Tony Simotes Plays His Markers on Berkshire Theatre
Getting Shakespeare & Company Back on Track
By: Charles Giuliano - Jan 11, 2012
It has been tough sledding for Tony Simotes since he took over from founder, Tina Packer, as artistic director of Shakespeare & Company. Three years ago he inherited her gonzo season of far too many productions for any sane person to manage deftly. Tina had the unique notion of working the company, no make that overworking the company, out of the economic pratfall.
He staggered through that first season plugging holes and filling gaps. As well as coaching fight scenes, his specialty, and taking a turn at directing.
Then, at the start of his second season the shit hit the fan.
Coupled with the bad economy the company was in deep doodoo with staggering debt that brought it to the brink of extinction. It made all too vivid the controversial thesis of NEA director Rocco Landesman that perhaps communities might look at downsizing their commitment to supporting too many arts organizations.
Had the time come when the Berkshires might reduce its support from four major theatre companies to just three? That would leave Barrington Stage Company in Pittsfield, Berkshire Theatre Festival in Stockbridge, and the Williamstown Theatre Festival.
There has been some restructuring as BTF merged with the foundering Colonial Theatre in Pittsfield and has been reconfigured as Berkshire Theatre Company.
While Simotes and the Board of Directors struggled to raise desperately needed funds and restructure its debt Tony fought throat cancer. With a reduced schedule of plays and some order to the perennial divine madness of S&Co. Simotes soldiered on last summer. That meant not only meeting its artistic and fiscal goals but even improving at the box office and turning a modest profit.
Overall the season was a critical and financial success but, for me, it lacked that je ne sais quois. It was steak without the sizzle. Champagne without the bubbles. Show without the Biz.
The season lacked those starry marquee names.
That is, of course, the S&Co. way of doing things. It is truly a company. An ensemble of actors who double up as administrators, publicists, teachers, bar tenders and grunts. Who, oh yes, often act in more than one play during a grueling season.
Last season we sorely missed John Douglas Thompson. He represents the home grown essence of S&Co. For the three previous seasons he was the focus of enormous excitement in Berkshire theatre with Othello for two seasons and then a fresh and controversial new interpretation of Richard III. He also doubled one of those seasons with The Dreamer Examines His Pillow.
A late bloomer Thompson, now at mid career, has hit his stride. He won an Obie when he brought Othello to New York. Then played Brutus Jones for the Irish Repertory Theatre in The Emperor Jones. He earned strong reviews last year in Macbeth and this season for his role as Gloucester in King Lear starring Sam Waterson. He is about to start rehearsals for Eugene O’Neill’s The Iceman Cometh at the Goodman Theatre in Chicago with Nathan Lane and Brian Dennehy. It is a production that is anticipated to be headed to Broadway with that all star cast.
While Thompson is a Board member and deeply committed to S&Co. can the farm system, season long, repertory format nail down top actors for a summer long residency in the Berkshires? Last season Thompson opted for other possibilities.
Yesterday, surrounded by actors and staff, there was no question who was in charge as Tony Simotes announced plans for what will surely be a truly magnificent and triumphant 35th season. He was fit and more like his old self as he trotted out the season. Now and then he was spelled by the actress Elizabeth Aspenlieder who also heads up PR for the company.
Thompson will return to the main stage in the Founders Theatre, August 22 through September 2, in a world premiere of Satchmo at the Waldorf. The play is being developed by a former jazz bass player, and Wall Street Journal drama critic, Terry Teachout. It is anticipated that the show will move on to New York. It combines a superb classical actor in an accessible contemporary role and a look behind the populist, clownish façade of the legendary jazz musician Louis Armstrong.
“I’m still trying to get used to the idea that Shakespeare & Company is going to produce Satchmo at the Waldorf, much less that John is going to act in it, Gordon Edelstein is going to stage it, and Arthur Oliver will be designing the costumes,” said Teachout, “I’m thrilled, honored, and astonished—all at once. I never dreamed that I’d have the chance to collaborate with such remarkable artists, or with a theater company whose work has meant so much to me for so long.”
Great artistic directors bring their contacts and friends to the job. Simotes charmed a captive audience of scribes as he channeled his former teacher and great friend Olympia Dukakis. Mimicking her husky voice he told us how she demanded that he direct her in a play. There were hints of that when she appeared one night two seasons ago for a benefit. It was mostly a matter of agreeing on her busy schedule.
The dates are yet to be confirmed but the Tony winning actress will play Prospero in The Tempest which Simotes will direct. He told us that to accommodate the schedules of Thompson and Dukakis their plays will not run in repertory. “We will be more like other theatre companies” he said. As the stars will only be on campus for rehearsals and the run of their shows.
“To have Academy award winning actress, friend and mentor Olympia Dukakis on hand for our 35th is personally thrilling, and I know that sentiment will be shared by our patrons” Simotes said. “Beyond her obvious talent, Olympia is a fearless artist that brings so much to a production. Her magnetism heightens our work as directors and actors; her influence in the rehearsal room makes every actor’s work richer and deeper. She has an unmatched ability to turn 16th Century verse on its head and makes its relevance vividly apparent. I’m also very excited Olympia’s brother Apollo will be joining our repertoire along with many other talented and long time Company actors – I can’t wait to see what happens as begin rehearsals. It’s assured to be an exciting ride.”
It appears that Dukakis is looking forward to a residence in Lenox. “I am delighted to be a part of Shakespeare & Company’s 35th Anniversary Season,” she said. “Working with Tony on The Tempest is something I’ve wanted to do for the past couple of years. I am thrilled to finally get it off the ground and see where it lands. I’ve known Tony, Dennis Krausnick, Kevin Coleman, and Tina Packer for over three decades—from our times at NYU where Dennis, Tony, and Kevin were my students, during their incredible work creating Shakespeare & Company, to their continued commitment to that work, the craft of storytelling, and speaking the truth. The quality of the productions reflects the very core of their esthetics—which is steeped in passion, curiosity, irreverence, and even rebellious work at times—but it’s always joyful. I am also looking forward to working with other great talents including Rocco Sisto, also a former student of mine, my brother Apollo, and all the other wonderful and talented Shakespeare & Company actors. Tony is all about creating extraordinary experiences, whether on stage as an actor or as a director. That will never change, and it my pleasure to work with him this season, not only as an artist, but also as a dear friend. Shakespeare & Company is a place to come and celebrate all that is good in our world—and to be inspired to change what isn’t. To ‘hold, as t’were, a mirror up to nature’.”
With a bit of verbal legerdemain Simotes humorously deconstructed what Shakespeare & Company signifies. That word Shakespeare is a killer. The Bard looms large in all aspects from plays performed to a commitment to classical training and education. It is the matrix of an aesthetic mandate. This season, in addition to The Tempest there will also be a production of one of the greatest and most popular of his plays King Lear.
Simotes juggled with the meaning of company. For the 35th season many of the founders, alumni and current members will be showcased. He quipped that S&Co. is known for presenting very old plays but deserves to be more widely known for developing new works; for allowing playwrights and directors to experiment. This also implies a level of risk taking and filling seats for unproven material.
Year round S&Co, carries a staff of 30 which swells to some 200 during high season. There is an annual budget of $5 million. He commented with some irony that the campus is set off from the center of town. Following up on a question from Clarence Fanto of the Berkshire Eagle he discussed having more intimate promotional and marketing ties with Lenox. While not on the level with Tanglewood he stated that S&Co. is an economic magnet for Lenox and the Berkshires. In turn, as Simotes did not comment, Lenox might lighten up on zoning and landmark restrictions which would allow S&Co. to diversify in developing its vast and costly campus. It would be nice one day to restore those neo classical Stanford White buildings that are the abandoned epicenter of the campus. Wouldn’t they make lovely condos? No way Jose say the bluestockings of Lenox.
In assembling a sizzling season there is the challenge to keep the diverse company busy and copasetic. Simotes appears to have orchestrated this with aplomb. All of the usual suspects and then some have been given plum assignments.
A founding member of the company Dennis Krausnick will star in King Lear. The director Rebecca Holderness described how it will be set in Russia in 1909 on the cusp of the revolution that brought down the absolute monarchy of the Czars. Apollo Dukakis (also in The Tempest) will be playing Gloucester and Kevin Coleman returns to reprise his critically acclaimed performance of the Fool – a role he portrayed in the Company’s production in 2003.
Also in the Founders Theatre will be Split Knuckle Theatre and its founder Michael F. Toomey. He is a familiar face to S&Co. audiences in a variety of supporting roles. Endurance, starring Toomey, transcends time and space to make a larger statement about human desperation and the will to survive as it parallels Shakelton’s adventures of survival with the contemporary business world.
In announcing the schedule for the Elayne P. Bernstein Theatre Simotes noted the passing this year of a great patron and friend.
While the dates will be confirmed by the time that tickets go on sale February 14 we anticipate a lot of snap, crackle and pop.
S&Co will have the regional premiere of John Logan’s intense two man drama Red. It is about the artist Mark Rothko and a feisty assistant. We saw Alfred Molina in the starring role on Broadway. He was robbed of the Tony by Denzel Washington. Mark Favermann has a review of the current production at Speakeasy in Boston. Randy Harrison plays the assistant in an upcoming New Jersey production. For S&Co. it will be directed by Kevin Coleman with company veteran Jonathan Epstein as Rothko.
Alumna Tod Randolph will star in the one woman play by Norman Plotkin Cassandra Speaks. The press release indicated a director TBA. From the podium, surprise surprise, Simotes turned to Coleman and asked if he would direct Cassandra Speaks. Without missing a beat he accepted the assignment. It will be a busy summer for Coleman. In addition to directing two plays he will also appear as The Fool in King Lear. And sell snacks during intermission. Everyone multi-tasks at S&Co.
Company veterans Jason Asprey and Aspenlieder will be paired in Parasite Drag by Mark Roberts under the direction of Steve Rothman.
The every amazing, designated hitter of the company Annette Miller will bring a comedic touch to the one woman show The Tale of the Allergists’s Wife by Charles Busch. It will be directed by company member Jon Croy.
Simotes appears to be all in with this 35th anniversary season. I asked him if calling in his markers this year means that the cupboard will be bare for the 2013 season? He is playing the aces up his sleeve with Dukakis and Thompson. Stars of their status are not readily available.
He fielded the challenging question neatly. It allowed him to expand upon his vision for the company over the next several years. Having a knockout season this year will solidify the company and appeal to the board for more risk taking. You don’t make great theatre by playing it safe. In that sense the past couple of years represented holding actions to stabilize the company. With this new season we are beginning to see his vision and where the company is moving. Having a great 2012 means having more leverage to attract high profile actors and ambitious productions. Perhaps, one day, with actual sets.
“I am beyond thrilled to see Shakespeare & Company into its 35th Season,” said Simotes, “From the perspective of someone who witnessed first hand the beginnings of our Company, it is astonishing to look back at what we’ve achieved. I am proud to say that we are at the forefront of actor training and education programs in terms of objective and scope, and paired with our unparallel productions we’ve developed a recipe over 35 years that will sustain us for the next 35—and the next 35 after that. It is a tremendous privilege to be Shakespeare & Company’s Artistic Director during this exciting time, and I feel that we’ve compiled a riveting and daring list of productions this season that not only reflect the best of what Shakespeare & Company has to offer, but will take us to the next level.”
The Berkshires are indeed blessed to have four outstanding theatre companies. But putting their productions on the road is an essential aspect of expanding beyond the limits of regional theatre. Touring productions is a vital part of creating a national reputation. Tina Packer and Nigel Gore have been on the road with her compilation Women of Will. It is a step in the right direction but Simotes acknowledged that more must be done.
The artistic directors I have discussed this with deny that they develop plays with the intention of taking them on the road. It doesn’t always work. In her first season at WTF Jenny Gersten announced that her first play was Broadway bound. That didn’t happen.
It’s tough to pull off.
Barrington Stage scored with Mark St. Germain’s Freud’s Last Session. After an epic run in New York it recently moved to Chicago and then the world. A stunning The Best of Enemies, also by St. Germain, had a great run at Barrington but has yet to find a New York producer.
Simotes admitted that he has great hopes that Satchmo will have a future beyond the Berkshires. He is sanguine on selling out the run this summer. But he commented that nothing is certain. You can’t plan hits any more than “We say ‘Let’s produce a mediocre play.’ You try to do the best you can and have high hopes for every play.”
The company also has to be stable enough to have the necessary resources to put their productions on the road. He described how there was considerable interest in Thompson’s Othello. But with a large cast and expensive production it was out of the question. Thompson did perform the role in New York but with another production.
Each year S&Co. has a student production of Shakespeare on the road in the Northeast. It is a key part of its education programming.
If Satchmo proves to be a hit as a one man show with a relatively cost effective production it has a good chance of longevity. It is also an essential carrot to bring top talent to the company. Busy actors are reluctant to spend summer vacations in the Berkshires with one and out shows.
That Simotes even considers these issues is a major change of direction for the company.
I asked why, for the first time in 35 years, Tina Packer in not penciled into the schedule? Odd that Tony didn’t mention that. Right now she is directing the winter play which was in its second day or rehearsal. Tina popped out for a photo op.
She will be back for the Gala. But other than that she will be on the road this summer. Finally, she is focusing on her career as an actress and ambassador for the company. Break a leg Tina. You go girl.
But it also means that we will be deprived of her superb co star Nigel Gore. Last season his massive talent seemed squandered in the ensemble work Memory of Water. The company has yet to build a production around him. We wager that is what it will take to lure him back next year.
Between now and then Tony will have a lot to think about. For now the sensational coming season is mapped out. All he has to do is keep all those balls in the air.
Good grief.