaks prose with Cressida, the lines seem to come in a more, one might say, random, way. There is still a through line and the various cues in the scene guide what will come next, but the middle lines can sometimes become problematic, at least for me.

3) How do you prepare differently for an ensemble directed production versus a production with a director?

I love having a director. My preparation for one type over the other doesn’t really change; I still like to begin with finding the characters motivations. With directors, however, I feel like they are the authority on how they want the play to play out and can offer loads more specificity than the tedious nature of ensemble directing. It is common that opinions get lost for the sake of tact, and it can lead to weaker choices and, in turn, a weaker story.

4) What is your favorite “Original Practice” (audience contact, cross-gendered casting, live music and sound, etc.) and what exactly do you love about it?

Fighting only feet from the illuminated audience, rallying them on your side during a scene, and knowing that you have them on the literal edge of their seat is what is most rewarding to me about original practices. Looking people in the eye, teasing and admiring the audience—I find this adds another dimension to the performance that you don’t otherwise get with proscenium or modern practices.

5) What is your dream Shakespearean role?

Whenever I am asked this I am slightly overcome with shame that I am not more familiar with Shakespeare’s characters. I will refrain from picking any characters from plays I have done. I think my usual go to dream character is Caliban. I find him so intriguing and know that language to him is important. I like how he develops and is challenged. I also have to say that I love any character that has to be drunk on stage.

Rep Company member Scott Wright (Duke Vincentio) drops some knowledge about music in Shakespeare’s plays and how music fits into the Original Practices style.

The question of music in modern Shakespeare performances turns out to be a somewhat contentious one.  Strong opinions are often expressed about the kind of music one “should” hear associated with the Bard’s works.  The proponents of using modern topical pop music argue that it is more accessible to a modern audience whose musical sensibilities are already attuned to it.  They regard with a certain degree of impatience those who insist that Shakespeare’s plays should be performed in renaissance costumes, accompanied by renaissance music, on renaissance instruments, especially when performed in one of the many “replica playhouse” stages around the world.  Indeed it might be said that playing renaissance music is an “original practice…”

My own opinions – and I’d expect most people’s – lie somewhere in the middle.

Modern pop songs and even those of the previous generations – “oldies” if you will – are fun to perform and seeing an audience’s eyes light up in recognition of a familiar tune, watching as they nod & tap their feet in time to the music, and as they make the connection between the topic of the song and the play – when they get the joke – is extremely gratifying to us as performers.  Songs like, “Cruel To Be Kind” in Hamlet or “Ain’t No Rest For The Wicked” in a performance of Macbeth can be a real relief to an audience who is concentrated intently on following an epic story in an almost foreign language.

Shakespeare’s plays to a certain degree, lend themselves to being set in almost any time or place (with a few notable exceptions…)  The music then becomes a key element in setting the scene – of indicating and coloring the culture, status and perhaps the nationalities of the characters and in telling the story of the play.

The songs that the Bard left within the plays themselves present real challenges in this regard – the song and its musical setting become as important to telling the story as the costumes or the set.  Many composers have set their hand at creating music for these songs – to varying degrees of success – and indeed, this may be one of the most “original practices” of all.  For the vast majority of these songs, the tune to which they were originally set is lost – either not written down, or simply passed out of memory.  It is thought that the musicians – or possibly one particular musician – in Shakespeare’s acting companies composed settings for these songs.  But certainly it was a very common practice to write new words – either topical or salacious, depending on your whim or the nature of the audience – to already popular songs (a practice referred to as “filking”), and it seems reasonable to think that Shakespeare’s songs might fit very easily to a melody that, in 1598 everyone knew very well, but just didn’t pass down to us.

But Renaissance music can’t quite entirely be extirp’d from Shakespeare.  In “Twelfth Night” Sir Toby, Sir Andrew, and Feste the Fool drunkenly sing songs that are immediately recognizable songs by Thomas Ravenscroft – “Hold Thy Peace, Thou Knave” – and Robert Jones’ “Farewell, Dear Love”

– who were contemporaries of Shakespeare and writers of some of the “pop” music of the time and whose music the Bard could not but have known.

In “Much Ado About Nothing” Beatrice is urged to, “…Clap’s into ‘Light o’ Love’;”

-a tune written by an anonymous author that appeared in William Ballet’s 1580 Lute Book and would qualify as a popular and familiar song to Shakespeare and his audience, but is almost certainly unknown to ours.

In fact, when I think of “pop” music of the renaissance it’s this sound of the viol, the recorder, and the lute – as in “Light o’ Love” or just the strings, as in this one - that I think of.

The lute was often substituted, as it is here, by the “renaissance guitar” and the little band would have often been accompanied by a drum or other percussive noisemakers.  Shakespeare’s acting companies would have had many other instruments at hand, and would have been familiar with all kinds of music.

The vast majority of music of the renaissance that was actually written down was either for dancing or for church, or for small groups of singers and/or instrumentalists to perform for themselves around an after-dinner table.  The popular music of the time was in some cases collected into printed books like Ballet’s Lute Book (a collection, it seems of very well-known songs by largely unknown songwriters) and Ravenscroft’s three-volume collection of “Rounds, Catches, & Merrie Conceits.”  Musicians didn’t make much money publishing their music – real success for a musician was usually to be notable enough to gain employ or patronage of a wealthy nobleman or to be employed at court.  But one might imagine, in a time that lacked our modern sensibilities of intellectual property ownership, that the first time a really good song was performed publicly it might be mere hours before someone else across town was playing or singing it – possibly with new lyrics of their own devising.  One might also imagine that a touring acting company brought in to a command performance for a noble family would be flexible and prepared to please in any way possible – musically and theatrically…

For a modern Original Practices company, I think that being prepared to perform either modern or ancient music, as the occasion demands presents an intriguing challenge.  Imagine setting topical words to renaissance melodies – a very original practice.  Finding ways to arrange ancient music for a small ensemble of modern instruments presents still more challenge and possibility – just as finding ways to make modern songs sound good with a small acoustic band has.

So – I hope this has given you all food for thought, and I’d like to leave you with one more – for a performance of “Othello” the lead-in to Act1 might be something like this:

(Though at the risk of giving it away, nowhere in the text does Desdemona appear to have a “Mama Pajama”…)

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