Goodbye 2013 - Hello New Year!

I must say that 2013 has been a struggle both personally and professionally. I am not sad to say goodbye. However, I am also reminded today of the many blessing 2013. I started the year with 2 Shakespeare classics: Hamlet and Romeo & Juliet. And I finished strong with 2 rumpus comedies: Americana and Bedroom Farce.

Today I am pleased to announce The Examiner acknowledge my work as a Best Supporting Actress in Americana at STAGEStheatre in "Best Orange County Theatre of 2013". It pleases me greatly to see STAGEStheatre and myself acknowledged beside the likes of acclaimed OC Theatre from SCR.

In addition to this great piece of news, Eric Marchese with the The OC Register highlighted Bedroom Farce one of the "Top 10 Shows of 2013"! (See picture - Left).

So thank you, 2013 - For the good and the bad. May I learn, grow, create, and prosper in 2014!

ACTORS, SAY YES TO EVERYTHING! (Bedroom Farce Casting)

Everything happens for a reason. When one door closes, another door opens, and sometimes doors reopen when least expected. I will be taking over the role of Kate in Bedroom Farce by Alan Ayckbourn at STAGEStheatre. I have already been thrown into my first rehearsal and stumbled through the blocking of the entire show. I have a lot of work to do before we open in less than 4 weeks, but I am confident that it will all come together. I can't wait to meet the entire cast tomorrow.

This turn of luck has made me realize how many times I have been fortunate enough to step into roles that I was not originally cast in. Well, I shouldn't call it luck or fortune really.... More like hard work and dedication.

WHY YOU SHOULD YES TO EVERYTHING! 

I was 12 years old when I first started acting. I remember walking into the rehearsal space as a member of the ensemble in a youth production of Annie and feeling very small. The first words out the director's mouth were, "There are no small parts, only small actors. Each and every one of you is vital to this show." I took this to heart and I poured all of my efforts into Maid #1 ("Blue is her best color, no green I think!") and Ira (they cut all but two lines before rehearsals began). Ever since then I believed that the ensemble was just as important as the leads - and I still do.

When I was in high school I got high praise for my ensemble work from my teachers. I had given up on singing lessons by then and wanted to be considered a serious actress. I wanted to play William Shakespeare, Samuel Beckett, Sophocles, Arthur Miller, George Bernard Shaw, etc. When it came to the spring musical I had trouble getting cast as a lead. Although I had musical theatre experience, the choir students who lived and breathed music always seemed to outshine me in the audition room. However, directors were all to happy to cast me in the ensemble. I would pick up bit parts and one-liners along the way - creating a backstory for my "character". I remember vividly standing in a crowd scene, rehearsing for The Mystery of Edwin Drood. We were practicing moving in and out of the scene, repeating it over and over again. Finally the choreographer/assistant director stopped us. "You all look bored up there. You have no expressions on your faces and you are standing like statues," she said. This was followed by eye-rolls and sighs from the two dozen exhausted teenagers standing on stage. "Why can't you be more like Jamie? She is the only one in the moment. I can't take my eyes off of her." I remained serious even though I was smiling inside.

In my last year of college I had a big audition for The Redlands Shakespeare Festival. They were doing three show in repertory: Twelfth Night, Macbeth, and Antony and Cleopatra. I had never taken on a project that demanding before, but I knew what I wanted - Viola. I wanted Viola so bad I could taste it. I went into the audition prepared and confident. I rocked it in there! Then I got the call - "We have cast you as Olivia in Twelfth Night, Witch #3 in Macbeth, and ensemble in A&C." My heart sank for only a brief moment. Then I thought to myself, this is the biggest project you have ever taken on! Three shows in eight weeks of rehearsal! Maybe this is what you need. Maybe this is all you are ready for. So I said, "Yes." I fell in love with Olivia at the first read-through. I thought about her every moment of every day - for two days. Then I got the call: "Jamie, we had to let go of our Viola. There were too many scheduling conflicts. Would you be willing to step up into that role?" And I said, "YES!". But that is not where the story ends. Did you know that Witch #3 has all the best lines? Well, she does. In my opinion, Witch #3 is the best witch of them all. And then something wonderful happened with Antony and Cleopatra too! I was simply member of the ensemble, a woman foot-soldier awkwardly dressed as a man. Slowly the other foot-soldiers got too big for their britches. They didn't want to make the 1-2 commute to Redlands for a handful of lines. Three ensemble members dropped the show in a matter of days. So I started picking those up too. I was given the roles of Diomedes and every single messenger line in the play. I showed up the next day with my parts memorized. I got to be beaten by Cleopatra, learned fight choreography, and gingerly help carry Antony down a flight of stairs during the final moments of the play. I hardly left the stage. It was the best summer of my life. The following year, the director of Antony and Cleopatra cast me as the lead in Measure for Measure - the greatest role I have every played.

Now I am about to play a role in Bedroom Farce that I was not originally cast in. I was considered second best at the audition, but I am going to prove that everything happens for a reason. I am going to prove that I am the right choice after-all. All I had to do was say, YES.

Americana Closing!

Tonight we closed Americana at STAGEStheatre. I feel so blessed to have had such a great run with such a talented director and cast. The staff and crew at Stage had been like family. It is not often that original pieces are given such support and attention. I am grateful for the many packed houses and publicity this show has provided. More importantly, this show has reaffirmed my love of comedy. It is good to have the laughing juices run through my veins again. I can't wait to have another go at tickling your funny bone with my next project. More information coming soon. Stay tuned!

Jason Sutton & Jamie Sowers in "No Salesman Will Call" (Americana)

Shakespeare Institute Players' As You Like It mentioned alongside the RSC!

I just stumbled across this review of As you Like It - Sandra Holt, of The Stratford Herald, recently praised the Shakespeare Institute Players in her latest review of the RSC’s As You Like It. It seems the Institute’s production of As You Like It turned some heads in Stratford-upon-Avon. In her mention she praised our production as “beautifully performed” and named this year’s RSC production as a “runner-up in the Stratford staging stakes”. Of course I am not delusional enough to believe that the greater theatrical community found our production more intriguing than that of the Royal Shakespeare Company (Pippa Nixon is my all-time favorite RSC actress afterall), but I am certainly glad that we made an impression and are still being talked about nearly a year later. I feel so blessed and honored to have played Rosalind with the Shakespeare Institute Players and I am so proud of everyone involved.

Americana Casting!

Well, it has been a while since I have been in a play written in the 21st century: 2 years to be exact. And after playing in Hamlet and Romeo & Juliet, it feels like an eternity since I have been in a comedy.

Today both these cycles have been broken. I have been cast in Americana, a series of 3 one-act plays written by David Macaray. I will be playing Sandra Larson, a hoarding consumerist, in “No Salesman Will Call”. This will be my first time working at the fabulous Stages Theatre in downtown Fullerton, CA and my third time working with director Phil Brickey. As Phil said earlier today, “It has been too long.”

The last time I worked with Phil was on a play reading of Transfigured Night, where I played the wife of the great composer Anton Webern. I think we have both grown as artists since then and I can't wait to get reacquainted with his work. Also joining the cast is Tracy C. Marquis, who played Webern in that production, and KC Marie Pandell, whom I trained with at FUHS and Chapman University. I am looking forward to meeting the rest of the cast for the first time on Tuesday.

Here's to a new adventure!

Romeo and Juliet Opening / Closing!

It is not often that I blog about the opening and closing of a show simultaneously, but with only two performances of Santa Fe Springs Playhouse’s production of Romeo & Juliet it seems necessary. I am grateful for the opportunity to bring Shakespeare to the community of Santa Fe Springs and perform the beautiful venue of Heritage Park. I dedicated a lot of time and effort into playing Mercutio, yet it feels as though I hardly know him. This production has provided an incredible learning experience for me, challenging my skills and bringing me out of my comfort zone. Who knew that the straight-laced, feminine, little ol’ me would play a pot-smoking version of one of Shakespeare’s greatest homoerotic male characters? It was a challenge I was willing to face. I hope that during this process I achieved the openness and relaxed portrayal of wit, courage, loyalty, and intrigue that I see in Mercutio. With such a short run, it is hard to say that I reached my full potential in this coveted role, but I can say I had a great time playing with my cast-mates. Love and Peace.

Romeo and Juliet Casting!

I am proud to announce that I will be reuniting with director Kaitlyn Tice for another Shakespeare classic. Get ready for more bawdy jokes! This little lady is putting her man pants back on to play Mercutio in Romeo & Juliet at the Santa Fe Springs Playhouse. There will be 2 performances only, with an option to relocate the production to the La Habra Depot for additional performances.

The first read-through is tonight. I am looking forward to beginning this journey. Let's get Queen Mab's chariot on the road! Zounds the Montague and Capulet groupies! - It's TEAM MERCUTIO all the way!

Livestream Hamlet Tonight!

The La Habra Depot Theatre will livestrem their production of Hamlet tonight (2/9/2013) at 8pm PST! Please join us here: http://www.ustream.tv/channel/la-habra-depot-theater

Michael Dobson Interviews Greg Doran (Artistic Director of the RSC)

Professor Michael Dobson interviews Greg Doran, Artistic Director of the RSC and Honorary Research Fellow, at Birmingham University's Shakespeare Institute. So proud of my alma mater!

Shakespeare Uncovered Premiere!

Calling out the Shakespeare Lovers everywhere! Don't forget to watch or set your DVR: The PBS series Shakespeare Uncovered premieres Friday, January 25, 9PM ET! Check your local listings.

This 6 episode series will begin with 2 back-to-back episodes. The series will discuss the history of the play in performance and new analysis with celebrated actors and celebrity guests. I can hardly wait!



January 25, 2013
Macbeth with Ethan Hawke
The Comedies with Joely Richardson

February 1, 2013
Richard II with Derek Jacobi
Henry IV & Henry V with Jeremy Irons

February 8, 2103
Hamlet with David Tennant
The Tempest with Trevor Nunn

Go see [title of show]!

Theatre Out opens their 2013 season with the Orange County premiere of [title of show]. This charming musical, written by Jeff Bowen and Hunter Bell, follows the semi-fictional characters of Jeff and Hunter as they write a musical about two guys writing a musical in three weeks! The show is filled with plenty of hilarious musical theatre references for the theatre geek inside us all.

Theatre Out’s production, directed by Tito Ortiz and featuring the talents of Spencer D. Blair, Jaycob Hunter, Laura De Lano, Amanda Raquel Knigh, with Stephen Hulsey on piano, is sure to make you smile from ear to ear.

Theatre Out. Empire Theatre located at 202 N. Broadway in Santa Ana’s Artist Village. Performances January 11, 2013 through February 23, 2013 (Fridays and Saturdays at 8:00 pm with select Thursdays at 8:00pm). Tickets $20-25. www.theatreout.com.

Gertrude Questions Answered

Did Claudius and Gertrude have an affair before the death of Old Hamlet?

The ghost refers to Gertrude as an “incestuous and adulterate beast". In Elizabethan England, and according to the Old Testament book of Leviticus 20:21, marrying your late husband’s brother would be considered an incestuous act (“If a man shall take his brother’s wife, it is an unclean thing.”). Thus, when Gertrude remarries Claudius she effectively is guilty of incest. The word “adultery” may refer either to a marital affair (in the modern sense) or any sexual sin (in the Elizabethan sense), including incest. For certain, Gertrude is guilty of incest. Whether or not they had an affair is ambiguous, but Shakespeare certainly spares no expense in describing their heated sexuality. Claudius and Gertrude obviously have chemistry.

Does Gertrude know Claudius killed Hamlet, Sr.?

I have been thinking about this question a lot lately. I do not believe this one to be as enigmatic as some may believe. In my mind, the answer is ‘no’. There is no textual evidence to support the affirmative response to this question. First, she marries her husband’s killer—and act that seems unfathomable if she knows of foul play. She either doesn’t know, or she was 100% complicit. But if she were a true accomplice, there would be no reason for the ghost to instruct Hamlet to leave her sins alone (“Taint not thy mind, nor let thy soul contrive / Against thy mother aught: leave her to heaven”). Her sins, while still vile, are not as great as murder and will “prick and sting” her as she lives. Let’s face it, no one knows of King Hamlet’s murder. It takes a ghost to make this fact known. Therefore Gertrude’s only deadly sin is her “o'erhasty marriage” as a crime of incest/adultery. Likewise, she shows no signs of guilt, counter to Claudius’ guilt which “smells to heaven”. Second, she shows surprise at Hamlet’s suggestion that his father was murdered. I believe her line "As kill a king?" in the closet scene is not so much an ‘Oh crap, Hamlet knows!’ as it is a realization of the possibility that Hamlet’s seemingly mad reality might be true. Perhaps she is naïve, or perhaps in that moment she is forced to consider a possibility she has formerly repressed. Whether she is ignorant or mentally inhibited, her innocence creates a further complication which stifles Hamlet’s ability to carry out revenge.  The ghost must reappear to remind Hamlet to help his mother, not hurt her. Still, Gertrude does not see the ghost. Assuming she now knows in her heart and mind that Claudius is a murderer, her attitude remains strikingly unaffected on the surface. This is partly because Hamlet instructs her to keep her distance from Claudius and be complicate in his feigned madness, and partly her own uncertainty. She lies to Claudius to protect Hamlet, telling Claudius that Hamlet "weeps for what is done" when clearly he does not.  She feels guilty for the actions that lead to Polonius’ death (“so full of jealously is guilt / it spills itself in fearing to be spilt”) and the subsequent madness of Ophelia, yet still does not outwardly take sides. Unless she knows the cup is poisoned…

Does Gertrude know the cup is poisoned?

Since the text is ambiguous it is difficult to tell. Perhaps Gertrude drinks knowingly, trading her son’s life for her own. Perhaps she is suspicious, but ultimately unsure if the cup is poisoned, risking her life to save Hamlet from certain death. Perhaps she is unaware, oblivious to the danger that awaits her, only recognizing the truth when she is faced with death. All seem a fitting end to a Shakespearean tragedy. Most Oedipal interpretations agree that Gertrude knowingly drinks the poison, bringing her relationship with Hamlet full circle – she then becomes the nurturing mother Hamlet desires.

Why does Ophelia give Gertrude rue?

It is interesting that the only herb Ophelia intends for herself is rue: "...there's rue for you, and here's some for me; we may call it herb of grace o'Sundays; O, you must wear your rue with a difference." Scholars commonly agree that the rue is also meant for Gertrude. The symbolic meaning of rue is regret, but the practical application of rue is as a powerful abortifacient which can be lethally toxic. Does this explain why Gertrude married Claudius so quickly after her husband’s death? Or is the rue simply in reference to the regret and repentance? Being the Shakespeare purest that I am, I tend to lean toward the latter.

To discover how I deal with these questions you must come see the play!
 

Where? The La Habra Depot Theatre
When? January 25th - Febuary 9th (Thurs/Fri/Sat @8pm, Sun @ 2:30pm)
Tickets? Visit http://lhdthamlet-esli.eventbrite.com or Goldstar.com

Approaching Gertrude

Last night we began blocking "the closet scene"/my favorite scene in Hamlet. After spending a minimal amount of time walking through it, I came home slightly disappointed and confused. Mostly, I felt dissatisfied with the mundaneness that overwhelmed me after working on what should be one of the most exciting scenes in the play. Perhaps I was just having an off-night, but I can't stop thinking about it. It is clear to me that I still have a plethora of unanswered questions in my head.

When I read Hamlet, I often ask myself ‘Why?’. There is the big why: Why does Hamlet remain in inaction for so long? And the whys that defy reason: Why does Hamlet hesitate to kill Claudius? Why does Hamlet so easily slay Polonius? Why is Hamlet so cruel to Ophelia? Etc.

This time, as I read the play, I have a whole new collection of whys: Why does Gertrude marry Claudius, and why so soon after the death of King Hamlet? Why does Gertrude reject her motherly identity? Why does Gertrude agree to banish her own son? In short, why is Gertrude so confusing?

In The Spiritual Shakespeare, “Spectres of Hamlet,” Richard Kearney describes Hamlet as “a story about the simultaneous necessity and impossibility of stories. Ophelia cannot tell her story until she goes mad (when she tells everything but is no longer herself: ‘Here’s rosemary for remembrance’); Claudius cannot tell his story, even in the confessional, until it is forced from him by the play within the play; Gertrude cannot tell her story because she is ignorant of it (she does not know that Claudius killed the King); Polonius and his fellow courtiers, Rosencrantz and Guildenstern and Osric, cannot tell their stories since they say only what pleases or deceives. Even Prince Hamlet cannot tell his story for as long as conscience makes a coward of him: not until, dying of a fatal wound, he begs his friend Horatio: ‘absent thee from felicity awhile to tell my story’.Which means that this is a play where no one actually tells their story, no one truly remembers, until Prince Fortinbras arrives too late on the scene, and announces: ‘I have some rights of memoryin this kingdom / Which now to claim my vantage doth invite me’” (Kearney 159-60).

Now, as an actor, the most important question I ask myself is ‘How do I tell the story?’ – A question negated by the inability of Gertrude to remember the past and plan for the future. Perhaps this explains my frustrations from last night.

If I consider the closet scene, Act III, scene iv, I am filled with more and more uncertainty. This pivotal scene presents a great deal of action and insight into the characters of Hamlet and Gertrude, but it also begs the answers to additional questions: Does Gertrude know of Claudius’ involvement in King Hamlet’s murder? Is Gertrude guilty of infidelity prior to the death of Hamlet, Sr.? Does Hamlet truly win Gertrude over to his side? These are questions that must be answered by me, the actor – It is clear I have a lot of work to do…

Hamlet Tickets Now on Sale!

The La Habra Depot Theatre Presents HAMLET

Featuring Jamie Sowers as Gertrude!

Written by William Shakespeare
Directed by Kaitlyn Tice

 

About:
Join us for a telling of William Shakespeare's most famous tragedy Hamlet, Steampunk style! Watch as Hamlet's determination to avenge the murder of his father and remarriage of his mother builds to a complex mechanism of intrigue and introspection.

When:
January 25 - February 9, 2013
Thursdays, Fridays, and Saturdays @ 8PM
Sundays @ 2:30PM

Where:

La Habra Depot Theatre

311 South Euclid Street
La Habra, CA 90631

Tickets:
General Admission: $15

Call the ticket line at (562) 905-9625 or visit http://lhdthamlet-esli.eventbrite.com
Limited discount tickets available at Goldstar.

Tickets are also available at the box office 2 hours before showtime unless the show has sold out.