Romeo & Juliet Memo from Mainspring
Cantus: Romeo and Juliet
The Cantus production of Romeo and Juliet is devised work, which means creating a singular performance piece from a combination of an idea and a mix of original and existing material. In the case of this production, there is the original Shakespeare text, which has been adapted specifically for this version by Bill McCallum and Carla Steen; original composition by Libby Larsen; original movement by Carl Flink and the collective work/ideas of the creative team, Cantus, and the various actors who have participated in the workshops. The opportunity in developing a production this way is that it allows the artists to create a production that is uniquely theirs—that illuminates an idea or well-known story with innovation and distinction. Unlike the process of learning an existing score or producing an existing play, a project like this requires deep collaboration amongst the creative team and a series of discussions and workshops in order to find a collective way between music, text and movement to re-imagine (in this case) one of the most familiar stories of our time and illuminating the story in a new way to an audience. Below is a note from Chris Foss regarding the mission of this project for Cantus:
Although Cantus is a collection of voices, we operate as a true chamber music ensemble, not as a traditional choir with a director. In chamber music, all voices towards the artistic product are equal without hierarchy, and the best idea is what eventually takes stage, regardless of where it comes from. In short, we simply cannot do our work without relying on, trusting, and believing in each other. The only way forward for us musically is together.
We also pride ourselves in telling stories of shared human experiences. On the surface level, Romeo and Juliet is one of the most well known romances throughout literature. However, the ultimate lesson in the tragedy comes from the death of love and hope wrought from hate and prejudice. Two tribes consumed by loathing and chaos (who have even forgotten the reason they are at war in the first place), sadly, is a tale far too familiar and recognizable today.
In our increasingly divided world, we as a people tend to focus more on differences than similarities. In Cantus’s dramatic and musical retelling of Shakespeare’s Romeo and Juliet, we hope to bring light to the fact that our only way forward as a society is together.
Chris Foss, Artistic Council
Timeline and Process:
The Cantus production of Romeo and Juliet is devised work, which means creating a singular performance piece from a combination of an idea and a mix of original and existing material. In the case of this production, there is the original Shakespeare text, which has been adapted specifically for this version by Bill McCallum and Carla Steen; original composition by Libby Larsen; original movement by Carl Flink and the collective work/ideas of the creative team, Cantus, and the various actors who have participated in the workshops. The opportunity in developing a production this way is that it allows the artists to create a production that is uniquely theirs—that illuminates an idea or well-known story with innovation and distinction. Unlike the process of learning an existing score or producing an existing play, a project like this requires deep collaboration amongst the creative team and a series of discussions and workshops in order to find a collective way between music, text and movement to re-imagine (in this case) one of the most familiar stories of our time and illuminating the story in a new way to an audience. Below is a note from Chris Foss regarding the mission of this project for Cantus:
Although Cantus is a collection of voices, we operate as a true chamber music ensemble, not as a traditional choir with a director. In chamber music, all voices towards the artistic product are equal without hierarchy, and the best idea is what eventually takes stage, regardless of where it comes from. In short, we simply cannot do our work without relying on, trusting, and believing in each other. The only way forward for us musically is together.
We also pride ourselves in telling stories of shared human experiences. On the surface level, Romeo and Juliet is one of the most well known romances throughout literature. However, the ultimate lesson in the tragedy comes from the death of love and hope wrought from hate and prejudice. Two tribes consumed by loathing and chaos (who have even forgotten the reason they are at war in the first place), sadly, is a tale far too familiar and recognizable today.
In our increasingly divided world, we as a people tend to focus more on differences than similarities. In Cantus’s dramatic and musical retelling of Shakespeare’s Romeo and Juliet, we hope to bring light to the fact that our only way forward as a society is together.
Chris Foss, Artistic Council
Timeline and Process:
- In fall of 2014, Mary Lee reached out to Trish Santini (then Senior Producer at the Guthrie) as the Ensemble had been discussing the idea of developing an original concert/performance based on Romeo and Juliet. After a few conversations between Mary, Cantus Artistic Council and Trish, it was determined that Trish/Guthrie would offer time and space for them to meet with Guthrie dramaturg, Carla Steen and Shakespeare actor/director, Bill McCallum as a way to facilitate artistic process for what Cantus might pursue for this project. The result of a series of conversations over several months was: Cantus would commission Libby Larsen to compose an original score; invest in a workshop process in summer of 2015 to further investigate how they could make this story uniquely their own; Bill would add Carl Flink (artistic director of Black Label Movement) as a choreographer to start creating a physical vocabulary for the story-telling; Bill and Carla would start editing the script in service to the story being told through music and text; Bill recommended that four actors be used to portray all the characters; Joe Dowling greenlit Guthrie support of offering Trish’s time, Carla’s time and Guthrie space for meetings and workshops, with an eye toward a production at the Guthrie.
- First workshop took place over two separate weeks so that script work could happen in between (June 22-July 2, 2015 and July 20-23, 2015). A public presentation also took place for staff, board and donors in a rehearsal room at the Guthrie. During this process and in the weeks that followed, it was determined that the team would develop a fully realized theatrical production for the Guthrie (and other theaters) and also create a concert version that would not include production elements and would allow for actors to “read” the script.
- In August 2015 after the Guthrie departures of Joe Dowling and Trish Santini, Mary asked Trish if she would remain a “friend of the production” as a way to maintain her partnership for the artistic development process and the long-term possibility of Trish’s new firm, (Mainspring Arts Cooperative in partnership with Frank Butler) pursuing touring opportunities for R and J with regional theaters in the seasons following the Guthrie premiere. At the time of Joe and Trish’s departure there were “holds” on the Guthrie season calendar of ‘16-17 for a spring 2017 Cantus production and Hillary Hart, Guthrie general manager, was in contact with Mary regarding the contract.
- The creative team (Bill, Libby, Carl, Matthew and Chris) maintained an artistic planning schedule of meetings and calls over several months and the next workshop took place April 25-27 2016—this one was also at the Guthrie and was followed by a public presentation. During this time, Mary and Bill McCallum had continued conversations with the Guthrie under Joe Haj’s leadership and in collaboration with general manager, Hillary Hart, still with the goal of a production in spring 2017 on the Guthrie’s McGuire proscenium stage.
- In June 2016 following Mary Lee’s resignation, Trish and Frank/Mainspring Arts Cooperative were asked by the Cantus board to join the R and J project as executive producers to support the project in it’s continued artistic process, budgeting/general management needs, production management etc. At this time it was also determined by the board that the production would be best served by postponing it till spring 2018 to allow more time for fundraising. Wendy Holmes contacted Hillary Hart at the Guthrie to release the 2017 dates and request consideration for spring 2018. There have been on-going discussions around budget, production values, design team, artistic process, etc between Cantus and Mainspring Arts. There have also been ongoing discussions between Mainspring Arts and the Guthrie to try and secure the spring ‘18 dates in the Guthrie calendar.
- A third workshop took place Sept 12-15 2016 at Westminster; no public presentation was included. Trish attended the Cantus executive committee meeting on Tues, Sept 13th to discuss budget.
- In October 2016, Cantus was awarded $25,000 in commission funding from Music Accord to support Libby’s original score for Romeo and Juliet. This award includes opportunity to perform the work at the venues associated with the commission.
- In December 2016, Jocey Hale and Trish spoke about the viability of creating one version of this production rather than two. After further discussions with Matthew, Chris, Bill, Libby and Rob of Alliance, we concluded it was best both artistically and financially to create one version that was easily replicable in a range of spaces from theaters to concert halls to churches, etc. Trish and Rob also discussed potential performance fees.
- Trish and Frank continued to engage Hillary Hart in discussions around budget and spring 2018 dates. In December 2016 after discussion with Cantus, we released the hold the Guthrie had on Feb/Mar 2018 dates due to other potential bookings/deadlines and asked Hillary to continue to pursue the weeks of April 23rd and 30th 2018 for Cantus performances. She continued to hold these dates and represent our request in Guthrie season planning meetings. Hillary departed her position at end of this year and subsequently, Trish has been in touch with Guthrie Managing Director, Jennifer Bielstein and is awaiting word back regarding availability of these dates. Additionally, Trish and Frank have been in touch with their contact at The Pantages as an alternative venue should the dates not be available at the Guthrie.
- Current outstanding questions: budget approval; arrangement with Music Accord as it relates to the premiere; Guthrie or Pantages for weeks of April 23/30.
