Words from a Jesus Freak

We asked our cast and crew to contribute posts on the subject of marriage equality and how they related. This is one of them.

–x–

Hi, I’m a Christian. I love Jesus, pray, take communion, lift up a joyful noise to the Lord in worship and abstain from drugs and premarital sex. I’m an Actor. I curse on stage and wear revealing costumes and I do kissing scenes with men who aren’t my fiancé.

I also believe in Marriage Equality.

Growing up, I was a Christian that I openly admit, am thoroughly embarrassed about now. I wore the Jesus t-shirts (some gems include “Jesus is my boyfriend!” “I’m not afraid to tell the world that I love Jesus.” “I sing for a reason, I sing for Jesus” and last but not least, “Abortion is homicide.”) I listened to strictly Christian music (I’m lookin’ at you, Rebecca St. James) and while others saved up for Warped Tour, I was saving up for CreationFest at the Gorge. I had the Jesus license plate frame that says “Got Jesus?” (Which ironically is still there-those suckers are difficult to get off!) I cringe when I think about my former self. I still love Jesus, but I understand Him a whole lot better now. My best friend from HS told me recently, “I just really have a heart for homosexuals.” My immediate reaction was “People. You mean PEOPLE, right? You have a heart for people.” It was in that moment that I realized we were different. We did everything in the world together, prayed and wept and laughed together. But it wasn’t until that particular moment that I realized: we were different Christians. I don’t think the goal is to get to Heaven, and have Jesus say to you, “You judged all the people I wanted you to hate, good job.” I hope He’ll say, “You loved all the people I wanted you to love, good job.”

I may cringe at the Christian I used to be, but Jesus Christ is still my Lord and Savior, so I often feel like a minority in the theater community. No I don’t live with my fiancé, yes that’s a purity ring on my finger, no I don’t want to smoke weed in the green room and lastly, I can’t rehearse on Easter Sunday. I have been excluded from cast parties, heard whispered insults, the epic backstage discussions as to how all religious people are prudes and bigots and hypocrites and liars—all in front of the one Christian in the room. Don’t they realize that there are different Christians?

I wanted to be a part of this piece because I want our community to realize that not all Christians are the enemy. There are some Christians, like myself, who are different. I’m not praying for you-I’m rooting for you.

How many poems can I write about marriage?

As a poet contributing to Lawfully Wedded, I admit I was daunted by the timeline. I’ve been known to spend more than 6 months refining and editing a single poem until it’s just right. To imagine producing 5 to 8 separate poems about marriage in under 8 weeks had me a little freaked out.

But the topic is so rich and so critical that I couldn’t say no. My process as a poet is to recognize my own emotional investment in a topic and to write through that reaction so that the result is personally important, which is usually pretty easy. But it’s also got to be important to an audience, which is not at all easy. Basically, it’s not enough that I care about what I write. The person hearing me also has to care or it doesn’t work. But this is how storytelling in any form works, right?

So the easy part was having an emotional reaction to marriage equality. For me, this is straightforward: I am gay + I am denied marriage rights = passionate reaction. This is a perfect equation! The problem for Lawfully Wedded was simply that I wasn’t sure how many ways I knew to creatively say that denying me (and other people like me) rights just sucks.

The key became rebounding off the other writers and seeing the stories they were telling. I always have to write from my own feelings and convictions, but I found that writing through (my vision of) someone else’s voice gave me a great deal more to say. In “Grandmother”, in addition to the idea that Danny provided, I literally thought about my own grandmother and how I see her adjust to the changing social climate she’s lived in. When I imagined my grandmother’s motivation for opposing gay marriage, the piece became easy to write.

“Marry Me”, in comparison, is written through my own voice but I’m writing a fantasy rather than reality. In removing the trappings of rights and benefits, I just thought about the reasons I would want to be married…me, personally. I wondered what the reasons could be for me to merge my life with someone else’s. The answer to that question became “Marry Me” and is the piece in Lawfully Wedded of which I’m most proud.

So it turned out that I had a lot to say about marriage. Some things came through different imagined voices, some came through my own voice. I chose to ignore the politics of marriage equality and found that what really moved me were the stories of people, so that’s what shows up in my contributions.

My 2 Cents

In a board meeting over the winter, Danny brought up the work that he had been doing in school, research on gay relationships and most interestingly interviews he conducted with people on both sides of the argument. Immediately the idea came about to create some type of play that would showcase the stories, and he had my full support.

Arouet was started with the purpose of presenting works that speak of civil rights. Our company name comes from Voltaire’s last name after all, well known for his works on civil rights and freedom of and from religion.

Marriage equality does not deny anyone’s rights. It allows you to keep your beliefs, have your intimate relationship the way you want it, and deal with your god(s) however you see fit. On the other hand, the current laws openly discriminate against me. They tell me I cannot, if I chose, get married and have all the civil benefits afforded to me by the government, based mostly on religious teachings.

The irony is that I don’t actually believe in marriage, for anyone. I do believe, however, that your relationship status should be your choice, and not someone else’s. To paraphrase Voltaire: “I may not agree with your decision to get married, but I will defend to the death your right to do it.”

The process of creating Lawfully Wedded has been exhilarating. A creative process like none I’ve been a part of before, collaborating with writers, actors, and fellow directors in a very limited time frame has taken us to new heights. I have grown tremendously as an artist, producer, and most important, as a person.

During the next few weeks you will see here the experience of others on our team. Stay tuned!

Bringing Closure to The House of Bernarda Alba

It started over a dinner conversation with Charles last fall, when I asked him if he would direct the play. We continued with a heart-stopping, last minute goal reaching Kickstarter campaign, followed by an audition process where we saw the best of the best and we cast the show.

In the meantime, I was thrilled Kim Rosin signed on for set design and Keith Gehrig for lights. After the original costumer had to step down, Kristina Hestenes, costumer and set dresser for Frankie and Johnny … signed on. And of course J.S. Epperson at the helm of sound design. Add Jordan Johansen to the mix as the stage manager, and one couldn’t ask for a better creative crew.

After an intense yet super fun rehearsal period we moved into The Ballard Underground, where we were welcomed right away and made to feel at home.

So how did the run go? On average, we filled 79% of the seats and sold-out three performances, and even had standing-room-only audience on our closing night. For the first time in Arouet’s short history we paid for the production from ticket sales, and as a profit-sharing company we were able to pay our hard working cast and crew.

We heard from people that loved the show, for some it had been the best production of it they had seen. We heard from others that didn’t care so much, but those conversations usually led down interesting conversations that wouldn’t have happened otherwise.

As it is when you have such a great experience, it is difficult to say goodbye to these wonderful characters, not see on a regular basis these 16 marvelous women, and the long chats with Charles in the car before and after rehearsal. Yet we are more energized than ever to continue presenting the works that speak to our soul.

Arouet is now powered by Shunpike

You may have seen that Arouet is now powered by Shunpike. What does that mean?

In our second year, Arouet is growing and we have decided to pursue the non-profit route. Arouet is not a non-profit organization at this time. Instead, we are a Associated Program of Shunpike, which provides Arouet with Fiscal Sponsorship. What that means is that while we grow, we are under Shunpike’s 501(c)3 umbrella and we are able to accept tax-deductible donations through them. As Arouet continues to grow we will eventually pursue our own non-profit status.

It also means that we benefit from the services Shunpike offers budding arts organizations such as ours. They handle all our financials, back office, and many other services on an as-needed basis. That frees us to focus on creating theatrical pieces for Seattle audiences. We are grateful to be a part of this great organization.

Another development is that Arouet now has a board of directors. I am now Artistic Director and am joined by Everett Bowling as Development Director, Daniel Cords as Outreach Director, and J.S. Epperson as web master and resident sound designer. Michael Brunk is Arouet’s resident photographer. Not only are we already working on BBQ for the fall, we are also developing two new works and choosing an additional play for next year.

We are very excited about what’s in store and can’t wait to share it with you. Stay tuned!

Roy Arauz
Founder, Artistic Director
Arouet

About Shunpike

Shunpike is the 501(c)3 non-profit agency that fuels innovation in the arts by building productive partnerships, cultivating leadership and providing direct services to arts groups of all kinds. Learn more at www.shunpike.org.

Off-limits Audition Monologues/Songs

There has been a lot more buzz around auditions in the past few weeks, with TPS Generals and other major auditions going on at the same time. One of the most frequently asked questions has been whether a monologue or song is overdone, or whether X song from a musical on Broadway was off limits.

As a director, my personal belief that nothing is off limits. Last year, during TPS Generals, three women did the exact same Juliet monologue. On the same day. But you know what? I remember one of them. She was brilliant. The others I have no idea who they were. And she wasn’t the first one.

While I might wince at a novice performer trying to sing “Defying Gravity” from Wicked because it’s their favorite show, someone who can nail the song should sing it. The same goes for Sondheim – there is this belief that you should never sing Sondheim at an audition, especially for a Sondheim show (I’d like to know who came up with that one.) If you can perform a mind-blowing version of one of Sondheim’s songs, then please do; I want to see excellence at an audition.

So while careful consideration must be given to whether a monologue or song is right for you, you shouldn’t concern yourself with whether it’s overdone or not if it’s the piece that best showcases your skill.

Auditions for The House of Bernarda Alba

Audition notice for The House of Bernarda Alba by Federico Garcia Lorca in a new adaptation by Emily Mann, Directed by Charles Waxberg and Roy Arauz

Audition Date

Saturday, February 18, 2012
1:00-4:00 pm*

*UPDATE: most slots between 1-4 pm are now taken. We are now scheduling auditions from 4:00-5:00 pm.

Email auditions@arouet.us for an appointment. Please attach a resume and headshot if available.

Audition Requirements

  • 2 monologues, maximum 4 minutes total length
  • 1 – A monologue of size and intensity
  • 2 – A classical monologue

Lorca’s final masterpiece, The House of Bernarda Alba centers on Bernarda as she tyrannically rules over her house and five daughters, cruelly crushing their hopes and needs. The play explores themes of suppressed sexuality, passion, and the oppression of women.

All Roles Open

Bernarda—A widow who exerts excessive will over her daughters.
María Josefa—Bernarda’s mother. Bernarda keeps her locked in her room.
Angustias—Bernarda’s eldest daughter, is sickly, desperate to marry and be free.
Magdalena—Bernarda’s daughter, devastated by her father’s death.
Amelia—Bernarda’s daughter, gossipy but submissive to her mother
Martirio—Bernarda’s daughter. The martyr, she feels weak and inferior.
Adela—Bernarda’s daughter. The only one to defy her mother.
La Poncia—the sturdy housekeeper
A maid—another maid of the household
Prudencia—dinner guest

Production Information

Rehearsals begin Saturday, March 24, 2012

Performances

May 4-19, 2012
Performances at The Ballard Underground, 2220 NW Market Street, Seattle

Compensation

Arouet is a profit-sharing company. (All profits will be shared equitably)

FAQ

What is your criteria for a classic monologue?

  • A classic monologue, in this case, would be heightened language. Technically, classic is before Ibsen (1877), however we want to hear you handle poetic language or heightened language, so for example G.B.Shaw is okay as well and most verse plays.

Can you clarify what you mean by a monologue of size and intensity?

  • A monologue of heightened emotion, stakes, and passion. We want to see that you can handle the intensity of the play with truthful commitment.

Bernarda Alba Supporters

The House of Bernarda Alba will be possible thanks to those that backed the show on Kickstarter. This page will list everyone that contributed. Listed in the order received, with the newest donors at the top. Anonymous donors chose *No Reward* or have asked us not to mention them publicly.

Bernarda Alba Supporters

Sandra Huber
Tracy Black at www.blackcapemarketing.com
James & Amy Wyatt
Judy Guilfoyle
Anonymous
Anonymous
Bruce Erickson
Jake
Caitlin Gilman
Anonymous
Joshua Johnson
Anonymous
Jay
Charles Eliot
Arthur Anderson
Persephone
Anonymous
Joshua Brian Bushman
Sharon Lynch
Anonymous
Janet Pope
Anonymous
Patricia Arauz
Anonymous
Anonymous
Everett Bowling
Karen Engelbrecht
Anonymous
Anonymous
L.T. Liebetrau
Christine Pomeroy
Colleen Carey
Anonymous
Anonymous
Michael B
Erika Amato at www.erikaamato.com
Anonymous
Tiffany Mak
Kim Maguire
Stephanie
John Kelleher
Michael Xenakis
Roxanne De Vito
Anonymous
Steven Contreras
Anonymous
Anonymous
Julie Carlos
Amanda Falcone
Keith McGregor at www.ravenwriters.com
Anonymous
Daniel Tarker
J.S. Epperson at http://higher-music.com
Machelle Allman
Anonymous

From the Director of Bernarda Alba

There are so many reasons I wanted to direct The House of Bernarda Alba.

First, it’s a classic play that still resonates today with modern relevance.

Second, Lorca scares me. His work is so fiercely passionate, it’s physically and emotionally exhausting for the actor and by proxy, the director. Taking actors to the depth of that emotion is a challenge as well as a responsibility. I cannot ask my actors to “go anywhere” I’m not willing and able to go with them.

Third, on a more personal level, I met Roy when I first came to Seattle as he was my stage manager for the second show I directed here. He always had the love, talent, and passion for the theatre, but he had yet to commit his devotion. Arouet is a company that evolved through his evolution. I beam with pride at his accomplishments and am honored he entrusts me for this important project.