• printer friendly
• mail this article
• iPod format
• digg

Photo

Performers rehearse for “The Marriage of Figaro,” a 16th-century French comedy by Pie

This quarter, the UCLA Department of Theater decided to try something old and something new. The 16th-century French comedy “The Marriage of Figaro” by Pierre Augustin de Beaumarchais opens today and will run in repertory through March 11 along with “Il Gelosi,” written and directed by visiting UCLA Professor David Bridel, in collaboration with graduate acting students.

Both productions will feature actors from the graduate acting program at UCLA, who each work on two to three shows per year to obtain conservatory-style training as they work toward their degree.

Despite the fact that it was written approximately 400 years ago, “The Marriage of Figaro” remains a very timely piece.

“(This play) is very political,” said Gregory Myhre, an graduate acting student who plays the part of the Count. “Specifically within the play, it is a battle between master and servant, or more broadly speaking, between the aristocracy and the peasantry. But that translates into a struggle between those who have power and those who don’t in today’s world.”

The battle that Myhre mentioned is waged between the character of the Count and his servant Figaro, as well as their significant others. The four lovers eventually fall victim to one another’s deceptions and impropriety, with the plot growing increasingly complex and absurd as the play progresses.

“Il Gelosi” promises to be an equally enjoyable romp, only within quite a different setting. “Il Gelosi” tells the story of a travelling commedia dell’arte troupe– a band of 16th-century comedians, poets and soldiers turned actors who perform in public squares in order to make a living. Together they encounter rivalries, love affairs and many other obstacles as they face the challenges that a life on the road has to offer.

“This rehearsal process has been the most enjoyable since I’ve been (at UCLA),” said Dorian Logan, an graduate acting student and ensemble member of the “Il Gelosi” cast. “Our director, David Bridel, has given us a lot of creative license to explore our characters. It’s been a lot of fun.”

Myhre feels similarly regarding his work with Figaro. “With this play, we are given the opportunity to play with people in the audience, affecting them in ways a lot of plays don’t. It is a ridiculous situation played in a very real way, and the humor within it is very unique.”

Just as both these productions have been enjoyable and rewarding projects for the actors, they hope the audience will feel the same way. The UCLA Department of Theater offers pieces to L.A. theatergoers that they would not normally be able to see elsewhere. For UCLA students, there is the added opportunity of seeing these pieces performed by one’s peers.

“It’s going to be really funny,” said Myhre of “Figaro’s” finished product. “We are young actors, and as actors, we bring to (the play) what we think is funny.” Of the story itself, he said, “Even though the script is centuries old, it is meant to be relevant through the ages. If a play is not good it doesn’t last. The themes and topics in (‘Figaro’) are always relevant.”

Logan believes that much of “Il Gelosi’s” appeal lies in its stylistic uniqueness. “It’s a really physical show,” he said. “A lot of theater nowadays is mainly just talking heads. This is done almost like a carnival.”

Universities often provide the opportunity to work with material that professional directors would not be able to produce in the commercial world. Herb Stein, the director of “Figaro,” has had ample experience with directing television, most notably the daytime drama “Days of Our Lives,” before becoming a professor in the UCLA School of Theater, Film and Television. Though Bridel has directed at professional theaters, he continues to collaborate with various universities to produce his work. He is currently a visiting professor at UCLA.

Both productions will take place at UCLA’s Macgowan Little Theater, which in contradiction to its name is considered the main stage and in fact is the largest performance space for the theater department. Such an environment is particularly advantageous to the graduate students working on the show, as it gives them a practical experience very similar to that which will follow their three years of training.

“If something like this comes up after I graduate, I will have an advantage over most actors my age, because of the experience I’ve had working on this show,” Myhre said. “There’s nothing better than the opportunity to learn by doing.”