AUGUST 2000 ----------------------------In this issue------------------------------------------ CyberTheatre Monthly : Tim Robbin's Cradle Will Rock has raised awareness of the 30s Federal Theatre Project; Seth's Broadway Chatterbox; New England Entertainment Digest Techie's Corner: Legs, Legs, Legs (Betty Grable, Eat Your Heart Out!) Voices in Contemporary Theatre: The Citizen's Theatre Project - a look at theatre's impact on a downtown revitalization project, Tantalus Rubin's Corner: Cameron Mackintosh's latest blockbuster: The Witches of Eastwick, Icons and Outcasts, That Ilk Letter from London: RSC at the Edinburgh Fringe, Peter Hall talks up Tantalus The Play's the Thing: The Review's the thing? Jean Stapleton in Eleanor: Her Secret Journey ------------------------------------------------------------------------------------ CyberTheatre Monthly Federal Theatre Project http://lcweb2.loc.gov/ammem/fedtp/fthome.html Tim Robbins may play fast and lose with history, and his political flicks are usually marred by a screaming fear that the audience won't get it. But his latest effort The Cradle Will Rock has raised awareness of a brief shining moment of New Deal sponsored theatre: The Federal Theatre Project. This site is a superb exploration of the real, historical FTP: scrips, administrative records, and over 13,000 images from the Federal Theatre Project Collection at the Library of Congress. DO NOT MISS. This site is fabulous. A more general survey is also available at http://www.nara.gov/exhall/newdeal/newdeal.html Consider it a way to brush up before exploring the more exhaustive site. Seth's Broadway Chatterbox http://www.geocities.com/broadwaychatterbox/ Every Thursday at Don't Tell Mama (46th street between 8th & 9th) Seth Rudetsky hosts a kind of theatre-insider's talk show at 6:00 - most often with whatever Broadway performer has a new CD to plug, which means he gets quite a variety of the best and brightest. The website is a kind of clubhouse for the regulars, with a schedule of upcoming guests and photos from recent events. Check it out, and try to drop in next time you're in the city. New England Entertainment Digest http://www.jacneed.com/ The site can be a little bewildering on the first visit, but it grows on you. A deliciously detailed exploration of New England Theatre, Dance, and Performing Arts. Production Listings, Reviews, you name it. ------------------------------------------------------------------------------------ Techie's Corner Legs, Legs, Legs! (Betty Grable, Eat Your Heart Out!) Once again, welcome to the Techie's Corner. In the last few articles we have talked about platforms, the types of platforms, special platforms and how to brace them. This month we will look at legs, legs of many types and how to make them and what their pro's and con's are. Legs fall into two major types, those that support by friction pressure and/or the shear strength of fasteners, called the standard leg, and those that support by direct, in-line compression, called compression legs. I am sure that there will be several types of legs that I will miss or forget. Please contact me directly and I will make space for those and include them in next month's article. The basic difference between the two types of legs is manner in which they support their loads. A friction/shear leg relies on the tightness of the fasteners, the sideways friction generated between the leg and the platform and the "sheer" strength of the chosen fastener. The compression leg relies on the direct in line compression of the leg material. The standard leg uses friction as a major element of support. If you have ever seen a magician or "box-juggler" perform a juggling act with three or more cigar boxes (or similar size/shape cardboard boxes) tossing them into the air and catching them between other boxes, you have seen the friction part of the puzzle. If you have ever used a "C" clamp to fasten a temporary leg to a platform or to support a piece of work in the shop you have used this principle. The method of fastening the leg to the platform can add to the friction element. Bolts with nuts add the greatest amount of friction force, screws or lag screws a moderate amount and nails or pneumatic staples, the least. The other half of the equation in the standard leg is the shear strength of the various fasteners. When the leg is fastened to the platform frame, there is a shearing action formed, much like the shearing action performed by common sewing scissors. The shear strength of the fastener added to the friction force is the total strength of the "standard" type of leg. It should be obvious by now that fasteners which produce a compressive force will be stronger than those that do not. All fasteners produce some degree of compressive force, smooth shank nails the least, bolts and nuts the most, with screws, staples and ring shank nails falling in the middle. What may not be obvious is that more fasteners do not necessarily mean a stronger joint. If wood is the construction material and a leg is between 2 1/2 " and 3 1/2 " wide and a platform frame is between 3 1/2" and 5 1/2" wide, there are a limited number of fasteners that can be inserted in any joint. At some point the grain of the wood will split or there are so many holes made for bolts that there is no wood left. What is the "right" number of fasteners, is there a specific pattern that is stronger? With nails, screws or staples, the maximum number is 8 if both leg and frame are nominal 6" wide. With bolts, the maximum is 5. If either member is less than 6" nominal wide the maximum number drops. Any additional fasteners than shown above will either add so little extra strength as to be useless or they will actually start to weaken the joint. The most common standard leg is the ordinary 2x4. It is cheap, strong and easy. Other standard legs are single piece legs made of 2x6, or 4x4. Manufactured legs, those made of more than a single piece of lumber, are almost always made in an "L" section. Other variations are the box tube and the "T" section. "L" section legs are the most structurally sound in terms of weight versus strength. The box leg is used where the bulk look is desired but weight is a factor. The "T" section leg is used when light weight is needed and for design reasons the "T" shape is either visible and more desirable or the bracing is easier to attach. While wood is not the only material used for standard legs, it is the most common. Steel is also used as a standard leg. Square or rectangular steel tube is the most common form of steel leg. Other forms are angle iron, slotted angle iron, Tele-spar, Uni-strut and pipe. These are all fastened to the inside of the platform frame just as other "standard" legs. While through bolts are the most common form of fastening steel legs to platforms, screws and nails through predrilled holes are another method. One last method of fastening steel legs to platforms is by pneumatic "T" nails. These are specially hardened nails that can penetrate 16-gauge steel tube. Personally I only recommend through bolts to attach steel legs. The second type of leg is the compression leg. It is called that because the actual support of the leg is in direct compression under the frame. If 100% of the force was straight down and there was absolutely no sideways force, a compression leg would support the load with out any fasteners or bracing actually connecting it to the platform. Of course we all know that the entropy of the entire universe would have to come to a halt for that degree of stillness to exist for more than a very brief moment. Once the leg is braced and secured to other legs, gravity can become the only actual attachment between the legs and the platform. The parallel platform is an example of this as are several commercially built platform systems. The most common compression leg is the one shown above, a 2 x 4 leg with a 3/4 ply cleat attached. For strength in attachment to the platform, the cleat needs to be only 10 1/2" long, or about 3 times the width of the platform frame and the same width as the leg. However the best practice is to continue the cleat flush to the bottom of the leg. This allows bracing and stiffeners on the inside of the legs to all follow the same plane. In addition the full-length cleat adds a great deal of stiffness to the leg, especially over 30" long. One variation of this leg is to use 2 x 6 as the leg but to keep the cleat only 3 1/2" wide and flush to one side. This allows the leg to be placed at the corner of the platform and have the leg actually support both frame pieces at that corner. Compression legs can also be used with platforms whose frames are one by stock or 5/4 stock, the leg material is simply the same thickness as the frame. A very good variation on the compression leg is a combination of the "L" section leg and the common compression leg. The leg is made with "by six" stock for the leg, thickness to match the platform frames. The cleat section is also "L" shaped. These legs provide a very stiff, strong leg that needs little or no cross bracing at 3' tall or less. All of the metal leg types can also be made in to compression legs. To make compression legs of metal requires welding corner brackets to hold the legs and support the platform frames. There many different methods of making the legs, some with a "universal" bracket that can be fitted with different lengths of legs to suit the show and others that have a permanent length of leg welded to each bracket. The brackets are all similar in that they have a flange that supports the frame and a face with predrilled holes for bolts or screws. The main difference between different types is whether the socket for the leg (or the leg itself) is welded on under the bracket or inside the predrilled faces. The socket type of bracket can also be welded under the corner of the flange but then, if the bracket is left on the platform, it is permanently legged to the height dictated by the length of the socket. The standard and compression legs cover a large number of the legging situations you will encounter, but by no means will they suit every situation. The main advantages of the standard leg are: It is the least expensive legging system for material costs on a one-time basis when using a simple leg such as a 2x4. They are the quickest method unless you already have a large supply of legs of the desired height in stock, especially if you are using a simple leg such as a 2x4. This can also translate into additional $$ savings if your carpenters are paid by the hour. Leg length is determined by the thickness of the platform lid, which tends to be very consistent compared to the width of framing members. Requires the least amount of skill on the part of the carpenters. The disadvantages are: They tend to shorten the life of stock platforms by "chewing up" the corners with numerous bolt/screw holes. They are not as strong as compression legs and are rarely suitable for heavy and/or prolonged dancing especially of the clog, tap or step styles. The main advantages of the compression legs are: They are far stronger and stiffer when properly braced. They do not tear up the corners of stock platforms. If they are built well, they can be used over and over again, more times than standard legs, which can result in a materials saving over time. The disadvantages are: They require greater skill and more time to construct. The length of the leg is dependent on the width of the platform frame members which can vary from one lumber lot to the next even when purchased from the same lumber company. Not every stock platform is the same. They require more storage space than standard legs. As can be readily seen, there are many way of legging platforms and I have just touched on some of the major ways to do it. What is right for you depends on the skills of your workers and the tools you have available. It also depends on your budget both in terms of time and money. It can also depend on your available storage area, if you can't store it, do you need to build it to last 20 years? Next Month we will look at a method of supporting platforms that is very strong and stable but isn't really "legs". It is also very good for supporting raked or sloped stage sections. It is the "Stud Wall" method. Until then, keep the green side up, don't sweat the small stuff, ........ and remember ....... It's all small stuff! ------------------------------------------------------------------------------------ Voices in Contemporary Theatre The Citizens Theater Project.......Theatre Arts and History in the making! The Trinity Repertory Company, which is located in Providence, Rhode Island, is once again a major catalyst in the revitalization of this city's downtown area. As the recent recipients of a generous donation from Citizens Bank (of what is now a shuttered 1923 bank building valued at $1 million) Trinity has been given the extraordinary opportunity to create a first-class 4OO-5OO seat theater (which will be known as The Citizens Theater) for the citizens of Southern New England. Citizens Bank has long been a friend of the arts community in Providence. "With this gift, Citizens is propelling the Arts and Entertainment District to a new level - and Trinity will provide the programming to make this district even more diverse and inclusive than it has been to date" said Oscar Eustis, Trinity's artistic director. Trinity Rep will name the building, which will house the new theater, in honor of two of Rhode Island's great statesmen: Senator Claiborne Pell and the late Senator John Chafee. Claiborne Pell was one of Trinity Rep's first Trustees, and the main sponsor of the 1965 legislation that established the National Endowments for the Arts and Humanities. As Governor of Rhode Island, the late John Chafee made it possible for Trinity Repertory to be the first American company to perform at Scotland's famed Edinburgh Theatre Festival. The Pell Chafee Performance Center will add much-needed facilities to Providence's burgeoning Arts and Entertainment district. It will also help alleviate Trinity Rep's audience capacity issues. In the past six seasons. Trinity Rep's audience has doubled - causing the company to literally outgrow its current performance spaces. The Citizens Theater will Trinity Rep increased flexibility in its programming. Not only will they gain an additional stage for productions, they will now have the opportunity to present the work of leading national and international performers and companies. Another aspect of this project is to provide local arts organizations with a stage for their programs. In addition the project will give a much needed permanent home to the Trinity Rep Conservatory. Through this conversion of the former bank property, Trinity will make it possible for their neighbors, Perishable Theatre and AS220, to achieve their own capital campaign objectives. By ceding sections of what is now a small parking lot, Perishable Theatre will have the opportunity to expand its performance space and accommodate additional theater patrons. AS22O will be provided with the means to build a much-needed elevator for its building. Construction on the project will begin when sufficient funds are raised by Trinity Rep's expanded capita] campaign. The projected cost of this project is $4.4 million, a small price to pay for a world-class theater. Recent theaters of this size in other communities have had a price tag of upwards of $IO million. According to an independent economic impact study by economist Gary L. Ciminero. The Citizens Theater at The Pell Chaffee Performance Center will: Attract, on an annual basis. 84,000 additional theater patrons and tourists to downtown Providence providing a powerful economic stimulus to the area. Create 55 additional permanent jobs. Increase Rhode Island economic output by $5-6 million per year. Add $130,OOO to annual state tax revenues. Earn 117% investment payback of economic benefits. Employ, during construction, 7O workers on the project and 145 workers overall, paying $6 million in income and $340,000 in sales and income taxes Provide the opportunity to stage or present at least 5 additional productions annually - a total of 24O additional performances and $2,268,OOO of annual ticket revenues. . Allow Fleet Bank's Project Discovery to serve approximately... 6,OOO more of the region's schoolchildren each year. All of which goes to prove that Theatre Arts and economic growth, in a business environment, can go hand in hand! DENVER CENTER THEATRE COMPANY, IN ASSOCIATION WITH THE ROYAL SHAKESPEARE COMPANY, PRESENTS THE WORLD PREMIERE OF PETER HALL'S PRODUCTION OF TANTALUS The Denver Center Theatre, in association with the Royal Shakespeare Company, presents the world premiere of TANTALUS, an epic play cycle tracing the events of the Trojan War, at Denver's Stage Theatre October 21st through December 2nd. Previews performances are September 15 to October 20th . Under the leadership of Sir Peter Hall, this unprecedented theatrical event is a wholly new play cycle by John Barton which can be seen over two days or in a one-day marathon. For tickets and information call (800) 641-1222. Though the roots of the story lie in a war nearly 3,000 years ago, TANTALUS recreates in vividly contemporary terms the mythical sweep of this powerful drama of war, family and destiny. Featuring some of the most timeless characters in Greek mythology, John Barton's monumental new work seizes the power and potency of the Greek myths, while creating something entirely modern and often surprisingly humorous. A genuinely international event, TANTALUS brings together artists from all over the globe: British and American actors , a Greek designer and Japanese lighting designer, an Irish composer, British directors and a choreographer from Broadway. Following the Denver engagement - the show's only North American presentation - TANTALUS will launch a tour of Britain. "The Greek myths are not only rattling good stories," says Peter Hall, "but they are absolutely at the center of our political and psychological thinking, our ideas about family and power, men and women, war and peace. In terms of scope and insight, this could be richer than anything I have worked on." TANTALUS was originally commissioned by the RSC, under the leadership of Trevor Nunn, back in the 1980s, after the huge success of Barton and Hall's collaboration on The Wars of the Roses. The company has nurtured its development for more than 15 years and through three Artistic administrations - Trevor Nunn, Terry Hands and Adrian Noble. Over the years, Barton has immersed himself completely in his subject matter, drawing on some of the most famous stories of all time and incorporating hitherto unknown material from fragmentary sources. The title comes from a character in Greek myths named Tantalus, who was destined to spend all eternity with a rock hanging precariously over his head, forever hungry and thirsty, with food and drink in sight, but always just out of reach. Though not a character in the plays, the peril of his situation is a metaphor for all that occurs within them. It seemed that, owing to the scale of TANTALUS, this monumental cycle would have little chance of being staged, until Donald R. Seawell, founder and chairman of The Denver Center for the Performing Arts, stepped in. Seawell, a Governor of the Royal Shakespeare Company and a long-time associate of both Hall and Barton, offered to produce TANTALUS with the award-winning Denver Center Theatre Company (DCTC). Led by directors Peter Hall and Edward Hall, the international production team created TANTALUS over an extraordinary six month rehearsal period in Denver. The production is designed by Greece's foremost theatre and film designer, Dionysis Fotopoulos, with lighting by Ninagawa's collaborator Sumio Yoshii, music by the Irish composer Mick Sands and choreography by Broadway choreographer Donald McKayle. A company of 18 American and four British actors play all the roles in the ten plays. Preview tickets range from $130 to $225; tickets to the regular run range from $240 to $280. Discount rates are available for students, seniors, faculty members and groups of 8 or more. Ticket price includes a catered meal in the Grand Ballroom, City and County of Denver seat tax and service charges. To purchase tickets, call 303/893-4100, or outside Denver 800/641-1222. For more information, please visit www.denvercenter.org. A photo gallery will be available on-line at www.denvercenter.org. Overheard at the Albee Conference: The creative process doesn't want to fight w anything. It just wants to live Don't worry about technicalities" - Jovan Johnson "Physical action involves weight & posture, comes from physical scoring" -- Director Lawrence Saccorow "Acting is doing The words come out of the want, the action is the act of getting what the characters want...Give actor strong circumstances acting becomes authentic" - Marian Seldes Promotional blurb of the month: "A yiddish H.M.S. PINAFORE? Sounds crazy, no?" Based on Gilbert & Sullivan with, yes, songs in Yiddish and dialogue in English: DER YIDDISHER PINAFORE at THEATER AT THE NEW 14TH STREET Y, August 13, 19, 20, 26, 27 ------------------------------------------------------------------------------------ Rubin's Corner The Witches of Eastwick Cameron Mackintosh's latest blockbuster has now opened at the Theatre Royal, Drury Lane in the West End of London and one has to say that the music sadly lets the show down. When I first heard that Mackintosh was employing the same American composers who had written "The Fix", which was at the Donmar Warehouse in 1997, I thought, 'Oh No'! This was because I did not like their score for "The Fix" and thought it was unimaginative and not at all memorable. If the quality of the music was no better then I knew that "Witches" would suffer. Unfortunately, I am proved right. While there are a couple of good songs like "Dirty Laundry" and "Look At Me", most of the music sounds very much the same and very monotonous, and since the show lasts for 2 hours 45 minutes the music can really labor! However, all is not lost as the show has a great story, witty lyrics, a good cast and many imaginative scenes to keep you interested. This John Updike novel, which was turned into a hit film in 1987 starring Jack Nicholson and Cher, has inspired Cameron Mackintosh to produce this new musical with book & lyrics by John Dempsey, and music by Dana Rowe. Eric Schaeffer, the artistic director of 'Signature Theatre' in Arlington, Virginia, directs the show. He also, directed the American premiere of "The Fix", and so Mackintosh certainly has great faith in his abilities and in his judgment. Schaeffer keeps the show moving at a rapid pace and certainly brings out the best in the entire ensemble. The story is set in the tiny New England Community of Eastwick. The lives of three bored women whose longing for love and excitement conjure up the arrival of the mysterious and charismatic Darryl Van Horn, played by Ian McShane, who is well known in the UK as the loveable rogue 'Lovejoy', from the BBC series of the same name. Darryl seduces the women and releases their fantasies, but when they learn how to fly and develop other magical powers all 'hell' breaks loose. This story is perfect for a big musical and although it is messy at times, generally the delightfully story flows in a magical way, particularly with the flying sequences and falling buildings, along with a series of illusions. However, a magnificent cast holds the show together. Ian McShane, who raised a few eyebrows when it was announced he was playing the part earlier his year, is a sensation. He fits perfectly in to the part of the mystical and charming Darryl. His devilish rugged looks dominate the stage. I only wished they had used him more in the show! The three witches are played flawlessly by Joanna Riding as ' Jane', the musical one, Lucie Arnaz as 'Alexandra', the dominant one, and the ever dependable Maria Friedman, who as 'Sukie', the one who knows lots of words but is unable to use them, is the star of the show along with Ian McShane. The show has been received very well from most of the popular press. SHERIDAN MORLEY for TELETEXT says, "This is in every possible sense a magical show; written, composed, choreographed, designed, directed and played to within inches of perfection." He goes on to say, " The Witches of Eastwick is the musical that starts the 21st century, and it will be a hard act to follow." EDWARD SECKERSON for THE INDEPENDENT, says "The enjoyment factor is high, the production values sky-high." He goes on to say it is a "likeable and beautifully mounted show". MATT WOLF for REUTERS/VARIETY, also generally liked the show, saying, "As long as its leading ladies join forces vocally, not to mention aerially, the show flies. As it happens, that's often enough to keep director Eric Schaeffer's production mostly airborne, despite some dead patches in the second act and a game if underpowered leading man. BENEDICT NIGHTINGALE for THE TIMES, says, "Dana P. Rowe's music remains refreshingly tuneful, whether it opts for the energetic and brash or for the soft and slightly soppy. John Dempsey's rhymes are never feeble or silly, though seldom very clever. But, I caught myself wishing for a dash of Sondheim or Weill ROBERT HEWISON for THE SUNDAY TIMES says, "There are many things to be enjoyed in "The Witches of Eastwick." MICHAEL BILLINGTON for THE GUARDIAN says, "Devil of a good sex fantasy set to music." He goes on to say "Ian McShane as the devil may not have all the best tunes but, after a long absence from the stage, he overflows with energy and a leering, saloon bar smuttiness." Meanwhile, back in the city: A Vampire. A Hustler. A Redneck. An Angel. A Bimbo. A Goddess. And an Actor. One Day. New York City. ICONS AND OUTCASTS is back by popular demand this month at New Perspectives Theater. Written and Directed by Suzanne Bachner, this version sports a new Gender-binding cast www.iconsandoutcasts.com THAT ILK , by Nancy Dean Directed by Jere Jacob, featuring Kathleen Garrett, Steven Gibbons, Susan Izatt, Sandy Kazan, Annie Montgomery, James Nugent, Loria Parker, and Jennifer Sternberg. The play is about "keeping secrets" within a family and the problems created when these secrets are revealed. Moving between 1938 and 1956, the play shows hidden family agendas set against events of the Second World War, and the social correctness and denial of the fifties when Senator Joseph McCarthy pursued Jews and Gays. The play opens September 8th at the Hudson Guild Theatre at 441 West 26th St. between 9th and 10th Avenues. Audiences recognize their own complex families in this family, divided by a continent and their own distrust of themselves and one another, yet tapping rich sources of love, humor, and courage . Call 212-591-0793. ------------------------------------------------------------------------------------ Letter from London RSC at Edinburgh Fringe The RSC is appearing at the Fringe for the first time this year. Susannah Elliott-Knight is co-ordinating its five plays at the Pleasance. Interview by Fiona Mountford Is this your first Fringe? So far as working here goes, yes. I've been twice before as an audience member. I first came about 15 years ago. Did it live up to your expectations? Yes. There was a lot of energy and excitement about going to see new and experimental work. Has it changed since then? It's ruled by comedy now, and it has become much more commercial - you can almost feel the big- business vibe in the air. Also, everyone seems to treat it as an audition, to try and get a tour or a run in London. Edinburgh is no longer a goal in itself. What's the best thing about bringing a production to Edinburgh? Assembling a group to work creatively and live together for a month. Edinburgh gives people the chance to create and show work that they wouldn't do otherwise. For example, we have the RSC stage-door-keeper performing his own show. And the worst? The cynicism. People try to find out if you're someone they should know, and if you're not they ignore you. Also, it's a bit colonial - most people you meet and work with aren't Scottish. Seen anything good so far? The Norwegian National Theatre production of 'A Doll's House'. It was great to see Norwegians doing Ibsen. Anything you'd pay to avoid? Improvisation, because it has become formulaic and doesn't interest me anymore. What's your favourite venue? The Traverse, because you actually find Scottish work by Scottish people. But as I'm annoyed with the commercial aspect of it all I'm determined to go to one obscure venue a day. Any notably bad hangovers? I'm responsible for a lot of organization. I haven't been able to relax. Not been sleeping much, then? On our first night up here I only got two hours sleep. We had to move in and organise things in the house, and then I got up early the next day to get on. If you do get a chance to unwind, where will you go? Normal Edinburgh, rather than festival places. I'm looking forward to going to Whistle Binkies, which is supposed to be a great pub with live music. Sum up the Edinburgh experience in one word Life-changing Peter Hall talks up TANTALUS in the Times Is cash for the arts a Trojan Horse? I AM never sure whether America is being serious. Last week I went into a vast sports emporium in Denver to buy a comfortable pair of trainers for my foot- weary rehearsals. "Leave your hand-guns here," said a notice by the entrance. Was this a joke? Then Wayne La Pierre, one of the leaders of America's National Rifle Association, announced the opening of a gun store in Times Square in New York. "What better place to get more people involved in shooting?", he is quoted as saying. Does he mean it? America is a world of hyperbole, of over-statement. They don't have shops here; they have overwhelming experiences. When I took my grandson to a model railway store, it proved to be the biggest model railway store in the world. The booking leaflet describes the production I am directing as "the theatrical event unlike any in the last 2,500 years". The Hollywood hyperbole makes me blush and would certainly be mocked in England. But everyone accepts this language here (although I am sure nobody believes it) because it is the language needed for the marketplace. The other night I saw a television commercial for coffins. The top of the line had gold, gothic script on its sides: "Return to Sender". Are they serious? The Rocky Mountains stare down inscrutably and give no sign. Perhaps it is appropriate that I am doing one of the largest theatre productions of my life here. I have been in Denver since the end of March rehearsing Tantalus, John Barton's cycle of ten new plays on the Greek myths, that take one whole day, or three evenings, to experience. This new writing - funny, abrasive and startling - although it is about the Trojan War, should beguile anyone who finds modern politics exasperating. A nasty little war has been going on for years. No one can quite remember why it started, or who was responsible for starting it. And no one can think of a way of stopping it without losing face. What seemed an honourable conflict has turned into something squalid - like so many wars of the 20th century. The questions are ancient but have modern applications. Was Helen real, or was she "spun", as an image for the poets and historians? Who let the Horse in, and why? Is it a Horse, or an engine of war? Was Helen raped, or was she willing? We have a 15-second TV commercial (how I wish such promotion was within the budgets of British theatre) in which modern and ancient images confront each other. The Trojan Horse glares at the Stealth bomber. The walls of Troy fall down in time with the Berlin Wall. Helen of Troy is paired, briefly, with Monica Lewinsky. Classicists may object. John Barton has been writing Tantalus for 15 years. The Royal Shakespeare Company has supported him, and successive directors from Trevor Nunn to Adrian Noble have encouraged him. But, alas, his old company didn't have the resources to mount Tantalus without giving up a large part of their central Shakespearean work. So it is being produced by the Denver Center for the Performing Arts in collaboration with the RSC. Denver is generously providing all the facilities and (significantly) the cash. Since this amounts to $7 million and buys six months of rehearsal and a genuinely international company (American actors, British actors, a Japanese lighting designer, an Irish composer, a Greek designer), we should give thanks to America. All our efforts to raise money in Britain failed. Significantly, the Dome turned us down because we were thought elitist and old-fashioned. In retrospect, I am relieved. IT IS difficult to keep up with the news here. I get a few odd facts - Livingstone elected, Blair's baby, the Queen Mum's hundredth. But I miss all the jokes - particularly the political ones. There is little in the media here about Europe, and next to nothing about Britain. I hear this is the summer of leaks. But I was cheered by piles of faxes telling me of the Arts Council's new vision for British theatre, and that more money is coming to the arts. Does this mean that new Labour has seen the light, and is reversing its anxious insistence on mediocrity? Alas, it doesn't. There is no extra cash until 2002, by which time a good few regional theatres should have safely disappeared. Our regional theatre is a mess - a mess produced by a chronic neglect that goes back to Margaret Thatcher. Yet it is the basis of our regional culture - and hence of our television and our film. It is also a huge educational resource, and the primary way of developing the next generation of audiences. Several of us have been voicing our anxieties for years. This week I felt like running up the Rockies and shouting to the East: "I told you so!" But I suppose when your main concern is winning the next election, you put money into sport first, not the arts. It gets bigger headlines. 'I sometimes see myself as Tantalus, peering upwards anxiously' 'THERE IS a hidden benefit usually enjoyed by theatre people: let's call it the Sanctity of Rehearsal. For four or five weeks, ordinary life is put on hold, while the necessary business of the play is attended to. There is no time to visit your accountant, or even - except in an emergency - your dentist. Even your grandmother's funeral may go unattended. Rehearsal rules. Unless, that is, you are rehearsing Tantalus in Denver. The ten-and-a-half hours have been given 26 weeks of rehearsal and four weeks of previews. This seemed paradise to me. But I had forgotten Zeus, who must have laughed immoderately at my optimism. It has proved impossible to keep life at bay for this length of time. Mothers have had to be visited in hospital, and leading actors have had operations. One broke his Achilles' tendon (how appropriate) and ended up rehearsing for two months in a wheelchair, while his understudy mimed his moves and gestures. Various members of the cast have fallen in and (this is the difficulty) out of love. Life is a messy business. Tantalus doesn't appear in the play, although his myth dominates it. He reaches for the fruit as it swings way beyond his grasp. He tries to drink from a pool, but its level falls every time his lips descend to it. Over him hangs a huge rock, held by the silken ropes of Zeus. It is a constant reminder of punishment to come, because one day it will fall and the world will end. I am a little old for the part, but I sometimes see myself as Tantalus, peering upwards anxiously. I am having such a good time it is hard to keep remembering that the end is inescapable. One day Tantalus will open - on October 21, to be precise.' ------------------------------------------------------------------------------------ The Play's the Thing: Maybe the Review's the thing In workshops it's not uncommon to find a writer that dismisses some review as a Rorschach test - telling more about the critic than the critiqued. With this theory in mind, we pulled reviews for Roundabout's new production of Kaufman and Hart classic The Man Who Came to Dinner, starring Nathan Lane. Here's what we found: AP analyzed structure and style before plot or performance "Kaufman and Hart were practical guys," they wrote, "commercial craftsmen who knew how to tailor their work for a populist Broadway audience. They could write jokes as well as superb comic situations that often ballooned right into farce. The setup for ``The Man Who Came to Dinner'' couldn't be simpler: famous, world-traveling lecturer and radio personality slips on doorstep of Ohio home, fractures hip and is forced to remain with overwhelmed middle-America family. Chaos ensues." I'll buy that. It's nice that, despite the fact most of us are well acquainted with Sheridan Whiteside and company, AP is not above examining the work itself. Too often reviewers seem to feel its somehow inappropriate for revivals. New York Magazine began with a savvy theatre history slant: "As is widely conceded, The Man Who Came to Dinner is one of the American theater's funniest farces. It is much funnier than the same Kaufman and Hart's You Can't Take It With You, because it is less good-natured, and amiableness is not what farce is about. The reason it isn't done more often is, I suspect, the difficulty of finding the actor who can carry off the wittily acid-tongued and egomaniacal, yet somehow not hateful, curmudgeon Sheridan Whiteside -- a part that Monty Woolley created onstage and, more permanently, onscreen, to such perfection that few have dared follow in his intimidating footsteps." The Star Ledger, bless their hearts, gave a short plot synopsis. And declared, among other performance notes, "Mary Catherine Wright's harried nurse is okay" We couldn't decide if it was refreshing or horrific to find actual black & white evidence that a reviewer still exists that will describe anything as "okay" Newsweek had a terrible time getting past the name of the venue: Opening Night hosted the ribbon cutting for the new American Airlines Theatre. But once that bitter pill was swallowed, they moved on to a serious analysis of Lane and the ensemble. The Post gave a lengthy plot synopsis and then took a bizarre left turn into the land of Oz. It mused about "the presence of several characters obviously gay but not treated as such" Uh-huh. They do realize this puppy was written in 1939? Yes they do... "Kaufman and Hart were right, obviously, to abide by the conventions of their time, but it seems today like a bizarre evasion." For the life of me I can't imagine what this reviewer wants to see - should the Cowardesque Beverly Carlton have brought an unscripted date to visit Whiteside? And then there's Variety - they tried. It seems like they felt they ought to say something, what with Nathan Lane being a movie star and his character being an industry insider. But clearly the cadence and eccentricity of a 1939 Kaufman and Hart comedy is beyond them. They don't seem to grasp that the "production's occasional air of industry" is merely window-dressing. It's not meant to payoff in grand comedic bits nor in behind the proscenium revelations. Eleanor: Her Secret Journey follows Eleanor Roosevelt from 1918 - 1922 and shows the evolution from socialite mother into the activist, feminist and idealist that became American legend AWARD-WINNING ACTRESS JEAN STAPLETON STARS AT THE CANON THEATRE IN BEVERLY HILLS Renowned actress Jean Stapleton will star as Eleanor Roosevelt in ELEANOR: HER SECRET JOURNEY, Rhonda Lermanâ's one-woman play, directed by John Tillinger. Charles H. Duggan Presents will produce the four-week limited engagement at the Canon Theatre (205 North Canon Drive, Beverly Hills). Preview performances begin Tuesday, September 12 with an official opening on Sunday, September 17. Tickets can be purchased by calling (310) 859-2830 or at the Canon Theatre Box Office. Called "a glowing portrait of this great lady," ELEANOR offers an absorbing journey through her key years of 1918 - 1922. From her innocuous beginnings as a socialite wife and mother of five; the audience listens as the first lady describes her shocking tour of the brutal battlefields of World War I. The play also reveals her yearning for the love that her husband chose to share instead with her social secretary, Lucy Mercer; and eventually her transformation into the activist, feminist and idealist that most Americans now recognize. Beyond the history books and strong public face lies the private woman that playwright Lerman reveals, one full of doubt and loneliness. ELEANOR is an engaging insight into the life of a historic figure, whose bare and solitary personal life makes her public achievements all the more admirable. As for First Lady Roosevelt, Emmy Award-winning actress Jean Stapleton creates a performance The New York Times credited with "An unmistakable audience favorite, Ms. Stapleton conveys a ruminative air, a real sense of civility, an idealistic belief in a divine process,' in a man's perfectibility. She has charm and candor." Since the end of production of "All in the Family," for which Ms. Stapleton garnered three Emmy Awards and three Golden Globe Awards, she has been dividing her time between theatre, television and film. Recent film credits include: You've Got Mail with Tom Hanks and Meg Ryan; Michael appearing opposite of John Travolta; and her voice was heard in Pocahontas II for Disney and Dr. Doolittle for Twentieth Century Fox with Eddie Murphy. On the stage she has enjoyed engagements in: Noel Coward's Blithe Spirit at the South Coast Repertory Theatre in California, Horton Foote's Night Seasons at the Signature Theatre in New York City, as well as his The Roads to Home at the Lamb's Theatre, the Stepmother in Rodgers and Hammerstein's Cinderella at the New York City Opera, and the Nurse in Romeo and Juliet for the Shakespeare Company in Washington D.C. Playwright Rhoda Lerman is an accomplished novelist, having published Call Me Ishtar, The Girl That He Marries, The Boo of the Night, God's Ear and Anim al Acts. The New York Times Book Review referred to Lerman as "a first-novelis of formidable gifts" as the publication of her first novel, a prediction that was borne out by a number of awards for her subsequent works. The play ELEANOR: HER SECRET JOURNEY was developed by Lerman from her book, E leanor, which upon its publication in 1979 was praised by critics as "beautiful, elegantly written, true as anything could be. An imaginative success! Lerman brings what has always been a stick figure in history to glowing, aching life." Director John Tillinger was awarded an Outer Critics' Circle Award and a Tony Award nomination for his treatment of Joe Orton's Loot on Broadway. Other Broadway directing credits include: The Sunshine Boys with Tony Randall and Jack Klugman; Inherit the Wind with George C. Scott and Charles Durning; Broken Glass starring Amy Irving, David Dukes and Ron Rifkin; The Price starring Eli Wallach; Born Yesterday with Madeleine Kahn and Ed Asner; S weet Sue with Mary Tyler Moore and Lynn Redgrave; The Golden Age with Irene Worth, Jeff Daniels and Stockard Channing; and many more. Performances for ELEANOR: HER SECRET JOURNEY begin Tuesday, September 12 and run through Sunday, October 8 for four weeks only. The official press opening is on Sunday, September 17 at 7:00 p.m. The show will be presented at the Canon Theatre, 205 North Canon Drive, 1/4 block North of Wilshire Blvd, in Beverly Hills. The playing schedule is Tuesdays â€" Fridays at 8:00 p.m., Saturdays at 3:00 p.m. and 8:00 p.m. and Sundays at 3:00 p.m. (with the exception of the press opening date). Regular ticket prices range from $40 - $50 (preview prices are $10 off the regular price). For single tickets, group sales or general information, please call (310) 859-2830. ------------------------------------------------------------------------------------ Copyrigh 2000, Mersinger Theatrical Services