13 Jun Director’s Notes: A FLEA IN HER EAR or… “Why Washington D.C., Dave?” And Director/Playwright Bios!
During rehearsals, we asked director of A FLEA IN HER EAR, David Martin, to share some insights for his raucous vision of David Ives’ new adaptation of Georges Feydaeu’s classic French farce.
Director of A FLEA IN HER EAR, David Martin. “Being serious.” Photo by Rita Marks.
Specifically, why the location change from Paris to Washington, D.C.? For his answers (and then his bio!), read on!
Dan Heinz as Don Carlos Homenides De Histangua. Photo by Shelly Stewart Banks.
“In deciding to set this show in present-day, we are not seeking to make any comment on the current state of affairs in American politics. Think of this as an alternate
universe Washington, D.C. along the lines of House of Cards as opposed to anything that exists in reality. What this show requires is a location where powerful people meet, most of them are financially well off, and sex is a constant driving force in daily life. If that isn’t Washington, D.C., I don’t know what is.
By re-framing the show through a present-day lens, we learn that not much has changed since the time this play was written. Much of that correlation owes to the brilliant translation done by David Ives and the equally brilliant performances on the stage in front of you. But it truly could not have been possible without the technical brilliance of the design staff. We hope you enjoy it…but don’t think too hard about it. It’s just supposed to be fun.”
Dave is no stranger to the OCTA stage, you have likely seen his work both here and around the community. Read all about him and the two playwrights, David Ives and Georges Feydeau!
Brent Custer, Lauren Hambleton, and Meghann Deveroux. Photo by Shelly Stewart Banks.
ABOUT THE DIRECTOR:
David Martin is happy to be back at OCTA trying to fit another large cast on stage all at the same time. Previously, you may have seen his directorial work at OCTA (Good People– 2015, Much Ado About Nothing – 2012, and four others ) or watched him on stage here (Poor Relations, One Man Two Guvnors, Arcadia, and three other productions). You’ll see his work again next season when he directs The Merry Wives of Windsor. You may even see him by day as a (for reals) financial advisor. Love to Jessica, who has yet to back out of an agreement to marry him later this year. Thanks to this awesome crew for making this monster possible. This one’s for Kip.
Playwright David Ives. Photo credit: The Huntington /Flickr /CC BY SA 2.0
ABOUT THE PLAYWRIGHTS:
David Ives (born July 11, 1950 – Chicago) is an American playwright, screenwriter, and novelist. He is perhaps best known for his comic one-act plays collected under the title of All in the Timing. “When this evening of six one-act comedies premiered in 1993, Vincent Canby of The New York Times said ‘Ives is wizardly…magical and funny…a master of language.’ Canby also told audiences ‘Drop-everything-and-go!’–and audiences did, for more than 600 performances. The New York Times in 1997 referred to him as the “maestro of the short form”. Ives has also written dramatic plays, narrative stories, and screenplays, has adapted French 17th and 18th-century classical comedies, and has adapted 33 musicals for New York City’s Encores! series. (Sources: Upclosed.com and StageAgent.)
Georges Feydeau. Uncredited photo.
Georges Feydeau (born Dec. 8, 1862, Paris, France—died June 5, 1921, Paris), was a French dramatist whose farces delighted Parisian audiences in the years immediately prior to World War I and are still regularly performed. Feydeau was an able actor and director and wrote 39 plays between 1881 and 1916 and took the farce to new heights on the French stage. Though not a serious social critic, he made satiric capital out of every new fashion while continuing to exploit all the traditional butts of broad and undemanding comedy—cuckolds, silly wives, foreigners, the aged, and the deformed. To a greater degree than earlier authors of farces, Feydeau made use of complicated mechanical props and elaborate stage settings. But, above all, his farces depend for their success on their plots. These are masterpieces of improbable contrivance, usually dependent on far-fetched cases of mistaken identity and worked out in great detail without any consequent loss of speed. Feydeau’s favorite theme was the anxious and comic efforts of an unfaithful wife or husband to conceal amorous escapades, and his favorite comic device was the meeting of characters who are particularly desirous of avoiding each other. Among his plays are La Dame de chez Maxim (1899; The Girl from Maxim’s), La Puce à l’oreille (1907; A Flea in Her Ear), and Occupe-toi d’Amélie! (1908; Keep an Eye on Amélie!). (Source: Encyclopedia Britannica.)
Dave “not being serious.” Because this dude can direct some serious farce and Shakespeare. Seriously. Plus he teaches and amazing “Auditioning for Shakespeare Workshop”. If he ever offers it, TAKE IT.
MORE ABOUT THE SHOW
A FLEA IN HER EAR closes this weekend with final performances June 14, 15, 16 – Friday and Saturday at 8 pm and Sunday at 2 pm. TICKETS and more information can be found here.
-Read the fantastic REVIEW by Bob Evans of KC Applauds!
–Read the PRESS RELEASE
-Check out the PRODUCTION PHOTOS
-Read about the CAST AND CREATIVE TEAM
-Watch the Very Fun preview VIDEO with “real” review quotes. 😉
The brilliantly funny cast of A FLEA IN HER EAR. Photo by Shelly Stewart Banks.
Sorry, the comment form is closed at this time.