Measure for Measure not a “Problem” for director Natalie Doyle Holmes

Focused, determined, energetic, passionate, Natalie Holmes directs the American Bard Theater Company in their forthcoming production of William Shakespeare’s “Measure for Measure” which is known as one of the Bard's "problem" plays for various reasons. The thirty year old Actor/Director and Dramaturg for ABTC is working hard on making this production a success. I caught up to her the other day before rehearsal to ask a few questions.

MDR: Where did you grow up?

NDH: I like to consider myself a "Tri-State Area" Girl. I was born in Brooklyn, NY... moved up to the Catskill region...moved down to Paramus in Bergen County NJ and grew up in the Paramus school system until I graduated high school. When I went to College it was more moving back and forth between NY/NJ, making stops at the American Musical and Dramatic Academy, Brooklyn College, and then ultimately Montclair State University where I completed my BFA in Acting and went on to get a MA in Theatre Studies there. Now my husband and I are back in NY living in Astoria...so I am definitely a product of the Tri-State Area.

MDR: When did you get the theater "bug"?

NDH: When I saw my first Broadway show at the age of four. It was The King and I starring Yul Brynner. My father claims that I sat still through the entire show and watched every move they made, later picking out the differences between the movie and the play when we rented the video.

MDR: Who is your most influential mentor or teacher in theater?

NDH: Wow, that's a hard one. I can't chose only one because they have all either taught me what to do or what not to do, so in some way they have all been extremely influential. If I had to chose...they would be Jorge Cacheiro, an undergrad professor I had at MSU, who taught me how to really connect with your onstage partners, Debbie Saivetz, a graduate acting professor I had at MSU who really taught me the importance of ensemble work and being true to yourself as an artist and John Basil, who is one of the most amazingly gifted educators of Shakespeare, (how to read it, act it, think it, breathe it) at the American Globe Theatre in Times Square. Dr. Jane Peterson would be my first choice for a theater educator outside of the realm of acting and directing...as a Dramaturg she taught me how to look at a text from all angles, dissect it, and look at the world and its history to use as a major source of creativity in the theatre.


MDR: What was your first exposure to Shakespeare?

NDH: Probably on Sesame Street somehow, back when Sesame Street was intelligently written...but from what I can actually remember, it was freshman year of High School when we studied Romeo and Juliet. I already knew who Shakespeare was, but I had never read any of his work. I told my Mom what we were reading and she exposed me to the movie version starring Olivia Hussey. After that, I became obsessed with watching movie adaptations of Shakespeare's work on video through out High School. That's why I was so honored to have been able to play Beatrice last spring in American Bard Theater Company's Much Ado...I had watched and loved Emma Thompson's Beatrice since I was 15yrs old.

MDR: What is your most memorable experience of the Bard?

NDH: In John Basil's class, when I first felt the mysticism of Shakespeare's language lifted. I don't claim to be an expert, but from that moment forward I was not afraid of the text anymore, it became fun rather than overwhelming.

MDR: What is the most challenging aspect of staging Shakespeare for the American audience?

NDH: Making it fresh and new for a New York City audience in a studio theater setting. We want to honestly tell the story …find the humanity and not get lost in a concept.”

MDR: What attracts you most to Measure for Measure?

NDH: It was originally said to be a comedy, and somewhere along the way it became a tragedy, I’d like to highlight the comedic aspects.

MDR: Why is it important to continue performing Shakespeare?

NDH: Because Shakespeare's poetry and plays still speak to us as human beings in an ever changing society where history repeats itself. Each artist and audience member can always find a Shakespearean character they can relate to on some basic human level. As for theater as a whole, Shakespeare's plays are accessible, universal in themes and malleable. They remind us that, no matter what time period you are from or what part of the world, we are all still human beings, connected to each other by common emotions, struggles, and triumphs.

Well said Natalie, break a leg!


The American Bard Theater Company’s production of William Shakespeare’s
“Measure for Measure” opens November 4th at the Roy Arias Theater Center, The Payan Theatre, 5th floor, 300 West 43rd St., (corner of 8th Avenue), New York, NY 10036 For ticket information: http://www.americanbard.org/

Mrs Warren's Profession

Anytime you get the chance to see a George Bernard Shaw play, you take it. Add to the mix an American treasure of the stage, Cherry Jones, and you have the makings of a memorable theatrical experience. The production values are first rate. Even the audience was full of luminaries like Neil Simon himself and actor Alec Baldwin. Cherry Jones delivers and thank goodness she did. Any other actress may have wondered what she had gotten herself into. Costumes and sets were absolutely magnificent, all the male actors were worth their salt, and Cherry Jones was superb. I am leaving someone out because I don't think I can decide on weather I did not care for the actress or the character she portrayed. Reviewed elsewhere will be the actual trappings of the performance, I was really impressed with the social consciousness of the text. "Shaw was a feminist," I said to my wife at intermission. "Yes," she agreed. "Sort of." I think feminists today would be as appalled by a play about the glorification of the oldest profession as the public who first saw this play were back in the day. However, this was a clever way to point out how women were second class citizens in the 19/20th Century and how the battle for equality is far from over here in the 21st. Despite this plays glaring short coming, it is still a must see for the fans of Shaw.

Fall Season

Leaves, branches, whole trees falling all around this season so far. We did a reading for White Horse last Saturday night and it felt good to do a little acting again. One thing leads to another they say and the FACT Company has picked one of my ten minute plays for their Words and Wine Series. October 24th at 3:00pm at Joria Productions- 260 West 36th Street, 3rd Floor in NYC. Very excited.

Jennifer and I just celebrated out 7th wedding anniversary. I am lucky to have her.

Got word from Paul Rebhan he sent me a slew of photos from Europe where he and Marcy are doing a victory lap around France and Italy after Paul's battle with Cancer. I am so happy for them. They look great and we hope to see them soon!

It is with great sadness we mark the passing of the father of a co-worker of mine. Anthony Carbone, my heart felt condolences go out to you and your family at this difficult time.

May God Bless and keep you all as Fall, this beautiful fall winding toward Halloween!

ORLANDO/DELUSION

Last week we went to a preview of ORLANDO presented by the Classic Stage Company as part of their Fall Season. Orlando is an adaptation of Virgina Woolf's novel of the same name where a young nobleman in the Elizabethan Court becomes a woman and travels forward through time. In this enchanting production adapted by Sarah Ruhl, directed by Rebecca Taichman and choreographed by Annie-B parson with an original score by Christian Frederickson, one is transported to a whimsical, fantastical world by the likes of Francesca Fairdany, Tom Nelis and David Greenspan (all worth the price of admission). In a contained spectacle the story telling commences straight away with movement, spoken-word-like poetry, and a sublimely beautiful reveal. The second act drags a tad when questions of existentialism are raised, but all in all well worth our time.

Speaking of Spoken-Word...

Last night we went to see Laurie Anderson at BAM. I had never seen the legendary artist in residence for NASA. I thought it high time. Introspective pieces about the nature of maternal relationships rendered into music for electric violin and bass sax accompanied by Colin Stetson and Eyvind Kang are augmented with evocative visual effects by Anderson and lighting by Rus Snelling. The rain on stage echoed the rain outside. "We die three times," Anderson says. Once when our heart stops, once when we are buried or cremated, and once the last time some one says our name.

Tonight: Angels in America.

A Time To Remember

Nine years ago the world changed forever. I was lucky in so many ways. The job I had recently started went beyond being a vocation, and became a way for me to help New York City heal. Not all of us are altruistic, but to a person, those of us who worked for the city during those difficult days of mourning will never forget the unity and compassion shown by our friends and neighbors. When the quiet hours of early morning came and I watched workers on the pile diligently toiling to restore our sense of order, honor, and security, I felt the mighty sacrifice of all humanity in the name of decency and peace. Those men and women trapped in the deadly collapse are who I dedicate my service to, and to those simple New Yorkers they left behind in my care, I pledge my very best. Civil Servants are tough threads holding the fabric of our society together. To the members of the Armed Forces of the United States, the NYPD and the FDNY, OEM, HPD and all the city agencies with which we interface daily: "I thank the Lord for the people I have found." It is a privilege to serve with you and I thank you all for the opportunity to aid and comfort the citizens of this City.

Two years ago, on September 11th, 2008, we bid a final farewell to my father, David Jude Ransom, forever in my heart, always on my mind, the light of my conscience.

Tony Noe "Chasing Better Days"

Meticulously composed, performed, and produced, this collection of songs and music brings Tony Noe’s recording artistry to a whole new level. Noe produced and arranged the music along with Vinnie Zummo on this ten song collection of emotionally charged material easily accessible to the listeners of our generation and beyond.

Stand out tunes include: Rescue written in response to the tragedy of 9/11, and honors the spirit of community with those who rush in where angles fear to tread. The irony of “no choice” is the powerful choice made to risk one’s own safety and well being in the service of others. With awe and reverence, Noe points to the foundation of our future resting on shoulders of those giants of the past including his own father who with “no hesitation in his moment of fear” risked it all for the promise of a better day.

Also a favorite is Forgive Me Mandolin twangs of Country and Blue Grass, lilting and steeped in folk traditions; this self-deprecating confession of ignorance at hurting someone unintentionally is a joy. Simply beautiful as the mandolins also pay homage to Italian country sides as well as Venetian cafes, the hills of Virginia and the city of Nashville. With the help of Karen Lee Larson’s violins, this is a delightful musical departure and a highlight of the CD.

Available now at CD Baby.com, I give this collection 5 ***** Stars!

What Work Is: My Brother-in-Law's Kitchen

So for a couple of days this past week I got out my old tools and literally knocked the rust off of them and did some repair work on a stoop I built for my sister and brother-in-law at their house upstate. It has been a long time, 1992 I think is when I built the thing, making all the concrete pavers myself in the basement of a house we rented on Staten Island. Not all of my masonry work comes with a lifetime maintenance contract, but if you ever tasted my brother-in-laws cooking, you would not be surprised that I make a trip up there now and again to taste what his grill produces in exchange for some deck painting or power-washing.


This morning there is not a part of my old body that does not hurt. Getting old sucks. Moving on can be very painful. This brings me to the real subject of this missive: Moving on after 9/11. For some of us the events of that day will be forever and indelibly imprinted on our souls, the pain and the nightmare with us in a very palpable way every waking and many sleeping moments for the rest of our lives. The world moves forward and there is going to be an Islamic Cultural Center built on a block where citizens once had to run for their lives from a massive dust and debris cloud caused by the collapse of two of the worlds tallest buildings. Many died, many more have been poisoned afterward by toxic air. The wound is still fresh and slow to heal. So the out-cry against the mosque is understandable. We cannot force healing on a wound in a humane way. It is a slow process aided by compassion, understanding and most of all, faith. Even Atheist's have faith. After all is said and done I will be proud to say I am an American, and a New Yorker and tolerant of the building and the people who want to see it built. I see their point. They are as American as you and me. They feel the same hurt as I about the events of 9/11 and have had to live with a bigoted stigma ever since. Efforts to establish identity and change hateful perceptions is a lofty and worthy goal. It will be a long hard battle before their dream can be realized, much rhetoric will issue forth re-opening old wounds. I have ultimate empathy for those who want to build and create, and I only have my faith that those who propose to move forward into this forever hallowed ground will understand the resistance from the many who suffered at the hands of a few.

May Love and Peace guide us.